proofreading team the diverting history of john gilpin one of r. caldecott's picture books 1878 [illustration: the diverting history of john gilpin] [illustration] ==the diverting history of john gilpin:== _showing how he went farther than he intended, and came safe home again._ [illustration: written by william cowper with drawings by r. caldecott.] john gilpin was a citizen of credit and renown, a train-band captain eke was he, of famous london town. john gilpin's spouse said to her dear, "though wedded we have been these twice ten tedious years, yet we no holiday have seen. "to-morrow is our wedding-day, and we will then repair unto the 'bell' at edmonton, all in a chaise and pair. "my sister, and my sister's child, myself, and children three, will fill the chaise; so you must ride on horseback after we." [illustration: the linendraper bold] he soon replied, "i do admire of womankind but one, and you are she, my dearest dear, therefore it shall be done. "i am a linendraper bold, as all the world doth know, and my good friend the calender will lend his horse to go." quoth mrs. gilpin, "that's well said; and for that wine is dear, we will be furnished with our own, which is both bright and clear." john gilpin kissed his loving wife. o'erjoyed was he to find. that though on pleasure she was bent, she had a frugal mind. [illustration] [illustration] the morning came, the chaise was brought, but yet was not allowed to drive up to the door, lest all should say that she was proud. so three doors off the chaise was stayed, where they did all get in; six precious souls, and all agog to dash through thick and thin. smack went the whip, round went the wheels, were never folks so glad! the stones did rattle underneath, as if cheapside were mad. john gilpin at his horse's side seized fast the flowing mane, and up he got, in haste to ride, but soon came down again; for saddletree scarce reached had he, his journey to begin, when, turning round his head, he saw three customers come in. so down he came; for loss of time, although it grieved him sore, yet loss of pence, full well he knew, would trouble him much more. [illustration: the 3 customers] [illustration] 'twas long before the customers were suited to their mind, when betty screaming came downstairs, "the wine is left behind!" "good lack!" quoth he, "yet bring it me, my leathern belt likewise, in which i bear my trusty sword when i do exercise." now mistress gilpin (careful soul!) had two stone bottles found, to hold the liquor that she loved, and keep it safe and sound. each bottle had a curling ear, through which the belt he drew, and hung a bottle on each side, to make his balance true. then over all, that he might be equipped from top to toe, his long red cloak, well brushed and neat, he manfully did throw. now see him mounted once again upon his nimble steed, full slowly pacing o'er the stones, with caution and good heed. [illustration] but finding soon a smoother road beneath his well-shod feet, the snorting beast began to trot, which galled him in his seat. [illustration] "so, fair and softly!" john he cried, but john he cried in vain; that trot became a gallop soon, in spite of curb and rein. so stooping down, as needs he must who cannot sit upright, he grasped the mane with both his hands, and eke with all his might. his horse, who never in that sort had handled been before, what thing upon his back had got, did wonder more and more. away went gilpin, neck or nought, away went hat and wig; he little dreamt, when he set out, of running such a rig. the wind did blow, the cloak did fly like streamer long and gay, till, loop and button failing both. at last it flew away. [illustration] then might all people well discern the bottles he had slung; a bottle swinging at each side, as hath been said or sung. the dogs did bark, the children screamed, up flew the windows all; and every soul cried out, "well done!" as loud as he could bawl. away went gilpin--who but he? his fame soon spread around; "he carries weight! he rides a race! 'tis for a thousand pound!" and still as fast as he drew near, 'twas wonderful to view how in a trice the turnpike-men their gates wide open threw. [illustration] [illustration] [illustration] and now, as he went bowing down his reeking head full low, the bottles twain behind his back were shattered at a blow. down ran the wine into the road, most piteous to be seen, which made the horse's flanks to smoke, as they had basted been. [illustration] but still he seemed to carry weight. with leathern girdle braced; for all might see the bottle-necks still dangling at his waist. [illustration] thus all through merry islington these gambols he did play, until he came unto the wash of edmonton so gay; and there he threw the wash about on both sides of the way, just like unto a trundling mop, or a wild goose at play. [illustration] at edmonton his loving wife from the balcony spied her tender husband, wondering much to see how he did ride. "stop, stop, john gilpin!--here's the house!" they all at once did cry; "the dinner waits, and we are tired;" said gilpin--"so am i!" [illustration] but yet his horse was not a whit inclined to tarry there; for why?--his owner had a house full ten miles off, at ware. so like an arrow swift he flew, shot by an archer strong; so did he fly--which brings me to the middle of my song. [illustration] away went gilpin, out of breath, and sore against his will, till at his friend the calender's his horse at last stood still. [illustration] the calender, amazed to see his neighbour in such trim, laid down his pipe, flew to the gate. and thus accosted him: "what news? what news? your tidings tell; tell me you must and shall- say why bareheaded you are come, or why you come at all?" now gilpin had a pleasant wit, and loved a timely joke; and thus unto the calender in merry guise he spoke: "i came because your horse would come; and, if i well forebode, my hat and wig will soon be here, they are upon the road." the calender, right glad to find his friend in merry pin, returned him not a single word, but to the house went in; whence straight he came with hat and wig, a wig that flowed behind, a hat not much the worse for wear, each comely in its kind. [illustration] he held them up, and in his turn thus showed his ready wit: "my head is twice as big as yours, they therefore needs must fit." [illustration] "but let me scrape the dirt away, that hangs upon your face; and stop and eat, for well you may be in a hungry case." said john, "it is my wedding-day, and all the world would stare if wife should dine at edmonton, and i should dine at ware." so turning to his horse, he said "i am in haste to dine; 'twas for your pleasure you came here, you shall go back for mine." ah! luckless speech, and bootless boast! for which he paid full dear; for while he spake, a braying ass did sing most loud and clear; whereat his horse did snort, as he had heard a lion roar, and galloped off with all his might, as he had done before. [illustration] away went gilpin, and away went gilpin's hat and wig; he lost them sooner than at first, for why?--they were too big. [illustration] now mistress gilpin, when she saw her husband posting down into the country far away, she pulled out half-a-crown; and thus unto the youth she said that drove them to the "bell," "this shall be yours when you bring back my husband safe and well." [illustration] the youth did ride, and soon did meet john coming back amain; whom in a trice he tried to stop, by catching at his rein. but not performing what he meant, and gladly would have done, the frighted steed he frighted more, and made him faster run. away went gilpin, and away went postboy at his heels, the postboy's horse right glad to miss the lumbering of the wheels. [illustration] six gentlemen upon the road, thus seeing gilpin fly, with postboy scampering in the rear. they raised the hue and cry. "stop thief! stop thief! a highwayman!'" not one of them was mute; and all and each that passed that way did join in the pursuit. [illustration] [illustration] [illustration] [illustration] and now the turnpike-gates again flew open in short space; the toll-man thinking, as before, that gilpin rode a race. and so he did, and won it too, for he got first to town; nor stopped till where he had got up, he did again get down. now let us sing, long live the king, and gilpin, long live he; and when he next doth ride abroad. may i be there to see. [illustration] [illustration] randolph caldecott's picture books "the humour of randolph caldecott's drawings is simply irresistible, no healthy-minded man, woman, or child could look at them without laughing." _in square crown 4to, picture covers, with numerous coloured plates._ 1 john gilpin 2 the house that jack built 3 the babes in the wood 4 the mad dog 5 three jovial huntsmen 6 sing a song for sixpence 7 the queen of hearts 8 the farmer's boy 9 the milkmaid 10 hey-diddle-diddle and baby bunting 11 a frog he would a-wooing go 12 the fox jumps over the parson's gate 13 come lasses,and lads 14 ride a cock horse to banbury cross, &c. 15 mrs. mary blaize 16 the great panjandrum himself _the above selections are also issued in four volumes, square crown 4to, attractive binding, red edges. each containing four different books, with their coloured pictures and numerous outline sketches_ 1 r. caldecott's picture book no. 1 2 r. caldecott's picture book no. 2 3 hey-diddle-diddle-picture book 4 the panjandrum picture book _and also_ _in two volumes, handsomely bound in cloth gilt, each containing eight different books, with their coloured pictures, and numerous outline sketches._ r. caldecott's collection of pictures and songs no. 1 r. caldecott's collection of pictures and songs no. 2 miniature editions, _size 5-1/2 by 4-1/2 art boards, flat backs_ four volumes entitled r. caldecott's picture books nos. 1, 2, 3 and 4 _each containing coloured plates and numerous outline sketches in the text._ _crown 4to picture covers_ randolph caldecott's painting books. three volumes _each with outline pictures to paint, and coloured examples._ _oblong 4to, cloth._ a sketch book of r. caldecott's. _containing numerous sketches in colour and black and white._ london. frederick warne & co. ltd. & new york. _the published prices of the above picture books can be obtained of all booksellers or from the illustrated catalogue of the publishers_ printed and copyrighted by edmund evans, ltd., rose place, globe road, london, e.1. [illustration: _photographed from life by maull & c^{o}. london._] hints on driving. by c. s. ward, the well-known "whip of the west," paxton stables, opposite tattersall's. london: published by the author, 74, little cadogan place, belgravia. 1870. hints on driving. by c. s. ward, the well-known "whip of the west," _paxton stables (opposite tattersall's)._ it has been said, and not, perhaps, without reason, that a man who is conscious that he possesses some practical knowledge of a science, and yet refrains from giving the public the benefit of his information, is open to the imputation of selfishness. to avoid that charge, as far as lies in my power, i purpose, in the course of the following pages, to give my readers the benefit of my tolerably long experience in the art of driving four horses--an art which i acquired under the following circumstances.-my father was a coach proprietor as well as a coachman, and, i am proud to say, one of the best whips of his day. he gave me many opportunities of driving a team. i will not, however, enter into all the details of my youthful career, but proceed to state, that at the early age of seventeen i was sent nightly with the norwich and ipswich mail as far as colchester, a distance of fifty-two miles. never having previously travelled beyond whitechapel church, on that line of road, the change was rather trying for a beginner. but fortune favoured me; and i drove his majesty's mail for nearly five years without an accident. i was then promoted to the "quicksilver," devonport mail, the fastest at that time out of london. it must be admitted that i undertook this task under difficult circumstances--involving as it did, sixty miles a night--since many had tried it ineffectually, or at all events were unable to accomplish the duty satisfactorily. it is gratifying to me to reflect, that i drove this coach more than seven years without a single mishap. getting at length rather tired of such incessant and monotonous nightly work, i applied for a change to my employer, the well-known and much-respected mr. chaplin, who at that time had seventeen hundred horses employed in coaching. his reply was characteristic. "i cannot find you all day coaches," said he; "besides, who am i to get to drive your mail?" i must say, i thought this rather severe at the time, but, good and kind-hearted man as he was, he did not forget me. not long after this interview, the brighton day mail being about to start, he made me the offer, to drive the whole distance and horse the coach a stage, with the option of driving it without horsing. like most young men i was rather ambitious, and closed with the former conditions. the speculation, however, did not turn out a very profitable one, and, the railway making great progress, i sold my horses to mr. richard cooper, who was to succeed me on the box. i was then offered the far-famed exeter "telegraph," one of the fastest and best-appointed coaches in england. my fondness for coaching still continuing, and not feeling disposed to settle to any business, i drove this coach from exeter to ilminster and back, a distance of sixty-six miles, early in the morning and late at night. after driving it three years, the railway opened to bridgewater; this closed the career of the once-celebrated "telegraph." but those who had so long shared its success, were not inclined to knock under. my brother coachman and myself, together with the two guards, accordingly started a "telegraph" from devonport to london, a distance of ninety-five miles by road, joining the rail at bridgewater, thus making the whole journey two hundred and fifty miles in one day. at that time there was a coach called the "nonpareil," running from devonport to bristol. the proprietors of this vehicle, thinking that our's would take off some of their trade, made their's a london coach also, and started at the same time as we did. we then commenced a strong opposition. i had a very good man to contend against--william harbridge, a first-class coachman. we had several years of strong opposition, the rail decreasing the distance every year, till it opened to exeter. the "nonpareil" was then taken off, and they started a coach called the "tally ho!" against the poor old "telegraph." both coaches left exeter at the same time, and this caused great excitement. many bets, of bottles of wine, dinners for a dozen, and five-pound notes, were laid, as to which coach would arrive first at plymouth. i had my old friend harbridge again, as my competitor. the hotel that i started from, was a little farther down the street than the one whence the "tally ho!" appeared, so that as soon as i saw my friend harbridge mounting the box, i did the same, and made the running. we had all our horses ordered long before the usual time. harbridge came sailing away after me; the faster he approached, the more i put on the steam. he never caught me, and, having some trifling accident with one of his horses over the last stage, he enabled me to reach plymouth thirty-five minutes before he came in. my guard, who resided in st. albans-street, devonport, hurried home, and as the other coach passed, he called out and asked them to stop and have some supper; they also passed my house, which was a little farther on, in fore-street. i was sitting at the window, smoking, and offered them a cigar as they passed--a joke they did not, of course, much relish. the next night they declared they would be in first; but it was of no use, the old "telegraph" was not to be beaten. thus it went on for several weeks; somehow they were never able to get in first. we did the fifty miles several times in three hours and twenty-eight minutes (that is, at the average rate of a mile in four minutes and nine seconds, including stoppages), and for months together, we never exceeded four hours. still, in every contest, one party must ultimately give in; that one, however, was not the "telegraph." we settled our differences, and went on quietly for the remainder of the time, occasionally having a little "flutter," as we used to call it in those days, but we were always good friends. should this narrative chance to meet the eye of some of those who used to travel with us in bygone times, they will doubtless well remember the pace we used to go. after a few years, the railway opened to plymouth, and many gentlemen asked me to start a fast coach into cornwall, promising to give it their patronage; i accordingly started the "tally ho!" making it a day coach from truro to london, joining the rail at plymouth; this was a very difficult road for a fast coach, but we ran it, till government offered the contract for a mail; we then converted the "tally ho!" into a mail, and ran it till the rail opened to truro. it will have been seen that i kept to coaching nearly as long as there were any coaches left to drive. i had for some years given up driving regularly, having taken the horse bazaar at plymouth, where i used to supply officers of the garrison with teams, and give them instructions in driving; this i still continue to do, and in every variety of driving. it gives me, indeed, much pleasure to see many of my pupils daily handling their teams skilfully; not a few of them giving me good reason to be really proud of them, as i know they do me credit. in my description of my driving career, i stated that i had never had an accident; i ought to have said, no serious casualty, never having upset or injured any one; but i have had many trifling mishaps, such as running foul of a waggon in a fog, having my whole team down in slippery weather; on many occasions i have had a wheel come off, but still nothing that could fairly be termed a bad accident. during the last twenty-five years i have been engaged keeping livery stables and breaking horses to harness, and in that period i have had some very narrow escapes. in one instance, the box of a new double break came off and pitched me astride across the pole between two young horses; i once had the top of the pole come off when driving two high-couraged horses; a horse set to kicking, and ran away with me in single harness. as i was of course pulling at him very hard, my feet went through the bottom of the dog-cart, he kicking furiously all the time. fortunately i escaped with only a few bruises. on another occasion, in single harness, a mare began kicking, and, before i could get her head up, she ran against the area railings of a house in princess square, plymouth, broke both shafts, and split the break into matches; myself and man nearly went through the kitchen window, into the arms of the cook; she did not, however, ask us to stop and dine. i could mention many little events of a similar kind, and consider myself very fortunate in having never had anything more serious than a sprained ankle or wrist during my tolerably long career. i will now commence my instructions. rule i. selection of the team. the first thing the pupil should do, is to select four horses as nearly as possible of the same temper. never keep a puller, for it takes your attention from things that require all your care, makes your arm ache, in fact, does away with all pleasure. i should recommend hiring or purchasing four horses that will give you no trouble, and when you can pull them about, and do nearly as you please with them, you can then get your permanent team, which will require a very judicious selection, particularly if you intend to pride yourself upon colour as well as action. i was told by a gentleman, that he was ten years, getting a perfect team of black browns; he did not confine himself to price, and he certainly now has a very nice team--and they ought indeed to be perfect, after all the time, labour and expense that have been bestowed upon them. rule ii. mounting the box. put the forefinger of your right hand through the leading reins, and the third finger between the wheel reins, feel your wheel horses' mouths lightly, take your near side reins a little shorter than your off, so that in case your horses attempt to start before you are properly seated, you have the reins all of the same length, and, being properly separated, you can put them into your left hand as quickly as possible, and at once have your horses under control; this will, if attended to, always prevent accidents. some gentlemen get on the box and have the reins handed to them by a groom, who does not know how to separate them; this is not only an unbusiness-like, but a dangerous practice. rule iii. the seat. place yourself well on the box, sit upright, but easily, with your knees a little bent. some gentlemen almost stand, with a thick cushion reaching above the rail of the box, and their toes several inches over the foot-board. this is not only unsightly, but attended with risk, for if you came in contact with the curbstone, or any trifling obstruction, you might very readily, and most likely would, be thrown from your seat. the rail of the box, ought always to be a few inches above the cushion. rule iv. turning. in going round a corner, "point" your leader--that is, take hold of your leading rein, and get your leaders well round; then take hold of your wheel rein as well, all four horses will come round as evenly as though they were on a straight road. most persons are careless about the mode of going round a corner; as long as they get round safely, they think it quite sufficient; they take hold of both reins and haul away; the consequence is, they get the fore part of the carriage and the wheel horses round before the leaders are square. this, i think, looks very bad, for it is a really pretty sight, to see four horses coming round straight, and thus showing that they are under perfect control. always steady your carriage before attempting to turn, in case you should chance to meet anything coming in the opposite direction. besides, there is no object in going fast round a corner. even if pressed for time, always use precaution, for in driving, as in other phases of life, you will find it much easier to keep out, than to get out, of grief! rule v. descending a hill. in going down a hill, steady and feel the weight of the carriage you have behind you; go off the top as quietly as you can, for you will discover before you get half way down, if it is at all a steep hill, the impetus will be so much increased, that you will have quite enough to do, to keep your coach steady and your horses under control. the patent drag is a great boon, which we had not in the old coaching days. i have many times gone off the top of a hill, and, before i got half way down, wished that i had put on the shoe; but another coach coming behind, with perhaps a lighter load than i had, they would have passed me while i was putting on the drag; this was the reason we sometimes neglected it, but you can always go faster down hill, with the drag, than without it. rule vi. position of the hands. keep your left hand up, within about ten or twelve inches of your chest, with your arm and wrist a little bent; you will then have your reins in such a position, that your right hand will be able to assist the other, without throwing your body forward to reach them. many, instead of putting their right hand just in front of the left, and drawing the reins back towards them, put the right hand at least a foot before the other, and push the reins, consequently they lose nearly all power over the horses, and draw the reins away from the left hand. besides being unskilful, this has a very ugly appearance. rule vii. uniformity of draught. to drive slowly, is much more gentlemanlike, and, at the same time, more difficult than going fast. keep your horses well together; to do this properly, you must know how to arrange their couplings. i think i cannot better explain this, than to ask my readers to notice the working of the horses. if you see one a little in front of the other, you may judge that he is either stronger or more free, consequently his coupling requires shortening, or that of the other horse lengthening. to shorten it, you must bring the buckle towards you; and to let it out, put the buckle towards the horse's head. most inexperienced persons resort to the whip, not knowing what is the cause of the fault they wish to remedy; this will make the strong or free horse, throw himself more into his collar; the other, meanwhile, cannot get up to him, however much he may try; the result is, he becomes more and more disheartened. if you use the whip at all, it must be very lightly and quietly, so that the freer or stronger horse may not hear it. at the same time, hold them both well together; if he is not a sluggard, he will gradually work up to the other. again, if you notice one horse carrying his head unpleasantly, you may judge there is some cause for it; perhaps he is curbed too tightly, or his coupling is too short, or his rein ought to be over that of the other horse instead of under it, for, as may be supposed, all horses do not carry their heads alike; but all these little matters require watching and studying, and, with practice, they will all become familiar enough; and you will notice whether or not, all your horses go pleasantly together, for, depend on it, the more pleasantly they go, the more pleasure and comfort you will experience in driving them; and, as the old coaching term expressed it, when you can "cover them over with a sheet," you may conclude they are going about right. rule viii. the use of the whip. i will now come to the whip, the use of which, most young beginners want to acquire in the first instance. let me advise them to practice the art of "catching it" in their sitting or bed-room, for if they try to learn it when they are driving, they annoy their horses. a gentleman, whom i was teaching, said it was so simple, he would not go to bed till he could catch it properly. i saw him a fortnight afterwards, but he had not even then succeeded; he told me he had not been to bed; but i will not vouch for the accuracy of this part of the anecdote. the art, like many others, is very easy when you know how to do it. the turn of the wrist, with a slight jerk of the elbow, is the proper way to accomplish it. the less the whip is used while driving, the better, for it will only get you into trouble if used improperly. if a horse shies, never flog him for it; timidity is generally the cause of shying, unless his eyes are defective. of course whipping can do no good in that case; speak kindly to him, that is the best way, if he be young; as he becomes better acquainted with objects and gains confidence, he will most likely give up the trick. i will make a few more observations on the whip. if you can use it well, use it seldom, and before you strike a horse, always take hold of his head; if you do this, you will find the slightest touch will have the desired effect. it is a pretty art, to be able with certainty, to touch a leader under the bar, without making a noise with the lash or letting any of the other horses know anything about it. the near leader is the most difficult one to reach, as you must completely turn your wrist over. very few can do it well; in fact, many of the old professionals could never do it neatly. i trust that some will benefit from these instructions, for there are really few more agreeable sights than that of a good-looking team handled neatly by a gentleman, who sits well, with, perhaps a lady beside him on the box. i am much pleased to find that the taste for four-in-hand driving is increasing of late, and am glad to say, some gentlemen drive very well. it is easy enough, to detect those who are self-taught from those who have received instruction from a professional man. many think that driving can be acquired without teaching. i wonder if any gentleman would like to dance in a ball-room without first taking lessons; and yet some, do not hesitate to drive four horses--a feat attended with much danger, not only to the public generally, but to themselves and those who accompany them, if undertaken without due knowledge. before concluding, i will relate some of the difficulties we had to encounter in foggy weather. we were obliged to be guided out of london with torches, seven or eight mails following one after the other, the guard of the foremost mail lighting the one following, and so on till the last. we travelled at a slow pace, like a funeral procession. many times i have been three hours going from london to hounslow. i remember one very foggy night, instead of my arriving at bagshot (a distance of thirty miles from london, and my destination) at eleven o'clock, i did not get there till one in the morning. i had to leave again at four the same morning. on my way back to town, when the fog was very bad, i was coming over hounslow heath when i reached the spot where the old powder-mills used to stand. i saw several lights in the road, and heard voices, which induced me to stop. the old exeter mail, which left bagshot thirty minutes before i did, had met with a singular accident; it was driven by a man named gambier; his leaders had come in contact with a hay-cart on its way to london, which caused them to turn suddenly round, break the pole, and blunder down a steep embankment, at the bottom of which was a narrow deep ditch filled with water and mud. the mail coach pitched on to the stump of a willow tree that over-hung the ditch; the coachman and outside passengers were thrown over into the meadow beyond, and the horses went into the ditch; the unfortunate wheelers were drowned or smothered in the mud. there were two inside passengers, who were extricated with some difficulty; but fortunately no one was injured. i managed to take the passengers, with the guard and mail-bags, on to london, leaving the coachman to wait for daylight before he could make an attempt to get the mail up the embankment. they endeavoured to accomplish this, with cart-horses and chains. they had nearly reached the top of the bank when something gave way, and the poor old mail went back into the ditch again. i shall never forget the scene; there were about a dozen men from the powder-mills trying to render assistance, and, with their black faces, each bearing a torch in his hand, they presented a curious spectacle. this happened about thirty years ago. posts and rails were erected at the spot after the accident. i passed the place last summer; they are still there, as well as the old pollard willow stump. i recollect another singular circumstance occasioned by a fog. there were eight mails that passed through hounslow. the bristol, bath, gloucester and stroud, took the right-hand road from hounslow; the exeter, yeovil, poole, and "quicksilver," devonport (which was the one i was driving), went the straight road towards staines. we always saluted each other when passing, with "good night, bill," "dick," or "harry," as the case might be. i was once passing a mail, mine being the faster, and gave my wonted salute. a coachman named downs was driving the stroud mail; he instantly recognised my voice, and said, "charlie, what are you doing on my road?" it was he, however, who had made the mistake; he had taken the staines, instead of the slough, road out of hounslow. we both pulled up immediately; he had to turn round and go back, which was a feat attended with much difficulty in such a fog. had it not been for our usual salute, he would not have discovered his mistake before arriving at staines. this mishap was about as bad as getting into a wrong train. i merely mention the circumstance to show that it was no joke driving a night mail in those days. november was the month we dreaded most, the fogs were generally so bad. a singular event happened with the bath mail that ran between bath and devonport. its time for arriving at devonport was eleven o'clock at night. one eventful evening, they had set down all their outside passengers except a mrs. cox, who kept a fish-stall in devonport market. she was an immense woman, weighing about twenty stone. at yealmpton, where the coachman and guard usually had their last drain before arriving at their destination, being a cold night, they kindly sent mrs. cox a drop of something warm. the servant-girl who brought out the glass, not being able to reach the lady, the ostler very imprudently left the horses' heads to do the polite. the animals hearing some one getting on the coach, doubtless concluded that it was the coachman; at the same time finding themselves free, and being, probably, anxious to get home, started off at their usual pace, and performed the seven miles in safety, passing over the laira bridge and through the toll-bar, keeping clear of everything on the road. mrs. cox meanwhile sat on the coach, with her arms extended in the attitude of a spread-eagle, and vainly trying to attract the attention of those she met or passed on the road. she very prudently, however, abstained from screaming, as she thought she might otherwise have alarmed the horses. they, indeed, only trotted at their ordinary speed, and came to a halt of their own accord at the door of the "king's arms" hotel, plymouth, where they were in the habit of stopping to discharge some of the freight of the coach. the boots and ostler came running out to attend to their accustomed duties, but, to their astonishment, beheld no one but the affrighted mrs. cox on the coach and two passengers inside, who were happily, wholly unconscious of the danger to which they had been exposed! the coachman and guard soon arrived in a post-chaise. poor mrs. cox drank many quarterns of gin to steady her nerves before she felt able to continue her journey to devonport, where she carried on a prosperous trade for many years. many people patronised her, on purpose to hear her narrate the great event of her life. i often used to chaff her, and hear her repeat the history of her memorable adventure. * * * * * i will add a little anecdote of bob pointer, who was on the oxford road. giving his ideas on coaching to a young gentleman who was on the box with him, on his way to college, he said:--"soldiers and sailors may soon learn to fight; lawyers and parsons go to college, where they are crammed with all sorts of nonsense that all the nobs have read and wrote since adam--of course, very good if they like it--but to be a _coachman, sir_, you must go into the stable almost before you can run alone, and learn the nature of horses and the difference between corn and chaff. well can i remember, the first morning i went out with four horses; i never slept a wink all night. i got a little flurried coming out of the yard, and looking round on the envious chaps who were watching me--it was as bad as getting married--at least, i should think so, never having been in that predicament myself. i have escaped that dilemma, for," he concluded, "when a man is always going backwards and forwards between two points, what is the use of a wife, a coachman could never be much more than half married. now, if the law--in the case of coachmen--allowed two wives, that would be quite another story, because he could then have the tea-things set out at both ends of his journey. driving, sir, is very like life, it's all so smooth when you start with the best team, so well-behaved and handsome; but get on a bit, and you will find you have some hills to get up and down, with all sorts of horses, as they used to give us over the middle ground. another thing, sir, never let your horses know you are driving them, or, like women, they may get restive. don't pull and haul, and stick your elbows a-kimbo; keep your hands as though you were playing the piano; let every horse be at work, and don't get flurried; handle their mouths lightly; do all this, and you might even drive four young ladies without ever ruffling their feathers or their tempers." my readers will not, perhaps, deem it altogether an inappropriate conclusion to this very humble little treatise, if i annex for their amusement, if not for their edification, "the last dying speech of the coachmen from beambridge," and some two or three other mementoes of a period and of an institution which have both, alas! long since passed away--and for ever. the last dying speech of the coachmen from beam bridge. the _days_, nay, the very _nights_ of those who have so long "_reined_" supreme over the "nonpareils" and the "brilliants," the "telegraphs" and the "stars," the "magnets" and the "emeralds," are nearly at an end, and the final way-bill of the total "eclipse" is made up. it is positively their last appearance on this stage. in a few weeks they will be unceremoniously pushed from their boxes by an inanimate thing of vapour and flywheels--by a meddling fellow in a clean white jacket and a face not ditto to match, who, mounted on the engine platform, has for some weeks been flourishing a red hot poker over their heads, in triumph at their discomfiture and downfall; and the turnpike road, shorn of its glories, is left desolate and lone. no more shall the merry rattle of the wheels, as the frisky four-in-hand careers in the morning mist, summon the village beauty from her toilet to the window-pane to catch a passing nod of gallantry; no more shall they loiter by the way to trifle with the pretty coquette in the bar, or light up another kind of flame for the fragrant havannah fished from amongst the miscellaneous deposits in the depths of the box-coat pockets. true, the race were always a little fond of _raillery_, and therefore they die by what they love--we speak of course of professional demise--but no doubt they "hold it hard," after having so often "pulled up" to be thus pulled down from their "high eminences," and compelled to sink into mere landlords of hotels, farmers, or private gentlemen. yet so it is. they are "regularly booked." their "places are taken" by one who shows no disposition to make room for them; even their coaches are already beginning to crumble into things that have been; and their bodies (we mean their coach bodies) are being seized upon by rural loving folks, for the vulgar purpose of summer-houses. but a few days and they will all vanish- "and like the baseless fabric of a vision, leave not a _trace_ behind." no, not even a buckle, or an inch of whipcord; and if, some years hence a petrified whipple tree, or the skeleton of a coachman, should be turned up, they will be hung up side by side with rusty armour and the geological gleanings of our antediluvian ancestors. we cannot part with our civil, obliging, gentlemanly friends of the road without a feeling of regret, and an expression of gratitude for the benefits they have done us. it was pleasant, after a warm breakfast, to remove our heels from the hob, and ensconce oneself by the side of our modern whip--to establish a partnership in his cosy leathern apron--to see him handling his four spirited bays as though his reins were velvet--and having, with a few familiar words and a friendly cigar, drawn the cork from the bottle of his varied information, to learn, as we slapped along at ten miles an hour, whose park it was, stretching away to the left, to listen to his little anecdotes of horse and flesh, and his elucidation of the points of the last derby. "peace to the _manes_ and to the names" of our honest coachmen, one and all of them, and of their horses too--we speak of their whippish names, for in the _body_ we hope they may long tarry, and flourish to _boot_, in other departments of the living. an old friend and a new face. _to the editor of the_ "_exeter and plymouth gazette_." sir, you will oblige me by inserting the following in your paper, which may be amusing to some of your readers:- it is a fact well known that when the subscription coaches started, in the year 1812, william hanning, esq., a magistrate of the county of somerset, residing near ilminster, was a strenuous advocate for their support, and it was in great measure owing to his exertions that they were established. this gentleman, from some motive or other, or perhaps from his known fondness for new speculations, is now the avowed supporter of a new coach, called, above all other names, the "defiance," and it is professedly meant as an opposition to the subscription coaches. it started from exeter for the first time on sunday, april 13th, 1823. one really would have supposed that under such patronage a name better calculated to keep the peace of his majesty's liege subjects, and to preserve harmony and good-will among men, would have been adopted for this coach, and that some other day might have been selected for its first appearance. however, the "defiance" started on the sunday afternoon, amidst the shouts and imprecations of guards, coachmen, and ostlers, contending one against the other, and having one ill-looking outside passenger, whose name was _revenge_. an interesting occurrence took place at ilminster. the new "defiance" was expected to arrive there, on its way from town, between nine and ten on the sunday morning, and it was determined to honour it with ringing the church bells. the heroes of the belfry were all assembled, every man at his rope's end, "their souls on fire, and eager for the fray;" the squire was stationed about a mile from ilminster, and seeing the coach, as he thought, coming at a distance, he galloped through the street in triumph, gave the signal, and off went the merry peal. every eye was soon directed to this new and delightful object, when, guess the consternation that prevailed upon seeing, instead of the _new_ "defiance," the poor _old_ subscription trotting nimbly up to the george inn door, and tom goodman, the guard, playing on the key-bugle, with his usual excellence, "should auld acquaintance be forgot?" the scene is more easily imagined than described; it would have been a fine subject for hogarth. the bells were now ordered to cease; the squire walked off and was seen no more. honest tom was not accustomed to this kind of reception; he had enlivened the town with his merry notes a thousand times, but now every one looked on him with disdain, as if they did not know him. he could scarcely suppress his feelings; but after a few minutes' reflection he mounted his seat again, and, casting a good-tempered look to all around him, went off, playing a tune which the occurrence and the sublimity of the day seemed to dictate to him--"through all the changing scenes of life." some of the good people of ilminster who were going to church admired tom's behaviour, and said it had a very good effect. tom arrived safe with his coach at exeter about one o'clock, having started from london one hour and a half after the "defiance," and performed the journey in nineteen hours and a half. the "defiance" arrived about an hour after the subscription; but the proprietors of the latter did not approve of this system, and gave tom a reprimand, directing him in future to keep on his regular steady pace,[21-*] and not to notice the other coach, which he promised to attend to, but said he only wished to show them, on their first journey, the way along. this, under all the circumstances, was admitted as an excuse. tom went away much pleased with the adventures of his journey, and said he should never meet the squire again without playing on his bugle "hark to the merry christ church bells." i beg leave to remain, mr. editor, your obliged servant, a friend to the subscription coaches. footnotes: [footnote 21-*: the regular time is to perform the journey in twenty-two hours--to leave london at six in the evening, and arrive in exeter at four the following afternoon.] "all the world is a stage coach: it has its insides and outsides, and coachmen in their time see much fun."--_old play._ _tune--"the huntsman winds his horn."_ some people delight in the sports of the turf whilst others love only the chace, but to me, the delight above all others is a good coach that can go the pace. there are some, too, for whom the sea has its charms and who'll sing of it night and morn, but give me a coach with its rattling bars and a guard who can blow his horn. but give me a coach, &c. when the coach comes round to the office door, what a crowd to see it start, and the thoughts of the drive, cheer up many who leave their friends with an aching heart. the prads are so anxiously tossing their heads, and a nosegay does each one adorn, when the dragsman jumps up, crying out "sit fast," while the shooter blows his horn. when the dragsman jumps up, &c. now merrily rolls the coach along, like a bird she seems to fly, as the girls all look out from the roadside inns, for a wink from the dragsman's eye, how they long for a ride with the man who's the pride of each village through which he is borne, on that coach which he tools with so skilful a hand, while the guard plays a tune on his horn. on that coach, &c. how the girls all dote on the sight of the coach, and the dragsman's curly locks, as he rattles along with eleven and four, and a petticoat on the box. that box is his home, his teams are his pride, and he ne'er feels downcast or forlorn, when he lists to the musical sound of the bars, and the tune from the shooter's horn. when he lists, &c. i have sung of the joys one feels on a coach, and the beauty there is in a team, so let us all hope they may ne'er be destroyed by the rascally railroads and steam. there are still some good friends who'll stick by the old trade, and who truly their absence would mourn, "so here's a health to the dragsman, success to the bars, and the guard who blows his horn." so here's a health, &c. _tune--"the queen, god bless her."_ 1. see that splendid fast coach, well-named "tally ho," with prads that can come the long trot; do their twelve miles an hour--like flashes they go, spinning smoothly along as a top. 2. with _ward_ and _john hex_, or _hardcastle_ and _judd_, how devoted they are to the fair; in their vests there you find the red rose in the bud, perfuming the summer soft air. tally ho, &c., &c. 3. four within and twelve out, see they usually start, and the horn sounding right merrily; good humour and glee do these gay lads impart, and their management's right to a t. 4. but, how shall we grieve, when the fam'd "tally ho," shares the fate of those now long gone by? yet--we'll toast its fond mem'ry wherever we go, for the sound of its name shall ne'er die. tally ho, &c., &c. printed by jas. wade, 18, tavistock-street, covent-garden. transcriber's note a number of typographical errors have been maintained in this version of this book. they have been marked with a [+] and a description may be found in the complete list at the end of the text. irregular and non-standard spelling has been maintained as printed. lectures on horsemanship, wherein is explained every necessary instruction for both ladies and gentlemen, in the useful and polite art of riding, with ease, elegance, and safety, by t. s. professor of horsemanship. _london_: 1793. lecture on horsemanship. address to the audience. ladies and gentlemen. permit me to observe that the horse is an animal, which, from the earliest ages of the world, has been destined to the pleasure and services of man; the various and noble qualities with which nature has endowed him sufficiently speaking the ends for which he was designed. mankind were not long before they were acquainted with them, and found the means of applying them to the purposes for which they were given: this is apparent from the histories and traditions of almost all nations, even from times the most remote; insomuch that many nations and tribes, or colonies of people, who were entirely ignorant, or had but very imperfect notions, of other improvements and arts of life; and even at this day[3-*] are unacquainted with them, yet saw and understood the generous properties of this creature in so strong a light as to treat him with fondness and the greatest attention, sufficiently to declare the high opinion they entertained of his merit and excellence; nay in various regions, and in the most distant ages, were so far from being strangers to the many services of which the horse was capable, as to have left rules and precepts concerning them, which are so true and just, that they have been adopted by their successors; and as all art is progressive, and receives additions and improvements in its course, as the sagacity of man at different times, or chance and other causes happen and concur: so that having the ancient's foundation to erect our building, it is natural to suppose that the structure has received many beauties and improvements from the experience and refinement of latter times. it is generally supposed that the first service in which the horse was employed, was to assist mankind in making war, or in the pleasures and occupations of the chase. _xenophon_, who wrote three hundred years before the birth of _christ_, says, in an express treatise which he wrote on horsemanship, that cyrus hunted on horseback, when he had a mind to exercise himself and horses. herodotus speaks of hunting on horseback as an exercise used in the time of _darius_, and it is probably of much earlier date. he particulatly[+] mentions a fall which darius had from his horse in hunting, by which he dislocated his heel: these and thousands of quotations more, which might be produced as proofs of the utility of the horse, in remote ages, are truths so indisputably attested that to enlarge farther upon it would be a superfluous labour, and foreign to my present undertaking. on mounting your horse. first we will suppose your horse properly saddled and bridled. take your bridoun-rein (if you have bit and bridoun) your right-hand, shifting it till you have found the center of the rein; then with your switch or whip in your left-hand, place your little finger between the reins, so that the right rein lies flat in your hand upon three fingers, and your thumb pressing your left rein flat upon the right, keeping your thumb both upon right and left rein, firm upon your fore-finger; and in this position you ease your hand a little and slide it firmly down the reins upon your horse's neck, taking a firm hold of a lock of his mane, which will assist you in springing to mount: remember that when you attempt to mount, that your reins are not so tight as to check your horse, or to offend his mouth, so as to cause him to _rear_, or _rein_ back, but that your action is smooth and light as possible. your horse being firmly stayed, you next take your stirrup-leather in your right-hand, about four inches from the stirrup-iron, and fix one third of your foot in the stirrup, standing square with your horse's side; next take a firm hold with your right hand on the cantlet or back part of the saddle, rather on the off side of it, and with your left knee prest firm against the horse's side, spring yourself up perpendicularly, bending the small of your back and looking chearfully up rather than down. the next move you make is to remove your right-hand from the cantlet and place it firm upon the pummel, or front of your saddle, bearing your weight upon it, at the same time bend your right knee, and bring your body round, looking strait over your horse's head, letting yourself firmly and easily down into your seat, with the shoulders easily back, bent well in your waist or loins, and your chest well presented in front, with a pleasant uncontracted countenance. you of course next recover or take your switch, which is done by putting your right-hand over your left, and with a quick firm motion take it in your right hand, holding the same perpendicularly. proceed us next to the adjusting the reins, which is of the utmost use. supposing you ride with bit and bridoun, being four in number, place them all even and flat in your left hand, exactly in the same manner as described in taking the bridoun in mounting; that is to say, your four reins placed even, the one upon the other, remembering always to place your bridouns on the outsides, so that you may any time lengthen or shorten them at pleasure, without putting the whole into confusion, and cause the bit to act alone, or bridoun alone, or both bit and bridoun to act together. i have observed before that only your little finger should be between the reins when only two, it is the same now four, so now your two reins on the right side of your horse's neck lie flat upon your three fingers in your left-hand, your two left reins placed flat upon the right, and your thumb pressed flat upon all four. this is the only sure method to keep your reins firm, free from confusion, and to cause them to act properly; which any lady or gentleman will be convinced of if they will only give themselves the pleasure to practise, as i cannot call it a trouble. if it should be demanded why the horse would not ride as well with only the bridoun, without the bit? my answer is that suppose your horse becomes hard and heavy in hand, on being rode by both bit and bridoun, where they have both acted together: you on this shorten your bit-reins whereby they act alone the bridouns becoming slack, your horse instantly becomes light in hand, as though touched by a _magick stick_, reining his neck properly, is immediately light before, gathers himself upon his haunches, and what appeared, but _now_ a _garronly_ sluggish beast wears the appearance of a well dressed horse. well and thorough broke horses with mouths made fine and to answer the nicest touch of feeling, are in general rode by the bit alone, the bridouns hanging loose and seem more for ornament than use; but yet in the hand of a skillful horseman are of the greatest utility; for by handling your right bridoun-rein lightly with your whip hand at proper times; you can always raise your horse's head if too low, you may take the liberty of easing your bit-reins at times, so that playing upon his mouth, as it were an _instrument of musick_, you will always keep his mouth in tune. i cannot find a juster simile than, that the horse is the instrument and the rider the player; and when the horse is well broke and tuned properly, and the rider knows how to keep him in that state, he is never at a loss to play upon him; but if suffered to go out of tune, by the want of skill in the horseman, and to imbibe bad habits, the horseman not being able to screw him up, and tune him as before: the instrument is thrown by as useless, or may be sold for a trifle, and by chance falling into able hands, that know how to manage and put him once more together; he again becomes as good as ever: and this i have often been a witness to. thus much for the adjustment of the reins in the hand. the horseman's seat: the principles and rules which have hitherto been given for the horseman's seat are various, and even opposite, according as they have been adopted by different masters, and taught in different countries, almost by each master in particular; and every nation having certain rules and notions of their own. let us see, however, if art has discovered nothing that is certain and invariably true.--the italians, the spaniards, the french and, in a word, every country where riding is in repute, adopt each a posture which is peculiar to themselves: the foundation of their general notions is the same, but each country has prescribed rules for the placing the man on the saddle. this contrariety of opinions which have their origin more in prejudice than in truth and reality, has given rise to many vain reasonings and speculations, each system having its followers; and as if truth was not always the same, and unchangeable, but at liberty to assume various and even opposite shapes; sometimes one opinion prevailed, sometimes another, insomuch that those who understand nothing of the subject, but yet are desirous of being informed, by searching it to the bottom, have hitherto been lost in doubt and perplexity. there is nevertheless a sure and infallible method, by the assistance of which it would be very easy to overturn all these systems; but not to enter into a needless detail of the extravagant notions, which the seat alone has given rise to; i will here endeavour to trace it from principles by so much the more solid, as their authority will be supported by the most convincing and self evident reasons. in order to succeed in an art where the mechanism of the body is absolutely necessary, and where each part of the body has its proper functions, which are peculiar to that part; it is most certain that all and every part of the body should be in a natural posture: were they in an imperfect situation they would want that ease and freedom which is inseparable from grace; and as every motion which is constrained being false in itself, and incapable of justness, it is clear that the part so constrained and forced would throw the whole into confusion; because each part belonging to and depending upon the whole body, and the body partaking of the constraint of its parts, can never feel that fixed point, that just counterpoise and equality, in which alone a fine and just execution consists. the objects to which a master, anxious for the advancement of his pupil, should attend, are infinite. to little purpose will it be to keep the strictest eye upon all the parts and limbs of his pupil's body; in vain will he endeavour to remedy all the defects and faults which are found in the posture of almost every scholar in the beginning, unless he is intimately acquainted with the close dependance[+] and connexion there is between the motions of one part of the body with the rest; a correspondence caused by the reciprocal action of the muscles, which govern and direct them: unless, therefore, he is master of this secret, and has his clue to the labyrinth, he will never attain the end he proposes; particularly in his first lessons, upon which the success of the rest always depend. these principles being established we may reason in consequence of them with clearness. in horsemanship, the body of man is divided into three parts; two of which are moveable, the third immoveable. the first of the two moveable parts is the trunk or body, down to the waist; the second is from the knees to the feet; so that the immoveable part is between the waist and the knees. the parts then which ought to be without motion are the fork, or twist of the horseman, and his thighs; now that these parts should be kept without motion, they ought to have a certain hold and center to rest upon, which no motion that the horse can make can disturb or loosten; this point or center is the basis of the hold which the horseman has upon his horse, and is what is called the seat; now if the seat is nothing else but this point or center, it must follow, that not only the true grace, but the symmetry and true proportion of the whole attitude depend upon those parts of the body that are immoveable. let the horseman then place himself at once, upon his twist, sitting exactly in the middle of the saddle; let him support this posture, in which the twist alone seems to sustain the weight of the whole body, by moderately leaning upon his buttock. let the thighs be turned inward, and rest flat upon the sides of the saddle; and in order to this let the turn of the thighs proceed directly from the hips, and let him employ no force or strength to keep himself in the saddle, but trust entirely to the weight of his body and thighs; this is the exact equilibrio: in this and this only consists the firmness and support of the whole _building_; a firmness which young beginners are never sensible of at first, but which is to be acquired, and will always be attained by exercise and practise. i demand but a moderate stress upon the buttocks, because a man that sits full upon them can never turn his thighs flat to the saddle; the thighs should always lay flat to the saddle, because, the fleshy part of them being insensible, the horseman would not otherwise be able so nicely to feel the motions of his horse: i insist that the turn of the thigh must be from the hip, because it can never be natural, but as it proceeds from the hollow of the hip bone. i insist farther that the horseman never avails himself of the strength or help of his thighs, except he lets his whole weight rest upon the center, as before described; because the closer he presses them to the saddle, the more will he be lifted above the saddle on any sudden or iregular[+] motion of the horse. having thus firmly placed the immovable parts, i now pass on to the first of the _movables_, which is as i have already observed the body as far as to the waist. i comprehend in the body, the head, the shoulders, the breast, the arms, hands, reins and waist of the horseman. the head should be free, firm and easy, in order to be ready for all the natural motions that the horseman may make in turning to one side or the other. it should be firm, that is to say, strait, without leaning to the right or left, neither advanced nor thrown back; it should be easy because if otherwise it would occasion a stiffness, and that stiffness affecting the different parts of the body, especially the back bone, the whole would be without ease and constrained. the shoulders alone influence by their motions that of the breast the reins and waist. the horseman should present or advance his breast, by that his whole figure opens and displays itself; he should have a small hollow in his reins, and push the waist forward to the pommel of the saddle, because this position corresponds and unites him to all the motions of the horse. now only throwing the shoulders back, produces all these effects, and gives them exactly in the degree that is requisite; whereas if we were to look for the particular position of each part seperately[+] and by itself, without examining the connection that there is between the motions of one part with those of another, there would be such a bending in his reins that the horseman would be, if i may so say, hollow backed; and as from that he would force his breast forward and his waist towards the pommel of the saddle, he would be flung back, and must sit upon the rump of the horse. the arms should be bent at the elbows, and the elbows should rest equally upon the hips; if the arms were strait, the consequence would be, that the hands would be too low, or at too great a distance from the body; and if the elbows were not kept steady, they would of consequence, give an uncertainty and fickleness to the hand, sufficient to ruin it for ever. it is true that the _bridle-hand_ is that which absolutely ought to be steady and immoveable; and we might conclude from hence, that the left elbow only ought to rest upon the hip; but grace consists in the exact proportion and symmetry of all the parts of the body, and to have the arm on one side raised and advanced, and that of the other kept down and close to the body would present but an aukward and disagreeable appearance. it is this which determines the situation of the hand which holds the whip; the left hand being of an equal heighth with the elbow; so that the knuckle of the little finger, and the tip of the elbow be both in a line, this hand then being rounded neither too much nor too little, but just so that the wrist may direct all its motions, place your right hand, or the whip hand, lower and more forward than the bridle hand. it should be lower than the bridle hand because if it was upon a level with it, it would restrain or obstruct its motions; and were it to be higher, as it cannot take so great a compass as the bridle hand, which must always be kept over against the horseman's body: it is absolutely necessary to keep the proportion of the elbows, that it should be lower than the other. the legs and feet make up the second division of what i call the moveable parts of the body: the legs serve for two purposes, they may be used as aids or corrections to the horse, they should then be kept near the sides of the horse, and in a perpendicular line with the horseman's body; for being near the part of the horse's body where his feeling is most delicate, they are ready to do their office in the instant they are wanted. moreover, as they are an apendix[+] of the thighs if the thigh is upon its flat in the saddle, they will by a necessary consequence be turned just as they ought, and will infallibly give the same turn to the feet, because the feet depend upon them, as they depend upon the thighs. the toe should be held a little higher then[+] the heel, for if the toe was lowest the heel would be too near the sides of his horse and would be in danger of touching his horse with his spurs at perhaps the very instant he should avoid such aid or correction. many persons notwithstanding, when they raise their toe, bend and twist their ankle as if they were lame in the part. the reason of this is very plain; because they make use of the muscles in their legs and thighs, whereas they should only employ joint of the foot for this purpose,[+] such is in short the mechanical disposition of all the parts of the horseman's body. these ideas properly digested the practitioner will be able to prescribe rules for giving the true and natural seat, which is not only the principles of justness, but likewise the foundation of all grace in the horseman, of course, the first endeavour of those who wish to become horsemen, should be to attain a firm and graceful seat: the perfection of which, as of most other arts and accomplishments depend upon the ease and simplicity with which they are executed, being free from affectation and constraint as to appear quite natural and familiar. therefore the immoveable parts as before observed ought to be so far without motion as not to wriggle and roll about so as to disturb the horse, or render the seat weak and loose: but the thighs may be relaxed to a certain degree with propriety and advantage, when the horse hesitates and doubts whether he shall advance or not; and the body may likewise, upon some occasions, become moveable and change its posture to a certain degree, as when the horse _retains_ himself, it may be flung back more or less as the case requires; and consequently inclined forward when the horse rises so high as to be in danger of falling backwards; what keeps a ship on the sea steady? ballast, by the same rule, what keeps the horseman steady? trusting to the weight of his body: it is for this reason that beginners are first made to ride without stirrups; for were they allowed to use them before they had acquired an equilibrio and were able to stretch their legs and thighs well down, so as to set firmly in the saddle, and close to it, they would either loose their stirrups by not being able to keep their feet in them; or the stirrups must be taken up much too short, in which case the rider would be pushed upwards from the saddle, and the seat destroyed throughout; as the parts of the body like the links of a chain depending upon one another, safety likewise requires they should ride without them at first, as in case of falling tis less dangerous. it is the general practice of those who undertake to teach horsemanship, when they put a scholar upon a horse, to mix and confound many rules and precepts together, which ought to be distinct and seperate;[+] such as making him attend to the guidance of the horse, demanding an exactness of hand, and other particulars, which they croud[+] upon him before he is able to execute, or even understand half of them. i would recommend a slower pace at first being likely to gain more ground at the ending post, and not to perplex the scholar with _aids_, of the effects of the _hand_, and more nice and essential parts of the art: till the seat is gained and confirmed. for this purpose let the seat alone be cultivated for some time, and when the scholar is arrived at a certain degree of firmness and confidence so as to be trusted, i would always advise the master to take hold of the longeing rein and let the pupil intirely leave the governing of his horse to him, going sufficiently to both hands holding his hands behind him. this will, i insist upon it very soon settle him with firmness to the saddle, will place his head, will stretch him down in his saddle, will teach him to lean gently to the side to which he turns so as to unite himself to his horse and go with him and will give that firmness ease, and just poize of body, which constitute a perfect _seat_, founded in truth and nature and upon principles so certain, that whoever shall think fit to reduce them to practise will find them confirmed and justified by it. nor would it be improper to accustom the scholar to mount and dismount on both sides of his horse, as many things may occur to make it necessary, as well as that he cannot have too much activity and address, for this reason tis a pity that the art of _vaulting_ is discontinued.--and there is another duty too essential to be omitted, but hitherto not performed by matters, which is to instruct their pupils in the _principles_ and theory of the _art_, explaining how the natural paces are performed, wherein they differ from each other, and in what their perfection consists; which, by not joining theory with practice, are unknown to many, who may shine in a menage, but work as mechanically and superficially as the very horse thay[+] ride. having thus far said what with practice will be sufficient to form the seat of the horseman, i shall next endeavour to describe the use of the bridle hand and its effects, &c. of the bridle hand. the knowledge of the different characters, and different natures of horses, together with the vices and imperfections, as well as the exact and just proportions of the parts of a horse's body, is the foundation upon which is built the theory of the art of horsemanship; but this theory will be useless and even unnecessary if we are not able to carry it into execution. this depends upon the goodness and quickness of feeling; and in the delicacy which nature alone can give, and which she does not always bestow. the first sensation of the hand consists in a greater or less degree of fineness in the touch or feeling; a feeling in the hand of the horseman, which ought to communicate and answer to the same degree of feeling in the horse's mouth, because there is as much difference in the degrees of feeling in men as there is in the mouths of horses. i suppose then a man, who is not only capable to judge of a horse's mouth by theory, but who has likewise by nature that fineness of touch which helps to form a good hand; let us see then what are the rules which we should follow in order to make it perfect, and by which we must direct all its operations. a horse can move four different ways; he can _advance_, go _back_, turn to the _right_ and to the _left_; but he cannot make these different movements except the hand of the rider permits him, by making four other motions which answer to them; so that there are five different positions for the hand. the first is that general position from which proceed the other four. hold your hand three inches breadth from your body, as high as your elbow, in such a manner that the joint of your little-finger be upon a right line with the tip of your elbow; let your wrist be sufficiently rounded so that your knuckles may be kept directly above the neck of your horse; let your finger nails be exactly opposite your body, the little finger rather nearer to it than the others; your thumb quite flat upon the reins, separated as before described, and this is the general _position_. does your horse go forwards, or rather would you have him go forwards? yeild to him your hand, and for that purpose turn your nails downwards, in such a manner as to bring your thumb near your body, and your little-finger then from it, and bring it to the place where your knuckles were in the first position. keeping your nails directly above the neck of your horse.--this is the second position. would you make your horse go backwards, quit the first position; let your wrist be quite round, your thumb in the place of the little finger in the second position, and the little-finger in that of the thumb, turning your nails quite upwards, and towards your face, and your knuckles will be towards your horse's neck.--this is the third position. would you turn your horse to the right? leave the first position; carry your nails to the right, turning your hand upside down, in such a manner that your thumb be carried out to the left, and the little-finger brought in to the right.--this is the fourth position. lastly, would you turn your horse to the left? quit again the first position, carry the back of your hand a little to the left, so that the knuckles come under a little, that your thumb may incline to the right, and the little-finger to the left.--this makes the fifth position. these different positions, however, alone are not sufficient; we must be able to pass from one to the other with readiness and order. three qualities are necessary to the hand. viz. firm, gentle, and light: i call that a firm hand, or steady hand whose feeling corresponds exactly with the feeling in the horse's mouth, and which consists in a certain degree of steadiness, which constitutes that just correspondence between the hand and the horse's mouth, which every horseman wishes to find. an easy or gentle hand. i call that which, relaxing a little of its strength and firmness, eases and mitigates the degree of feeling between the hand and horse's mouth, which i have already described. lastly, the light hand is that which lessens still more the feeling between the rider's hand and the horse's mouth, which was before moderated by the gentle hand. the hand, therefore, with respect to these properties must operate in part, within certain degrees, and depends upon being more or less felt, or yeilded to the horse, or with-held. it should be a rule with every horseman not to pass from one extreme to another; from a firm hand to a slack one; so that in the motion of the hand on no account jump over that degree of sensation which constitutes the easy or gentle hand: were you once to go from a firm strong hand to a slack one, you then entirely abandon your horse; you would surprise him, deprive him of the support he trusted to, and precipitate him on his shoulders; supposing you do this at an improper time. on the contrary, were you to pass from the slack to the tight rein, all at once, you must jerk your hand, and give a violent shock to the horse's mouth; which rough and irregular motion would be sufficient to falsify and ruin a good mouth; it is indispensably necessary, therefore, that all its opeperations[+] should be gentle and light, and in order to this, it is necessary that the wrist alone should direct and govern all its motions, by turning and steering it as it were, through every motion it is to make[+] in consequence then of these principles, i insist that the wrist be kept so round that your knuckles may be always directly above the horse's neck, and that your thumb be always kept flat upon the reins. in reality were your wrist to be more or less rounded than in the degree i have fixed, you could never work with your hand but by means of your arm, and besides it would appear as though you were lame; again were your thumb not to be upon the flat of the reins, pressed hard upon your fore finger, they would be constantly slipping away, and lengthened, and in order to recover them you would be obliged every minute to raise your hand and arm, which would throw you into disorder and make you lose that justness without which no horse will be obedient and work with readiness and pleasure to himself. it is nevertheless true, that with horses well dressed one may take liberties; these are motions called descents of the hand; either by dropping the knuckles directly and at once upon the horse's neck, or by taking the reins in the right hand about four inches above the left, letting them slide through the left, dropping your right hand at the same time upon the horse's neck, or else by putting the horse under the button as it is called: that is by taking the end of the reins in your right hand, quitting them intirely with your left hand and letting the end of them fall upon your horse's neck, these motions however, which give grace to the horseman, never should be made but with great caution, and exactly when your horse is well together and in hand; and take care in counterbalancing by throwing back your body, that the weight of the body lie upon his haunches. the bit and snaffle were they to be kept constantly in one place in his mouth, would of course dull the sense of feeling, and become benumbed and callous; this shews the necessity of continually yeilding and drawing back the hand to keep the horse's mouth fresh and awake. it is therefore self evident that a heavy handed horseman can never break a horse to any degree of nicety, or ride one which is already broke to any degree of exactness. besides these rules, there are others not less just and certain; (but whose niceness and refinement is not the lot of every person to taste and understand) my hand being in the first position, i open my two middle fingers, i consequently ease and slacken myright[+] rein; i shut my hand, the right rein operates again, resuming its place as before, i open my little finger and carrying the end of it upon the right rein, i thereby slacken the left and shorten the right; i shut my hand entirely and immediately open it again, i thereby lessen the degree of tension and force of the two reins at the same time; again i close my hand not quite so much, but still i close it. it is by these methods and by the vibration of the reins, that i unite the feeling in my hand with that in the horse's mouth, and thus i play with a fine and made mouth, and freshen and relieve the two bars in which the feeling resides. therefore, it is that correspondence and sensation between the horse's mouth and the hand of the rider, which alone can make him submit with pleasure to the constraint of the bit. having thus explained the different positions and motions of the hand, permit me in a few words to shew the effects which they produce in horsemanship? the hand directs the reins, the reins operate upon the branches of the bit; the branches upon the mouth-piece and the curb, the mouth-piece operates upon the bars, and the curb upon the chin of the horse. so far for the management of the bridle hand upon thorough-broke and well-dressed horses. but in breaking young horses for any purpose, the reins in all cases ought to be separated, nothing so unmeaning, nothing so ineffectual as the method of working with them joined or held in only one hand, this is very evident in the instances of colts, and of stiff necked, and unworked horses of all kinds, with them it is impossible to do anything without holding a rein in either hand, which rein operates with certainty and governs the side of the neck to which it belongs, and surely this is a shorter way of working than to make, or rather attempt to make the left rein determine the horse to the right, and the right guide him to the left. in the above instances of stiff awkward horses this can never be done; and altho it is constantly practised with those which are _drest_, yet it is certain they obey, and make their _changes_ more from _docility_ and _habit_, than from the influence of the _outward_ rein, which ought only to act, to balance and support, while the inner bends, inclines, and guides the horse to the hand to which he is to go. this can never be done so fully and truly with the reins joined, as when they are separated into each hand, and if double or _running_ reins were used instead of single as with a snaffle or[24-*] _meadow's_ bit, they would afford more compass and power to the horseman to bend and turn his horse. the manner of holding the reins high as condemed[+] by some writers, possessing themselves with a notion that they ruin the hocks of the horses. for my own part i do not know what those writers mean, unless by them we are to understand the haunches; and then this method instead of ruining, will work and assist them, for the head and fore quarters are raised up, his weight of course is thrown upon his haunches, for one end being raised the other must be kept down. it is nothing more than a natural cause, which will always produce a natural effect, for instance, ballance a pole upona[+] wall so that it acts in equilibrium, only raise one end, the other of course must be lowered, it is the same with a horse, as you cannot rise his fore parts but by bringing his haunches more under him. i would here wish to remark that horses should never be compelled by force untill[+] they know what you wish from them, for let them be however disobedient in their disposition, yet are all of them more or less sensible of good and bad usage from their masters; the best method then to convey your intention to them so that they shall understand you, is to reward them when they do well, and to punish them when disobedient, this rule though contained in few words yet is of universal use in horsemanship. and xenophon, who wrote a treatise on horsemanship, more than two thousand years ago, among other notable remarks, when speaking on horse-breaking, wherein he concludes thus: "but there is one rule to be inviolably observed above all others; that is, never approach your horse in a passion; as anger never thinks of consequences and forces us to do what we afterwards repent." begging pardon for this short but useful digression, i again observe that such are the principles upon which the perfection and justness of the aids of the hand depend; all others are false and not to be regarded.--thus far for the bridle hand, and its effects. lecture on horsemanship. addressed to the ladies. among all the various writers on the art of horsemanship, notwithstanding, side-saddles have been known and in use in england more then[+] six hundred years ago, even in richard's time, for in the reign of this prince side-saddles were first known here, as it will appear from the following anecdote, by a warwick historian, in which he says. "and in his days also began the detestable custom of wearing long pointed shoes, fastened with chains of silver, and sometimes gold, up to the knees, likewise noble ladies then used high heads, and robes with long trains, and seats or side-saddles on their horses, by the example of the respectable queen anne, daughter of the king of bohemia, who first introduced this custom in this kingdom: for before, women of every rank rode as men do, with their legs astride their horses." thus says our warwick historian, so that side saddles appear to have been used many centuries ago, and that formerly the female sex took the fashion of riding like men, for which they are reprehended, by a greek historian, and hard indeed is the equestrian situation of the ladies, for if they are to be accused of indelicacy for riding after the manner of men, they are greatly to be pitied in hazarding their safety as they do, in riding after the _manner_ of _women_. however as no one hath ever yet lent a helping hand in putting pen to paper on the subject, by way of adding, if possible, to the ladies, elegance, ease and safety on horse back; i shall without any other apology then assuring those ladies who may please to read what i write on the matter, is well meant, and are such ideas that have occured[+] to me in many years study, and practice in the manage.[+] directions in mounting. let the ostler or servant being on the off side the horse, with right hand holding the bridoun reins, to properly stay the horse, and his left hand on the part of the saddle called the crutch, by this method both horse and saddle will be kept firm and steady, it is the riding master's duty to examine the bridle whether it is properly placed, the curb, chain, or chin chain in due order, the saddle in a proper place, and the girths sufficiently tight, &c. direct the lady then to take her whip, or switch in the right hand, the small end of it turned towards the horse's croup, then with the right hand take a firm hold of the pommell of the saddle standing upright with her right shoulder square, and in a line with the horse's left, she then bending the left knee pretty much, the master or gentleman who asists[+] her standing facing the lady, he stooping a little receives the lady's left foot in his hands being clasped firm together, the lady must then be directed to straiten her knee, being now bent, with a firmness and elasticity pressing her left hand on the man's left shoulder, making a little spring at the same time, by which the riding-master, gentleman, or servant, if permitted, by paying due attention to these rules will spring the lady on the saddle with the greatest ease and safety. _the method of adjusting the petticoats_; i then place the lady's foot in the stirrup tho' it is a wonder if a proper length, being guess work, as we are now to suppose this to be the first lesson, and the stirrup cannot be properly fixed, till the lady is in her seat, i say i then give her the stirrup, directing she may take a firm hold with the left hand of a lock of the horse's mane, at the same time she having a firm hold of the crutch with the right, by which means she rises herself up from the saddle, standing firm in the stirrup, looking rather over the off side of the horse's neck, the intention of this is that the attendant shall adjust the coats so as they sit smooth and easy, by pulling them round a little to the right, then on returning to the saddle, or seat, and while in coming down she must put her right knee over the pommel of the saddle, and by these simple rules she will find all comfortable and easy; in regard to the adjustment of the bridle reins, and the managing and directing the horse by them, pay strict attention to those set down in the first lecture addressed to the gentlemen; let the whip be placed firm and easy in the right hand, with the taper or small end downwards, and the arm hanging carelessly down without contraction, and when the whip is made use off, let it be by means of the wrist, without lifting the arm from the body, and be careful not to touch the horse with the whip too backward as many of them will kick on their being flogged in that part, which if it should not occasion a fall, would much alarm the young scholar, before she has acquired any degree of ballance. directions for the length of the stirrup. the stirrup should be such length as when the lady sits upright and properly on her seat, with the knee being easily bent, the heel kept back, with the toe raised a little higher than the heel, so that the heel, hip and the shoulder, are in a line and as upright as when walking along, for if otherwise it is unjust and not agreeable to nature; for suppose you are riding along the road with the foot stuck out and so forward as the horses front of his shoulder, as is not uncommon to see girls riding in this manner along the road in the country, as tho' they were directing with their foot which road their horse should take, i say this method is not only very unbecoming but very unsafe, for instance if riding carelessly along the road with the foot and leg in this attitude being to pass some stubborn or inflexible object on the left or near side, perhaps before you are aware or apprised of the danger you might have your foot and leg sorely bruised, nay even dragged from your horse, i have seen similar instances to this, happen more than once, even when the foot has been in a good situation by ladies who unthinkingly have endeavoured to pass objects to the left when they could as easily have passed those objects to the _right_, which ladies should make an invariable rule so to do at all times, if possible; for reasons which must be plain to any one, who will think one minute on the matter; another inconvenience will frequently arise by suffering the leg and foot to be in this horrid form, which is, the stirrup leather will frequently press against the leg, so as to hurt it very much, this i have often had beginners complain of, by saying the buckle of the stirrup hurt them, when behold i never use a buckle to my stirrups on the left side, as they are always fastened and buckled on the off side, for _two_ particular good advantages which arise from it; the principal of which is, that as the pressure or bearing coming from the off side, it greatly assists in keeping the saddle even, especially with those ladies through a bad habit who accustom themselves to bear hard on the stirrup which is nothing more then[+] a habit, and want of learning to ride the right way at first. the other reason is, you can lengthen or shorten the stirrup at pleasure, without disturbing the lady at all, and without even dismounting yourself, if you are riding on the road, as the business is done on the off side the horse, nay i have altered the stirrup often without stopping at all. i insist upon it therefore if the stirrup does not hang perpendicular, or the same as when left to itself and no one on horseback, the end is totally destroyed, for what the stirrup was designed; which is in the _first_ place to carry the weight of, and only the weight of the rider's leg, without which support it would soon become fatigued and tired: and _secondly_, if you accustom yourself to carry your foot properly, as before directed, that is your heel in a line with your hip and shoulder, letting your foot rest even in the stirrup, carrying only the weight of your leg, with the toe a little raised, it will never fail to assist you in your balance, if you happen to lose it to the left, it is also ready to save you if you should happen to lose your balance to the right, by pressing the calf of your leg strongly and firmly to the side of your horse, and being always near your horse's side it is a quick aid in supporting him, and to force him forward, it is also of the greatest use, by pressing it strongly to his side, in assisting to turn your horse to the left, and likewise in throwing your horse's croup off when you wish to make him go into a canter, by which means he will be forced to go off with the right leg foremost. and _lastly_, it is of the utmost utility in supporting you in the continuance of the spring trot, a pace now greatly in fashion, and should be practised by all who accustom themselves to ride any length of journies, as it enables them to make some degree of speed, and by changing their paces often from walk, to trot, and gallop, their journey becomes less tedious to them. of the seat, and form of the side saddle. in the first place i would strongly recommend a large seated saddle, very high on the cantlet or back part, and a regular sweep from thence to the front or pommell, for some saddles, more shame be it spoken, are so small, and the seat so rounded in the middle, that to sit on them is next to balancing themselves on a round pole, a comfortable situation truly for a lady! i say again let me recommend a large seated saddle; i mean let it be large in proportion to the size of the lady, and high in the cantlet, nay i am confident that they might be contrived to advantage, were they constructed with peaks, and the peak carried on from the back part of the saddle to within four inches of the front on the off side; this with the addition of a burr, as it is called, to support the left knee, would greatly assist the lady in keeping the body on a good balance and sufficiently back: which might prevent many accidents. if these hints should strike any lady or gentleman as being reasonable, and should they be inclined to have a saddle so constructed, i should think myself happy in explaining myself more fully on the subject. _now in regard to the seat for a lady_, i sincerely wish i was able to prescribe a more firm _one_ than the present fashion will admit of, however i will do my endeavour to handle it in the best manner i can; and first let the whole weight of the body rest firmly upon the center of the saddle, leaning nei her[+] to one side or the other, with the shoulders easily back, and the chest presented well forward; a lady cannot be too nice and circumspect, in accustoming herself to sit upright, without contraction, in any part, _nothing so graceful, nothing so safe as ease_ of _action_; do not let the stirrup carry more than the weight of the leg, except in case of the swing trot, or when assisting to keep the ballance,[+] two material disadvantages arise from ladies accustoming themselves to bear heavy in the stirrup, and loll about, constantly twisting themselves to the near or left side of the horse: first it destroys their whole figure, making the same appear deformed and crooked; and if they were to continue in the habit of riding would confirm them in such deformed attitude, in its becoming second nature, by constant use; this is a truth too frequently witnessed, by practising without the right method. secondly, the other disadvantage most materially affects the horse; for by their so constantly leaning themselves to the near side, the side-saddle being so pulled and pressed against the withers or shoulder of the horse on the off side, keeping up a continual friction, and this being the case, i defy all the sadlers in the kingdom to prevent the saddle from wringing and galling the poor beast, especially in the heat of the summer; the only remedy is to take away the cause, by sitting properly, and the effect ceases of course. the notions which some ladies have entertained, as to fear to let their daughters be taught to ride, least it should make them grow crooked and awry, i insist that they are false, and quite the reverse; the cause is, as before observed, by their contracting bad habits of their own, and not being instructed on approved principles, so that the effect is caught hold of, while the cause lies unsought for; from my own knowledge and experience i could relate several instances wherein young ladies instead of growing crooked by learning to ride, have been greatly relieved from those complaints, and even quite eradicated by the practice of riding, i will here beg leave to mention an instance or two which will serve to prove what good effects may arise from this pleasant and healthful exercise. a young lady about seventeen years of age who had been afflicted for twelve months with a stiffness in her neck and shoulders, and it was observable that the right shoulder was grown much larger than the left. she on coming to the riding house to observe her fellow scholars take their lessons, of which she became much pleased, and wished much to learn to ride.--the governess consulted me on the matter, but said she feared it might make her grow worse as she had been told that riding sometimes caused ladies to become crooked, however, by my reasoning the matter with her she was convinced in her own opinion and caused the young lady to write to her parents in jamaica, and had permission by return of packet to ride according to my directions, which were briefly as follows, being in the month of march, and of course rather a cold piercing air, i advised new unwashed flannel every time she took a lesson to be worn next the skin on the part affected, _she rode_, of course a strong perspiration took place, she was much fatigued for the first six or seven lessons, however after then as she began to be acquainted with the use of her bridle hands, as i made her use both; and give great part of the lessons, in small circles to right and left; the consequence was that by persevering in this method for two successive months the parts became naturally relaxed and pliable, and by continuing to practice she entirely recovered her alacrity and spirits, and also became acquainted with the art of riding, which i hope she may long live to practice with ease and safety to herself in her native country. another young lady from the same school had a particular habit of leaning her shoulders and neck forward, i have frequently heard it called pokeing, and all the dancing-master's instructions had for years been ineffectual. i believe she was more fond of riding than dancing instructions, for the governess of the young lady before-mentioned often asserted that the riding master had done more in setting her scholar upright and keeping her shoulders easily back, in the space only of two months, than the dancing master, though capable in his profession, had been able to accomplish in three years. i hope to be pardoned for this little digression, not doubting but those ladies who will give themselves time to consider the foregoing, will be convinced that it is agreeable to reason and nature. now to say some little more of the seat, which cannot be too much attended to, being in a great measure the foundation of safety to a lady when on horseback, and as such i would strongly recommend the lady being in the menage, or in any proper place, the horse being very quiet and to be trusted to; then let the lady seat herself properly on the saddle as before directed, _only_ without the stirrup, and not to take the reins, leaving the direction of the horse to the riding master, or to whoever she can with safety trust the government to; and in this manner take half an hour's practice every day, as nothing will so greatly assist in acquiring a good and just balance. i do not advise this method to be gone rapidly about, as she may make use both of stirrup and reins at first, and when she has acquired a firmness and ballance in some degree, may first quit the stirrup, and in a lesson or two, the reins.[+] remembering to go to right and left circle alternately and progressively.[+] viz. from _walk_ to trot and gallop; i hope i need not say that the horse should be remarkably steady, and properly broke to go in circles to right and left by the longeing rein. i say this method will settle and give the scholar a firmness not to be acquired by any other means, will teach them to unite themselves with their horse, and go along with him, it will bring about that confidence, firmness, ease, and just poize of body which serves to constitute what is called a perfect _seat_, acquired by the rules of art, and agreeable to nature, and i here beg leave to quote a few lines which the great berringer observes applicable to this subject, "it is astonishing to think how this work so immediately necessary could have been deferred so long, that while rewards were given, public trials appointed, and laws enacted to promote an useful and generous breed of horses, no step should have been taken on the other hand to qualify and instruct the youth of the kingdom, of both sex in the superior art of riding; for the getting on the back of an horse to be conveyed from one place to another without knowing what the animal is enabled by nature, art and practice to perform, is not _riding_, the knowledge and utility of which consists in being able to discern and dexterous to employ the means by which the horse may be brought to execute what the rider requires of him with propriety, readiness and safety, and this knowledge in the rider and obedience in the horse should be so intimately connected as to form one _perfect whole_, this union being so indispensably necessary that where it is not, there is no meaning, the rider and horse talk different languages, and all is confusion, while many and fatal mischiefs may ensue, the rider may be wedged in the timber which he strives to rend, and fall the victim of his own ignorance and rashness." i have now observed such rules which with practice will form as good and perfect a _seat_ as the customary mode of riding will admit of. it remains now with practice and perseverance to make perfect. when riding on the road. when a lady has taken sufficient practice in the menage or elsewhere, so as to be able to steer and guide her horse, and particularly can stop him firm and well upon his haunches, and also knows by practice how to unite herself to the horse, provided he should stop suddenly by his own will, an instance which frequently happens, therefore it is essential that the rider should become sensible of every action of the horse by that kind of sympathy of feeling which should subsist between them, so as to know his intentions as quick as thought, in this and all other actions he may be inclined to, which are likely to offend and endanger the rider, or himself; i would earnestly recommend the lady to make herself acquainted with every help so as to gaurd[+] and defend herself on all occasions, such as her horse stumbling, shying, starting, running away, running back, rearing, kicking, and plunging; yet horses addicted to any of those vices are by no means fit, or should have ladies set upon knowingly, but as a lady cannot always be so fortunate as to get the possession of one of those hackneys we call a nonpareil, tho' every dealer you enquire of for one will say he can sell it you, therefore place not too much confidence in him you purchase your horse from, or the horse himself, even after you have rode him some time, for you scarce ever can be certain but he may play you some of those tricks, especially if his keep is above his work, as i have always found the best lady's hackneys require constant practice to keep them in tune. it is necessary the lady should have a sharp eye upon the road she is travelling, taking care by the gentle assistance of the bridle hand to steer and guide her horse into the best, to avoid all stones and uneven places, and never to ride near the edge of any deep ditch or sudden precipice, for altho, heaven be praised, accidents very seldom happen, yet if for the want of a little care and due management one should happen in one hundred years, that one would be one too many: the lady should pay great attention to the horse when going down a steep hill, and endeavour to put him together and upon his haunches, and to perform this, she must feel his mouth lightly and firmly with the bridle hand, at the same time making use of some of the helps used to force him to go forward, such as clicking with your voice, a gentle touch with the whip, or the heel, so she stays him a little by the bridle hand at the same time he is forced forwards by the other helps or aids and if properly timed, by doing enough without over doing, he will be put together, and of course kept on a light proper action which must be in the real action of a trot, that is with his two corner legs in the air at one time and two on the ground, by such means the horse will always be kept on a sure ballance and never be in danger of falling, on the other hand if the horse is sufferd to go loose and unasisted[+] by the bridle hand, and the other aids as before described, when going down a steep hill he will most commonly go into that unnatural pace called the amble which is moving his side legs together instead of his corner legs, this pace is very unsafe notwithstanding the ancients used arts in breaking the horse to the amble, on account of its being so much easier than the trot, but as it is a known maxim in physic that giving ease and performing a cure are two different things, so here an easy pace and a safe one are as diametrically opposite, and that the amble is an unsafe pace is easy to be conceived by the horse losing so large a portion of his ballance, to prove which only try these simple experiments. take a wooden horse[+] let his two corner legs be taken away and he will stand, but take away his two sides leg and he falls, again one often sees at a farrier's shop when a horse is wanted to be shod in haste, two smiths can work at the same time, by taking each of them a corner leg, therefore how careful should we be to keep our hackneys on a safe action, and awake under us on all occasions. the lady should endeavour to make herself acquainted with those objects which horses are most subject to be alarmed at, and first of all is a windmill in full sail, next some can never be brought to go comfortably by a tilted waggon, especially if meeting it, others dislike asses very much, some dislike to face a man wheeling a barrow or an umbrella extended, an arch drain which is frequently seen to carry the water away thro the banks in a turnpike road, its laying low and of course presents itself very suddenly, will sadly alarm some, and any object suddenly presenting itself is almost sure to affright and alarm any horse in spirits,[+] i once saw a lady get a fall, by a cow suddenly presenting its head over a hedge, yet a more steady animal never was, as i used her four years and never knew her start either before or after; let it be remembered that horses are more apt to be shy or start in the dusk of the evening than in broad day light, horses with bad eyes are almost sure to start, yet starting is not a sure sign of bad eyes, as many imagine it, i mention these few observations in regard to starting because horses which are most free from those faults, it may happen to some times; as horses like men are not alway in the same temper: never ride on a fast pace by any lane's end, or in turning any sudden or short turn, for two reasons; first, that it is unsafe as the horse might be subject to fall for want of being supported, and put together by shortening his pace, and secondly by your not being able to discern the objects which might present themselves to you so as to disturb and alarm your horse: these little hints kept well in mind may be the means of preventing many accidents. finis. footnotes: [3-*] such as the wild arabs, indians, &c. [24-*] used by sir sidney meadows. transcriber's note the following misspellings and typographical errors were maintained. page error 4 particulatly should read particularly 10 dependance should read dependence 11 iregular should read irregular 12 seperately should read separately 14 apendix should read appendix 14 higher then should read more than 14 purpose, should read purpose. 16 seperate; should read separate 16 croud should read crowd 17 thay should read they 20 opeperations should read operations 21 to make should read to make. 22 myright should read my right 24 condemed should read condemned 24 upona should read upon a 24 untill should read until 26 more then should read more than 27 occured should read occurred 27 manage should read menage 28 asists should read assists 30 more then should read more than 33 nei her should read neither 33 ballance, should read ballance. 36 the reins. should read the reins, 36 progressively. should read progressively, 38 gaurd should read guard 39 unasisted should read unassisted 39 wooden horse should read wooden horse, 40 spirits, should read spirits. transcriber's note obvious typographical errors have been corrected. a list of corrections is found at the end of the text. oe ligatures have been expanded. [illustration] [illustration: graceful riding a pocket manual for equestrians, by s.c. waite esq^{re} london robert hardwicke 192 piccadilly and all booksellers.] graceful riding. a pocket manual for equestrians. abridged and revised from "waite's equestrian's manual," dedicated to h.r.h. prince albert. by s. c. waite, esq. london: robert hardwicke, 192, piccadilly: and all booksellers. 1859. preface. the author's last publication, "the equestrian's manual," having met with so kind a reception from the press and the public--one which he looks upon with the greatest gratitude--has induced him to compile for the use of equestrians of both sexes the present little work, in the sincere hope that his humble efforts may, in some degree, aid in obviating the many severe and often fatal accidents, the result, in most instances, of inexperience in horsemanship. should he have attained this end, and given some instruction to the nervous and timid, or any to the experienced equestrian, he will feel himself well repaid. introduction. the science of equitation has for many years been allowed, by the testimony and strong recommendation of the most eminent of the faculty, to be an accomplishment highly conducive and most beneficial to health; assisting the blood in its proper circulation through the frame, on which depends wholly good spirits, and freedom from bilious, hypochondriacal, and nervous affections. parents should not neglect to have imparted to their children an art so calculated for the development of grace and beauty in maturity, and, above all other considerations, _one_ that so eminently guards against the many diseases of this varying climate; diseases which are, in fact, almost, if we may use the term, "indigenous" to the spring and summer of life. physicians, of the past and present time, whose mere names should be sufficient to procure every patronage, are in favour of the acquirement of this most essential and elegant science. the skill necessary to become a perfect rider, can only be obtained through the tuition of a first-rate master; and, as far as the accomplishment can be explained within the limits of a book, the author has endeavoured to do so; but he repeats there is much which cannot be written, and is only to be acquired through personal tuition. lessons in the school _alone_ can seldom make a good rider. in it the horse and the pupil become accustomed to the same monotonous routine day after day; but when they emerge on the road it is found that the expert rider of the _school_ is deficient in tact and skill; and, in fact, has learnt but little. the nature of the animal will occasion this; changing the scene of every-day objects in the school, for the great variety he must meet on the road, gives an impetus to his hitherto dormant spirit; then the rider will find that he must exert all the skill and judgment he possesses to keep his horse under the proper control indispensable to his safe guidance. in conclusion, should this work contribute to the enlightenment of ladies and gentlemen desirous of becoming _finished equestrians_, it will have accomplished the end for which it was undertaken. description of plates. plate i. the first figure represents waite's improved seat. the position is on the same system as the cavalry, but being more _négligé_ in appearance, and much less constrained in feeling, although equally correct, imparts a more elegant and graceful seat to the rider. heavy dragoon. hussar. plate ii. racing. hunting. park. plate iii. the first figure represents the general seat of ladies on their saddles. the second shows the position of a lady when mounted according to mr. waite's method of tuition; by it a firm seat is gained on the saddle, and consequently it is more secure than the usual seat; being also more graceful and elegant in appearance, and giving the rider a superior command over her horse, and obviating the danger of the habit-skirt becoming entangled in the horse's legs. part i. [illustration] character and management of the horse, with directions for riding. a knowledge of the general character and disposition of the horse is really and absolutely necessary to his skilful management, from his extremely nervous sensibility, his aptness to take the various impressions of fear, affection, or dislike, to any of which he is naturally very quickly disposed. "reas'ning at ev'ry step he treads, man yet mistakes his way; while meaner things by instinct led are rarely known to stray." speaking in soothing terms to a horse, so that he may become familiar to the voice, gives him confidence in his rider, which is of the _utmost importance_. at all times more is to be accomplished with the animal by gentle means than could possibly be done by harsh ones: kindness, or its opposite, is speedily conveyed to and retained in his memory, which is remarkably retentive. this mutual confidence is perfectly appreciated by the arabs. they invariably treat their horses with the greatest kindness and affection; they are the bedouins' beloved and stanch companions, and on them is the arabs' sole reliance in their predatory excursions; they inhabit the same tent, and the neck of the horse is not unfrequently the pillow of the arab and his family; yet no accident ever occurs; the kindness with which he is treated gives him an affection for his master, a desire to please, and a pride in exerting every energy in obedience to his command. bad habits are speedily acquired by the horse, and when once learned, are very difficult to break him of. _in nine cases out of ten they arise_ from the _stupidity, joined to the brutality_, of an _idle, drunken, ill-tempered_ groom; _who, when out of temper, invariably vents his rage_ upon the unoffending animal, which, at last, to protect (or revenge) itself from the besotted tormentor, acquires a habit of kicking and biting at every person and thing coming within its reach, fearing that they are about to maltreat it. many horses are condemned as _vicious_, and actually are rendered so through _timidity_ on the part of the _rider_. the animal may be playful from rest, or a lively temper by nature; the rider, _whose judgment_ may not enable him to _discriminate_ between playfulness, nervousness, or vice, becomes alarmed, and, consequently, loses his self-command; and, perhaps, not having learned the _correct mode of using_ his _hands and reins_, in his _boisterous endeavours_ to _save himself from falling_, imparts fear to his horse. the animal naturally imagines he has been guilty of some great fault, and is _fearful of punishment_; and should he _not be familiar with the voice of his rider_, then a mutual struggle for safety takes place, and causes an accident. the horse is _then_ condemned as "_vicious_," though the rider was _alone_ in fault. the _same horse_, in the hands of an _experienced_ horseman, would become as quiet as ever. we often find that really dangerous horses have been reclaimed by ladies riding them! this is entirely owing to their using them _gently_, but firmly, and speaking to them kindly; by these means confidence is imparted, and makes them "all that a horse should be, which nought did lack save a good rider on so proud a back." a few minutes' riding will be sufficient to discover the nature and temper of a horse, likewise what system of treatment has been pursued towards him (which, in consequence, must be still followed). there are very many persons who are considered good horsemen, who have no fear, and will ride anything, or _at_ anything, yet have no idea, beyond the mere fact of riding, whether the saddle, bridle, and accoutrements are properly placed. the neglect of attending to these matters has caused many serious accidents. the _method_ of gracefully _holding_ and _using_ the _reins_ is _very important_, although but _little understood_ or _attended_ to; in fact, it seems but _a secondary_ consideration with riding-masters, where it should be a sine qua non. one person may pull at a runaway horse with all his strength, but to no purpose; another possessing that knowledge shall be able to manage, and hold him with a pack-thread. * * * * * runaway horses are most frequently made so by bad and timid riders, who make use of a whip and spurs without having a _firm seat_. such persons are easily unseated on the horse shying, or jumping about in a playful mood; then, in their endeavours to recover themselves, they slacken their reins, and at the same time unintentionally goad him with their spurs, or strike him with their whip. in clutching at the reins, the horse becoming frightened, naturally increases his speed, until, from the continued irritation of whip and spur, in the terrified horseman's futile attempts to subdue him, the horse becomes maddened with terror and excitement, and ultimately throws his rider. * * * * * shying is often the result of skittishness or affectation at first. this may be easily overcome and cured, at its commencement, by the judicious treatment of the rider, in using firmness tempered with kindness; avoiding all harsh measures, and passing the horse several times quietly by the object which caused him to shy. a word, half-scolding, half-encouraging, with a gentle pressure of the heel, or a slight touch of the spur or whip, will convince him there is nothing to fear; and, further, will give the animal _confidence_ in his rider on future occasions. * * * * * kicking is a dangerous vice, and generally the result of an idle groom or stable-boy playing with the horse, and pinching him on the loins; so that, should any extraneous substance be in the padding of the saddle, or the flaps of a coat touch him there, or even a hand be thoughtlessly laid on his quarters, he immediately commences kicking to dislodge the cause. once succeeding, he has invariably recourse to the same remedy, until the habit becomes confirmed. there are many valuable horses ruined by thoughtlessness and folly.--this is more frequently the case with animals of high courage. in many instances, a _very trivial_ alteration in the adjustment of the saddle or bridle, &c. (had the rider been properly instructed, and therefore possessing the knowledge how such alterations should be made), would have saved great danger and annoyance to the rider, and _unnecessary_ pain to the horse. * * * * * when a horse is kicking, the rider should throw his body _well back_, raise the horse's head, and apply the whip smartly over his shoulders. rearing is very dangerous, and most difficult to break. it is often caused by the bit being too sharp for the horse, his mouth being tender, or perhaps sore. _when rearing_, the whole weight of horse and rider being thrown perpendicularly on the animal's hind legs, the _most trifling_ check from the rider's hand would cause him to fall backwards; the rider must drop his hand as before, loosen the reins, and throw his whole weight on his shoulders, at the same time catching him 'round the neck with his right hand. these directions will much assist in bringing him down on his feet again, and prevent the rider's body from falling backwards. unsteadiness in mounting is very often the consequence of the horse's eagerness and anxiety to start. it is generally the fault with thorough-bred, high-couraged, young and nervous horses. it is a most annoying fault, especially with elderly and timid riders, many of whom are frequently thrown before they can firmly seat themselves. this is only to be cured by an active and good horseman, combined with firm, though gentle and kind, usage; by approaching him gently and patting him, mounting at the _first_ effort, and when seated, restraining him, patting his neck, and speaking kindly to him, but, at the same time, not allowing him to move until he is perfectly quiet. in a few days he will be quite cured of his fault. remember! _harshness must never be used_ in this case, as great mischief may be done by such a course, and the habit _will be confirmed_. kindness will succeed generally in most cases of vice; harshness _never will_ in any! the position of the saddle should be in accordance with the formation of the horse's shoulders, and about a hand's breadth from them, so as not in any way to interfere with or impede the _free action_ of the muscles. the malposition of the saddle, particularly in horses with upright shoulders, is the cause of many horses falling, from its pressing too much on the shoulders, and by that means confining the action of the muscles, which thus become benumbed, and lose their elasticity. a partial deadening of the limbs having taken place, the horse, from want of vitality in the legs, stumbles, and is unable, through the torpidity of the muscles, to recover himself, and falls to the ground; in many cases he has been known to fall as if shot. the saddle should be wide, and roomy. the length of the stirrups should be such as to give ease to both horse and rider; the latter ought at all times to assimilate his movements in the saddle to those of the horse in his stride. a tight rein should always be avoided, because, if he carries his head low, it tends to deaden his mouth, and teaches him the bad habit of depending upon the bridle for support; in which case, he always goes heavily in hand, and on his shoulders. the horse should at all times be taught to go on his haunches. if the horse naturally carries his head well, it is better to ride him with a light hand, only just feeling his mouth. "with neck like a rainbow, erecting his crest, pamper'd, prancing, and pleased, his head touching his breast; scarcely snuffing the air, he's so proud and elate, the high-mettled racer first starts for the plate." old song. on properly fixing the bridle, saddle, &c. the bridle. in fitting the bridle, the curb bit should be placed so that the mouth-piece be but one inch above the lower tusk,--in mares, two inches above the corner tooth; the bridoon touching the corner of the lips, so as to fit easy, without wrinkling them; the headstall parallel to the projecting cheek-bone, and behind it; the throat lash should be sufficiently long to fall just below the cheek-bone, and not lay over or upon it; the nose band should be placed low--but that must depend very much on the size of the horse's mouth--and not buckled tight; the curb, when properly fitted, should be flat and smooth in the hollow of the lips, so as to admit one finger easily between. the saddle should be placed in the middle of the horse's back, about a hand's breadth, or four or five inches, from the shoulders, so as to give perfect freedom to the action of the muscles of the shoulders. the girths must be laid evenly one over the other, and admit freedom for one finger between the girth and the horse's belly. the surcingle should fit neatly over the girths, and not be buckled tighter than they are. the large ring of the breastplate or martingale should be placed about two inches above the sharp breast-bone, and should allow of the hand being laid flat between it and the shoulders. the stirrups. in length they should be so that the bottom edge of the bar is about three inches above the heel of the boot. the author always adopts the following method for ascertaining the correct length of the stirrups, viz.:--he takes up the stirrup-iron with the right hand, at the same time placing the bottom of the stirrup-iron under the left arm-pit, he extends the _left_ arm until the fingers of _that_ hand _easily touch_ the stirrup _buckles_; _this_ is a _sure criterion_ with most people. on mounting. in mounting, the horse should always be approached quietly on the near (or left) side, and the reins taken up steadily. the snaffle (or bridoon) rein first, then pass this rein along the palm of the left hand, between the forefinger and thumb. the curb rein must now be drawn over the little finger, and both reins being held of an equal length, and having an even pressure on the horse's mouth, must be laid over each other, being held firmly in the hand, the thumb pressing hard upon them to prevent them slipping through the fingers. be particular that the reins are not taken up too short, for fear it might cause the horse to rear or run back; _they must be held neither too tight nor too slack_, _but having an equal feeling of the horse's mouth_. next take up a handful of the mane with the right hand, bring it through the full of the left hand (otherwise the palm), and twist it round the thumb. take hold of the stirrup with the right hand, the thumb in front. place the left foot in the stirrup as far as the ball of it, placing the right hand on the cantle (or back part of the saddle), and, by a spring of the right foot from the instep, the rider should raise himself up in the stirrup, then move the hand from the cantle to the pummel, to support the body while the right leg passes clearly over the horse's quarters; the rider's right knee closes on the saddle and the body falls gently into it. the left hand now quits the mane, and the second stirrup must be taken without the help of eye or hand. the left hand (the bridle hand) must be placed with the wrist rounded outwards, opposite the centre of the body, and about three inches from it, letting the right arm drop unconstrained by the side of the thigh. position in the saddle. the rider must sit upright, and equally balanced in the middle of his saddle, head erect, and his shoulders well thrown back, his chest advanced, the small of his back bent forward, but without stiffness. the hollow part of the arm should hang down straight from the shoulder, the lower part square to the upper, the thighs well stretched down, the _flat part_ to the saddle, so that the fore part of the knees may press and grasp it. let the legs hang down easily and naturally, close to the horse's sides, with the feet parallel to the same, and the heels well depressed; the toes raised from the instep, and as near the horse's sides as the heels; the feet retained in the stirrups by an easy play of the ankle and stirrup, the stirrup to be kept under the ball of the foot, the joint of the wrist kept easy and pliable, so as to give and take as occasion may require. _a firm and well-balanced position on horseback is of the utmost importance_, it affects the horse in every motion, and failure in this proves one of his greatest impediments, and will naturally injure him in all his movements. in riding, the hands and legs should act in correspondence in everything, the latter being always held subservient to the former. it is easy to discover those who have been thoroughly instructed in the _manége_, by their firm, graceful, and uniform position in the saddle, and their ready and skilful application of the aids or motions, and the correct appliance of the bridle, hands, and legs; such being _indispensable_ to the skilful guidance and control of the horse. part ii. on the reins, &c. the author most particularly wishes to impress upon his readers the value of riding with double reins for safety sake, and in order to avoid the numerous accidents arising from reins breaking, the tongues of buckles giving way, and the sewing of the reins to their bits coming undone. when there is but _one rein_, the rider is left quite at the mercy of an affrighted and infuriated animal; where, had there been two, he would still have sufficient command over the animal to prevent accidents. there is another equally urgent reason for riding with double reins, viz., the continual use of the curb materially tends to deaden the sensitiveness of the horse's mouth; from the constant and unavoidable drag upon the single rein, especially if tender-mouthed, he is made uneasy and fidgetty, causing him to throw his head about, and go extremely heavy in hand, and frequently rear or run back, to the very great danger and annoyance of his rider, particularly when happening in a crowded drive. it is very requisite to ride a horse occasionally _well up to the curb bit_, and to _keep him well up to it_ with the whip and heel, so that he may get used to _work on his haunches_. by this means he will be thrown upon them, and, consequently, "go light in hand," the greater weight being taken from off his forehand, by which his carriage and general appearance is materially improved. after many essays, the author has found the following method to be the _most correct and_ safe for holding the reins, when using _one_ or _both_ hands. by it the rider has a much firmer hold--or, in professional parlance, "purchase"--upon the reins, in keeping them from slipping, consequently, a greater command over the horse, and can more readily allow either rein to slip should he desire to use but one. for holding the reins in one hand. the reins should hang _untwisted_ from the bits. the rider must take up the bridoon reins with his right hand, and pass the second and third fingers of the bridle, or left, hand between them, draw up the reins with the right hand, until the horse's mouth can be felt, and then pass them between the forefinger and thumb. next take up the _curb reins_ (again with the right hand), and pass the little finger of the bridle hand between them, draw them up, as before directed, with the right hand, until the rider perceives there is an equal length and feeling with the _bridoon_ reins. the _latter_ having _rather_ the strongest pressure on the animal's mouth. this done, _lay them also over_ between the forefinger and thumb, and press down the thumb firmly upon them to keep them from slipping; the hand to be held with the wrist rounded outwards, opposite the centre of the body, and about four inches from it. _the right arm_ should hang without restraint, and _slightly_ bent, by the thigh, the whip being held about twelve inches from its head, with the point turned _upwards_. using both hands. take the bridoon reins between the second and third, and the curb reins between the third and fourth, fingers of each hand, each rein having an equal bearing on the horse's mouth; the hands are to be held about six inches apart, with the wrists rounded outwards, and the thumbs pressing firmly upon the reins, the elbows well down, and held near to the sides, the whip held as directed above. riding on one rein. take up that particular rein with the right hand, and pass the second and third fingers of the bridle hand between them, then draw up the reins, but be careful, in doing so, not to hold the horse too tight in hand; the other rein should hang down, having the little finger passed between them, and the thumb also over them, so that they may be caught hold of, and drawn up quickly on any sudden emergency; the loose reins are to hang between those in use. the whip. the whip being a requisite aid in the management and guidance of the horse, should be used as an instrument of correction, and by no means to be _played_ with, nor _flourished about_. when using the whip for punishment, _scold_ at the same time; by this means, with a cross word will be associated the idea of chastisement. however, far more can be achieved by kindness than by any harsh measure; but when such instances occur that it is _absolutely necessary_, never hesitate to _punish well_, so that the animal may thoroughly understand that it is _punishment_ that is meant for his fault--_not play_. "a man of kindness to his beast is kind, but brutal actions show a brutal mind: remember he who made thee, made the brute, who gave thee speech and reason, form'd him mute; he can't complain, but god's omniscient eye beholds thy cruelty. he hears his cry. he was designed thy servant--not thy drudge; but know, that his creator is thy judge." colt-breaking by the guachos is performed in the same mode as the kalmucks, with the lasso; the idea of being thrown, let a horse do what he pleases, never occurs to a guacho. according to them, a "good rider" is a man who can manage an untamed colt, and one, if his horse should fall, could alight unhurt upon his feet. at the moment of a horse falling backwards they can slip quietly off, and, on the instant of his rising, jump on him again. they never seem to exert muscular force, and appear to ride very loosely, as if every moment they must fall off: yet should his horse be suddenly frightened, the guacho will start, and take, simultaneously, fright with the horse. there is nothing done on foot by the guachos that cannot be done on horseback; even _mounted_ beggars are to be seen in the streets of buenos ayres and mendoza. it is not, therefore, surprising that, with such multitudes of horses, that the people should all be riders, and excel all other nations in their expertness and boldness in their management. the pampas and prairie indians, whose forefathers fled from the spanish horsemen, as if they were fatal apparitions, now seem to be part and parcel of the horse. they affirm the proudest attitude of the human figure is when a man bending over his horse, lance in hand, is riding _at_ his enemy. the guachos, who ride so beautifully, declare it is utterly impossible to vie with mounted indians; they have such a way of urging on their horses by cries, and a peculiar motion of their bodies; even were they to change horses, the indians would beat them. the turks prefer the turkman horse to the pure-blooded, slender arabian. in fact, from their trying mode of riding, the fine limbs of the arab could not stand the shock upon them, their favourite manoeuvre being to make a dead stop when galloping at full speed. to accomplish this feat, they use a very severe bit, which, of course, destroys the _sensibility_ of their horses' mouths; while, on the contrary, the arabs use only a plain snaffle, which preserves all the sensitiveness of the animals' mouths. the toorkman, or turkman horses.--these are much esteemed by the persians. they are large and swift, and possess extraordinary powers of endurance, though they are exceedingly awkward in appearance. turkistan is their native region, which lies north-east of the caspian sea; but their tribes are widely dispersed over persia, asia minor, and syria. the persians are great admirers of horsemanship, and a bad rider affords them infinite amusement. "an officer of an english frigate having gone ashore to visit the envoy, and being mounted on a very spirited horse, and a very bad rider, caused great entertainment to the persian populace. the next day the man who supplied the ship with vegetables, and spoke a little english, said to the officer, 'don't be ashamed, sir, nobody knows you--bad rider! i tell them you, like all english, ride well, but that time they see you very drunk!' we were much amused at this conception of our national character. the persian thought it would have been _a reproach for a man of a warlike nation not to ride well_, but none for a european to get drunk."[33-*] [33-*] _vide_ "the horse and his rider." the syrian horses are reared with the utmost tenderness and care; they are fondled and played with like children. the syrian horse is equally good on mountainous, or stony ground, as on the plain; he is indefatigable, and full of spirit. the timarli ride horses of the syrian breed, mostly from their possessing these inestimable qualifications. the neapolitan horse.--this horse is small, but compact and strong; the head rather large; the neck short, and bull-shaped: the prototype of the horses represented on the bassi-relievi of ancient roman sculpture. he is capable of living on hard fare, and undergoing great fatigue. he is frequently vicious and headstrong; this is chiefly owing to his harsh treatment; though very high-spirited, he would, with gentle usage, become extremely docile and good tempered. the districts of apulia, abruzzi, and parts of calabria furnish this excellent animal. the neapolitans have taken extreme pains in the breeding of their horses; they make great display of them in their streets during the carnival, and through lent. the aristocratic families have excellent studs of great spirit and beauty. part iii. on the paces of the horse. the walk. of all the paces, the walk is the easiest to the rider, _provided_ he sits in the centre of his horse's back, as it consists of an alternate depression of the fore and hind quarters. the motion may be compared to the vibration of the beam of a pair of scales. the walk should be light, firm, and quick; the knee must be moderately bent, the leg should appear suspended in the air for an instant, and the foot fall perfectly flat to the ground. it is very difficult to confine young and mettlesome horses to a walk; great good temper, with a firm light hand, are requisite to accomplish this. when such horses change to a trot they should be _stopped for a minute_ or two, and _then_ allowed to proceed again. if the animal carries his head well, ride him with a moderately loose rein, raising the hand when he tries to break into a trot. the trot. the trot is allowed, by professionals, to be the only just basis upon which equestrians can ever attain a secure and graceful seat, combined with confidence and firmness. the rider has more control over the motions of his body in this pace than any other: in this the body is well brought down into the saddle by its own weight, and finds its true equilibrium. when the rider wishes to make his horse trot, let him ease his reins and press the calves of his legs gently; when his horse is at a trot, let him feel both his reins, raise his horse's forehand, and keep his haunches well under him. the canter. the rider must have a light and firm feeling of both reins to raise his horse's forehand; at the same time, with a pressure of both calves, to bring the animal's quarters well under him, having a double feeling of the inward rein, and a strong pressure of the outward leg, to cause him to strike off in unison. at all times the horse should be taught to lead off with either fore leg; by doing so his legs will not be so much shaken, especially the off fore leg, which is the one he most generally leads off on. this must be the case when he is _continually throwing_ the greater part of his weight upon the leading fore leg, as it comes to the ground, which causes lameness of the foot, and strains the back sinews of the legs. being thoroughly taught to change his legs, the horse is better enabled to perform long journeys, with facility and comfort both to himself and his rider. turning. in the turn either to the right or left, the reins must be held quite evenly, so that the horse may be immediately made to feel the aid of the rider's hands; he (the rider) must then have a double feeling on the inward rein, also retaining a steady feeling on the _outward_; the horse being kept up to the hand by a pressure of both legs, the outward leg being the stronger. reining back. the rider should frequently practise reining back, which is of the utmost service both to himself and his horse: by it, the rider's hand is rendered firm and materially strengthened; and the pliancy of wrist so essential to the complete management of the horse is achieved, likewise causing the body of the rider to be well thrown back and his chest expanded, thus forcing, and preserving, an _erect_ position in the saddle. also, the _carriage_ of the horse becomes greatly improved; his head is maintained in its correct position, and he is compelled to work correctly on his haunches. _in_ "_reining back_," the horseman requires a light and steady feeling of both reins, a pressure of both legs, so as to raise his horse's forehand and keep his haunches _well under_ him, at the same time _easing_ the reins, and _feeling them again_ after every step. stopping. none are thoroughly taught until quite au fait in the stop. it is of _far greater importance_ than may be _usually_ imagined. in the first place, it shows the horse to be _well under_ command, especially when the rider is able to do so _instantaneously_: it saves in the second place, many serious and inevitable accidents from carriages, horsemen, &c., such as crossing before suddenly pulling up, turning quickly round a corner, or coming unawares upon the rider. care must be taken to make the stop _steadily_; _not_ by a _sudden jerk_ upon the _bit_; by doing so the horse, if "tender mouthed," will be made to rear and plunge. to make the horse stop properly, the bridle-hand must be kept low, and the knuckles turned down. the rider's body must be well thrown back; he must have a steady feeling of both reins, and, _closing_ both legs for a moment, so keep his horse well up to hand. n. b.--the rider's hands always must be eased as soon as halted. leaping. much depends upon the manner of bringing a horse up to the leap; he should be taken up straight and steady to it, with the reins held in each hand--they must be kept low, with the _curb_-rein held loosely. the rider's body should be kept erect, pliant, and easy in its movements. as the animal is in the act of rising in his leap and coming again to the ground, the rider's body must be well thrown back. the sitting of a leap, _well_, is entirely dependent upon the proper balance of the body; thereby the weight is thrown correctly into the saddle, and thus _meets_ the horse's movements. the standing leap. let the rider take up his horse at an animated pace, halt him with a light hand upon his haunches; when rising at the leap, the rider should only just feel the reins, so as to prevent them becoming slack, when he springs forward, yielding them without reserve; as, at the time, the horse must be left quite at liberty. as the horse's hind feet come to the ground, the rider must again collect him, resume his usual position, and move on at the same pace. his body must be inclined forward as the horse rises, and backwards as he alights. flying leap. the horse must not be hurried, but taken up at a brisk pace, with a light and steady hand, keeping his head perfectly steady and straight to the bar or fence. this position is the same as in the standing leap; and the aids required are the same as for making a horse canter. if held too tight in the act of leaping, the horse is likely to overstrain himself, and fall. if hurried at a leap, it may cause him to miss his distance, and spring too soon, or too late; therefore his pace must be regulated, so that he may take his spring distant enough, and proportionate to its height, so that he may clear it. when nearing the leap the rider must sit perfectly square, erect, pliant, and easy in the act of leaping; on arriving at the opposite side of the leap, throw the body well back, and again have the horse well in hand. swimming a horse. the rider must take up and cross his stirrups, which will prevent the horse from entangling himself or his rider; should he commence plunging and struggling in the water, _then quite_ loosen the _curb_-reins, and scarcely feel the bridoon; any attempt to guide the horse must be made by the slightest touch of the rein possible. the rider also must have his chest as much over the horse's withers as he can, and throw his weight forward, holding on by the mane, to prevent the rush of water from carrying him backwards. should a horse appear distressed, a person unable to swim may, with great safety, hold firmly by the mane, and throw himself out flat on the water; by those means he relieves the animal from his weight, and the horse coming once more into his depth, the rider may again recover his position in the saddle. bolting, or running away. this dangerous habit is to be found very generally in nervous and young horses, who at the least noise, become alarmed, and try to escape; quickening their pace, they break from a trot to a gallop, until terrified with the impotent struggles of their riders to stop them, or the sound of wheels behind them, they become maddened, and dash on in their perilous career. once a horse finds he has succeeded in these efforts, on any recurrence of noise or cause of affright, he will pursue the same course, to the imminent peril of life, limb,--not only of the rider or driver,--but of whoever or whatever he may chance to meet in his impetuous flight. the habit at length becomes confirmed, and it is alone by the utmost nerve and coolness, tempered with firmness and kindness, that we may hope eventually to overcome the disease. when a horse is known to have a disposition for running away, a firm, steady hold should be kept over him, at the same time speaking soothingly and encouragingly; but, at the least symptom, checking sharply and scolding him, and never allowing him to increase his pace of his own accord, as fear will oftentimes cause him at length to break into a gallop. either in riding or driving, the reins should be held firmly, and the horse had well in hand; but not by a constant pull to deaden the sensitiveness of his mouth; taking care occasionally to ease the reins and keep the mouth alive by a gentle motion of the bit, only just loosening them, so that on any symptom of running away or bolting, they may be caught up quickly, and the horse be well placed under command, without frightening him. by a little judicious management in this way, with patience, kindness tempered with firmness, a cure in most cases will be completed in a short time. in riding and driving horses addicted to running away, be _very particular_ that all portions of the horse furniture be sound and strong, more _especially the reins_ and bits. part iv. [illustration] advice to ladies. preparatory to a lady mounting her horse, she should carefully approach to the shoulder. the quietest animal will sometimes kick on a person coming suddenly to him from behind; but if neared in the manner described, he cannot possibly contrive to bite or kick. it is also correct to allow the horse to see his rider as much as possible, as it obviates the fright occasioned by a person getting suddenly on his back, that he has not previously seen coming to him. the habit. both the habit and _under_ garments should be full, as upon this so much depends the requisite ease and graceful appearance. the habit should not, however, be too long, as it is liable to become entangled in the horse's legs. sometimes serious and even fatal falls have occurred from this cause, particularly if the horse falls to the ground, as the habit cannot be speedily extricated from under him. the author here strongly advises a lady _never_ to tuck her skirts tight over the crutch of her saddle, but take pains to have them so easy, as to be enabled on the instant to disengage _both_ skirts and knee. a facility, _in this_, can only be acquired by _constant_ practice; and it is of far greater importance to the lady equestrian to attain, than may appear at the first glance. had this _apparently slight_ attainment been made a matter of _moderate_ consideration, many a parent need not have had to deplore the _death or disfigurement_ of a beloved child. when a lady has her habit drawn over the crutch of her saddle, and tucked tightly in under her leg (for the purpose of keeping the skirt in its proper position), she denies herself the full liberty of her knee, and in case of accident, to be off the horse. on the slightest warning, though _foreseen_, whatever the danger, the _tightness_ of the lady's dress will not allow her to get her leg out of its place, in time to make any effectual effort to save herself; also, it is probable that the habit might get entangled in the pummel, and she, frightened of course, would become unable to disengage her foot from the stirrup (or shoe), in which case she inevitably experiences the most appalling of all accidents,--_being dragged powerless, by a terrified horse, a considerable distance along the road_. before closing this portion of his subject, the author is rejoiced that the extremely dangerous and most unnecessary fashion of wearing "habit brooches" is now no longer adopted,--things solely invented for "trade purposes,"--and to any, and especially to a graceful horsewoman, a truly ridiculous article to wear: never to be patronized by a lady, anxious for her own safety and the feelings of her family and friends. to illustrate this:--the position of a lady on horseback is greatly limited, when compared to that of a gentleman; necessarily then, when her skirt is confined by a "habit brooch," _all power_ must be taken away, and _all chance_ of escape, when an accident occurs. a _very_ slight fall to the lady may be fatal, where, had she had the full liberty of her skirt, it would have been very trivial. the _proper_ arrangement of the skirt of the riding-dress, to prevent its flying about, entirely depends on the lady herself. mounting. two persons are absolutely necessary to assist a lady to mount; one to keep the horse quiet, by standing in front of him, and holding the reins close to the bit, _one rein in each hand_; the other is for assisting her to mount. the lady, having regulated her habit, must stand perfectly erect; her right hand; having the bridoon-rein hanging loosely on the thumb, being placed upon the upright horn of the saddle (her whip held between the thumb and forefinger), her right side towards and close to it. the second person, who is to assist the lady to mount, must now place himself near to, and almost fronting her; having united his hands by putting his fingers between each other, and stooping down near to the ground, receives the lady's left foot, which should be placed firmly in them, care being previously taken that no part of her skirt is under it. the left knee should be kept as straight as possible, in order to give additional purchase, while lifting her perpendicularly and gracefully into the saddle. the lady must then place her left hand on his right shoulder, and as he lifts her, _she must spring from the instep_, at the same time guiding herself into the saddle with her right hand. having gained her saddle, the lady should take hold of her habit with her right hand, close to the knee, and raise it sufficiently to allow of the right knee dropping _well home_ into the crutch, and keeping it there, as far as she possibly can, immovable. rules for gaining the correct position in the saddle. before a lady mounts she must endeavour to carry in her mind's eye the _centre_ of her saddle. on _this centre_ she must, as nearly as possible, place herself; and to assist her memory, she should take it for a rule, to keep her eyes in a straight line between the horse's ears when lifted into it. by these means, after a little practice, she will not fail to drop almost insensibly into the correct position; the weight of her body being thrown full into the centre of the saddle, rendering her seat firm and easy to her horse and herself. for example:--should we place a weight on one side of a table, the other side having nothing on it as a balance, if it does not actually fall, it will become extremely insecure and unsteady; but, on the contrary, if the weight be placed in the centre, the table will be safe and steady, even if ricketty before; therefore, if the lady does not sit "square" (that is, quite in the centre) on her horse, she must inevitably throw all her weight to one side, and thereby destroy her power over the horse, and instead of giving him his correct action, render him unsafe, and shambling in his gait. the position in the saddle. to obtain a correct position in the saddle, the lady must keep her head erect, and her shoulders well thrown back, which will have the effect of expanding the chest, and giving the requisite hollowness to the small of the back. it is also most important that the rider should keep her body from the waist to the bust very easy, in no way to be constrained, more especially across the loins. by observing these directions, the lady will be enabled to accommodate herself, without uneasiness, to the motions of her horse. when the upper portion of the body regulates itself by its _elasticity_ to the paces of the horse, there is this additional advantage,--let the animal plunge or struggle as it may, if the rider keeps her knee immovable in its place, her left foot in the stirrup (with the toe turned in, which eminently assists her seat and balance), and preserves her presence of mind, and overcomes any approach to nervousness, she cannot be unseated. the arms. they should hang _perfectly_ independent of the body, from the shoulders near the sides, _yet quite_ free from having a constrained appearance. the legs. the right leg from the hip to the knee should be kept down in the saddle, and, as much as the rider possibly can, without moving. the lady will materially assist herself in this object by drawing _the heel backwards_. the left leg must hang steady, _yet_ not, by any means, rest its weight in the stirrup, for in consequence of the muscles of the leg being round, the foot will naturally turn outward, thus causing a wavering, tottering seat, inclining the body too much out of balance, and giving a disunited motion to the horse, and an ungraceful and deformed appearance to the rider. to prevent this, the knee must be kept firmly pressed to the saddle; and, as before remarked, by depressing the heel, the toe will be naturally turned in. the stirrup. the position of the foot in the stirrup is of great importance; upon it depends much; keeping the correct balance of the body on the horse, which consists in sitting perfectly square and erect, and preserving a steady position in the saddle. in fitting the stirrup the lady ought to have her length correctly arranged, which is done in the following manner:--the stirrup leg must hang quite free from the hip-joint, the knee being slightly bent, with the toes raised and turned in towards the horse's side. keep the foot fixed as immovable as possible in the stirrup, allowing the pressure alone to come from the toes to the bridge of the foot, which will have the effect of giving the elasticity and regularity of movement required in the horse's quickened paces. the _length_ of the stirrup must be made a matter of importance. on it, in a very great measure, _depends_ a steady, firm seat. the stirrup too long. in the lady's endeavours to retain her foot in the stirrup, her weight must preponderate on the left side; if the stirrup be _too short_, it necessarily gives a rolling motion to her body, destructive alike to grace, elegance, and security of seat, and will prevent her seating herself sufficiently back in her saddle. on the reins (_vide_ p. 27). holding the reins in one hand (_vide_ p. 28). using both hands (_vide_ p. 29). riding on one rein (_vide_ p. 30). the whip (_vide_ p. 30). the bridle hand. the motion of the lady's hand must be confined to the _wrist_--as in pianoforte playing--the action coming from _it alone_. by the management of the reins, in concert with the yielding or retraction of the wrists, the horse is guided in his paces. by this mode the sensibility and goodness of his mouth is preserved; the beauty of his action is developed; steadiness is combined with security in his paces, and the safety of his rider is secured. the degree of command, which the animal can be placed under, _entirely depends on the degree of proficiency_ acquired in this branch. guiding. there are _four_ motions requisite in guiding a horse. _to go forward._--lengthen the reins, and give the animal his liberty. for this purpose the lady's hand must be guided by the _action_ of her wrist, and, at the same time, she must apply gently her whip. here, it is proper to remark, the lady's bridle, or left, hand must never be left inactive, but, by practice, she must endeavour to understand the art of _feeling the horse's mouth_; should the bridle hand _not_ be kept in constant use this will never come easy to the rider, the hand will be unsteady, and the horse will become the same. _to go backward._--the reins must be shortened a little, the back of the hand turned down, the little finger next the body; the weight of the rider should be thrown back, with the little finger slightly pulled in towards the waist, then the horse will readily step back. _to turn to the right._--the hand must be turned upwards, which will direct the little finger to the right. throw the balance of the body into the turn, by inclining the bust to the right and applying the whip, which will cause the horse to move forward as he turns, obey the hand, and cross his legs one over the other, correctly. _to turn to the left._--let the hand be turned down, so that the little finger may be directed to the left; the bust must also be turned to the left, and the hand up, with the left heel applied to his side, and the whip to his right shoulder. dismounting. there is tact necessary in dismounting, in order that the lady may avoid the _exposé_ and inelegance, attendant upon, as it were, being lifted from the saddle in a groom's arms. previous to dismounting, the groom must stand by the horse's head, holding the reins close to the bit, to keep him as steady as possible. the lady having removed her foot from the stirrup, and passed her hand down to free her skirt, etc., from all chance of catching to the saddle or stirrup, should remove her knee out of the crutch; at the same time taking the precaution to disengage the habit from that side. then holding the crutch with her right hand (the rein hanging loosely on the thumb), and now placing her left hand on her groom's right arm, near the wrist; his arm being extended for the purpose, she must spring lightly and clear from the saddle, slightly inclining the bust towards the horse's shoulder. by this method the lady will quite disengage herself, and descend gently to the ground. maxims to be attended to. be particular to avoid nervousness and hurry, either in mounting or dismounting. take time, and have everything correctly arranged before starting; serious accidents have occurred frequently from being in haste to start off. arrange the habit, length of stirrup, and have the saddle-bands and buckles properly examined before the journey is begun, to prevent having to stop on the road. be careful to keep the hand active, and watch the movements of the horse; by this means the rider will never be thrown off her guard, and will be prepared for every emergency. keep the horse's mouth always in play, so as to keep up its fine feeling, _indispensable_ to his correct guidance. never allow the reins to hang loosely on the horse's neck, crutch, or pummel of the saddle. this oversight frequently causes serious and fatal accidents. _always_ use _double_ reins. should one become useless, there is still another to rely upon. before the author concludes, he begs to be allowed to _impress_ upon his fair readers, that an _elegant_ and accomplished _equestrian_ becomes an equally _graceful pedestrian_, from the improved carriage acquired from proficiency in the former accomplishment. to become an _elegant pedestrian_ is no mean task, nor is it an _easy_ one to accomplish. yet it is of the utmost importance to a lady, _in particular_, to master it. how often, in our experience through life, have we met with a lovely face and perfect figure,--everything that could constitute the perfection of female beauty, _while at rest_!--but once in _motion_, the illusion is dispelled from a _bad carriage and shuffling gait_, the perfect form becomes quite common-place. these two destructives to beauty can be entirely eradicated by attention to the following directions, and which apply equally to walking and riding. keep the bust and head _erect_; the shoulders _well thrown back_. the motive power to proceed from the hips _alone_. perseverance in these few directions will soon give all that is required for a graceful and healthy carriage. finally.--at all times _trust to your reins for security_, in cases of danger. _never_ grasp the pummel of the saddle. never use a "habit brooch." remarks on saddlery. i have been quite surprised to see, in such a city as london, the paucity of really good saddles. most of them would disfigure any horse they were put upon, with flaps of all shapes but the right. to say how a saddle should be made, would be quite impossible, as it solely depends on the horse and his rider; for instance, a thin and sweepy saddle will not suit a horse with round, heavy shoulders, and wide over his loins. many imagine that cut-back saddles are less liable to injure the rider, than ordinary ones; this is quite fallacious. the saddle must have the head, or what is called, the pummel, to begin upon; and the further _that_ can be carried forward the better; but the nearer it is got under the seat, the more likely is it _to seriously injure_ the rider. in _side_-saddles there is great variety; but the requisites for a _first-rate_ side-saddle, to my idea, and one i would not hesitate in recommending, should be _length_ (_indispensable_), _a leaping-head_, _no off-head_, and it should be cut as nearly level as possible. none, i may say, can dispute my first remark, and _none_ who have ridden with the leaping-head will ever after be _without it_. there are those who say no, to the off-head being cut away, "for should a lady become nervous, she could not steady herself so well as if the head had been left on;" here i fully agree, but beg to say in reply, that before a lady attempts the road or anywhere where she might be placed in such a critical position, she must have her nerves so strengthened through her equestrian education, that she need not look to the off-head of her saddle for safety; her _point d'appui_ is the leaping-head. when holding on by the off-head, the lady of course loses _the use_ of one hand. next, her horse may go where he pleases, for she cannot get her hands down to have a good pull at his mouth. then, in hunting, the poor lady's wrists are everlastingly bruised by the off-head, to say nothing of the danger of their being broken by it. bridles. there is a great variety of bridles. generally speaking, the plainer the bridle the better, more especially for hunting and hacking; for the former, let your bit be long in the check (_i.e._, in moderation), the mouth-piece thick, having the bridoon the same, the _suaviter in modo_ being much more agreeable than the _fortiter in re_, to all animals. for hack bridles, any fancy check may do, if the horse's head be sufficiently handsome; but let me request my readers not to put a fancy bridle on a coarse-bred, common horse. the throat lash. simple as it may appear, it spoils the heads of all horses, as it is usually made. it should be long enough to fall just below the cheek-bone, and not to lay _on_ or _over_ it, as it makes the animal's head look short and thick. nose band. not as they were used in days past, _attached_ to bridle, but _separate_. no one knows its efficacy when placed low, but those who have tried it; its exact position will, of course, depend much on the size of the mouth. chin strap. some imagine this is not an indispensable thing to a bridle, either in hunting or hacking, _but it is_, more especially in _pelham's_. i have seen a horse in tossing his head, throw the pelham bit over on to his face; had a chin strap been attached to the bridle, this could not have happened. the equestrian's manual. (_dedicated to h.r.h. prince albert._) by s. c. waite, esq. opinions of the press. standard. mr. waite's book will put _every one_, who shall obey its instructions, in the way of riding _well_; for it does as much as a book can to teach the theory of the art. it is a book to be purchased and carefully read by every one, not an experienced horseman, who purposes to ride or buy a horse, and even the _experienced_ horseman will find in it _valuable_ information. morning advertiser. this work reflects high credit on mr. waite for its practical lucidity, and the pleasing manner in which the instructions are imparted. his directions for _curing_ the acquired _bad_ habits of horses, too often the results of ill usage, or violence of ignorant grooms and horse-breakers, are excellent. the position of the saddle, the proper fixing of it and the bridle, the _best_ method of mounting, position in the saddle (illustrated by diagrams), are carefully and sensibly treated on. the third section, "advice to ladies," is novel, and the hints _invaluable, not only to the fair sex, but to those who may have to instruct them in the graceful art of equitation_. morning chronicle. in bringing under notice a new book, practical and highly amusing, upon the noble art of horsemanship, which has emanated from the pen of a well-known and accomplished professor thereof, we have pleasure in stating the reader will find in these pages excellent practical hints and sound suggestions on the art of riding well; and, in the manner of training and treating horses we sincerely concur with, and we honour and respect mr. waite, when he so forcibly inculcates kindness and gentleness, though combined with firmness, as essentials in the education and treatment of the horse; hardships, cruelty, and neglect he strongly deprecates. the instructions in the proper seat and carriage on horseback, the management of the whip and rein, are minutely explained, and of the greatest utility. he is particularly attentive to the ladies, and admitting the power they lose by their peculiar seat, he gives the best recommendations for remedying the evil, as far as possible, by securing an exactly central fix upon the saddle, the best form of which he learnedly discusses. speaking seriously, all fair riders ought, for their own sake, to profit by his advice, the result of long experience. sunday times. mr. waite, an _experienced professor_ of the art, has given us a hand-book, _in which_ will be found a great variety of instruction, by which the equestrian will receive such directions for the management of his horse, under a variety of circumstances, as must prove of _great value_ to him. observer. this work is _evidently_ the production of one who has acquired a _thorough_ acquaintance with the subject, and who, moreover, possesses the _rare advantage_ of communicating his instructions in a manner peculiarly _ample_ and _clear_. we have seen _no_ other work in which such a variety of information on the subject is embraced. the advice to ladies is most valuable. mr. s. c. waite, author of "the equestrian's manual," (_dedicated to h.r.h. prince albert,_) with advice to purchasers of horses, &c., and originator of the improved military seat (obviating ruptures), and positions for ladies and gentlemen on horseback.--(vide _opinions of the press, april, 1850._) mr. waite has been requested by a numerous circle of personal friends to submit to the notice of the public an ointment, proved to be invaluable to the owners of racing and hunting establishments, breeders, farmers, &c., for restoring hair on broken knees, and where it has been lost, through accidents, disease, blistering, firing, &c., &c.; it is likewise available for dogs in reproducing hair, bare from mange, scalds, burns, and abrasions. mr. waite obtained the above valuable recipe from the late celebrated and eccentric character, patrick jones, of dublin, familiarly known in military and sporting circles, and throughout the kingdom, as "old paddy," who, after an unfailing success in its use, in all parts of the world (where called by his military duties), for a period verging on eighty years (and by him obtained from his father), on his death-bed, in 1853, confided the secret to the present proprietor. to be had in pots at 3_s._, 5_s._, 8_s._, and 17_s._ 6_d._, and in 8lb. canisters for hounds after mange, &c., &c., at £4. 4_s._ testimonials. _from_ dr. bunting, _the great american horse tamer and breaker_. 2, onslow terrace, brompton, _may 22nd, 1859._ sir,--i beg to certify that i have used your "old paddy jones's ointment" for restoring hair on horses and dogs, in _numerous_ cases of valuable horses, and in _no instance_ has it failed in its efficacy, and i consider it to be invaluable to every establishment where horses and dogs are kept. in future, i shall never be without it. wishing you every success, believe me to be truly yours, j. g. bunting. s. c. waite, esq., _brompton._ patent american break office, mason's riding school, brompton, _july 7th, 1859._ sir,--having used your "old paddy jones's ointment" for restoring the hair on horses and dogs, i have great pleasure in testifying to its _good_ qualities in all the cases i have had in hand, and think it will be a _great boon_ to all keeping either a horse or dog. i remain, sir, yours obediently, to s. c. waite, esq., henry hurst. _brompton._ robert hardwicke, printer, 192, piccadilly. transcriber's note the following typographical errors were corrected. page error 37 mettle some changed to mettlesome 51 that a gentleman changed to that of a gentleman transcriber's note obvious typographical errors have been corrected. a list of corrections is found at the end of the text. inconsistencies in spelling and hyphenation have been maintained. a list of inconsistently spelled and hyphenated words is found at the end of the text. the lady and her horse, being hints selected from various sources and compiled into a system of equitation. by major t. a. jenkins. madras: printed and published by pharoah and co. athenæum press, mount road. 1857. contents. _page._ introductory address 1 preparatory remarks 2 directions for mounting 5 the seat and balance 7 holding the reins 10 aids and indications 11 guiding 16 animations 22 soothing 21 corrections 25 vices 26 paces of the horse 33 leaping 39 road riding 41 dismounting 46 concluding remarks 48 equitation. introductory address. "what delight to back the flying steed, that challenges the wind for speed! seems native more of air, than earth! whose burden only lends him fire! whose soul is in his task, turns labour into sport and makes your pastime his!" '_love chase._' "the chief point in horsemanship", colonel greenwood observes in his "hints on horsemanship" "is to get your horse to be of your party; and not only to obey, but to obey willingly,"--"good riding as a whole is indeed no trifle, and is worth acquiring by those whose pleasure or business it is to ride, because it is soon, and easily acquired, and when acquired it becomes habitual, and is as easy, nay much more so; and infinitely more safe, than bad riding. good riding is an affair of skill, but bad riding is an affair of courage." yet, in no other art, are there so many self-thought amateurs. many ladies have a decided objection to going through the ordeal of a riding school; others have no opportunity of obtaining instructions, and the generality consider, that they are in possession of all that can be acquired upon the subject, when they have discovered a mode of retaining the seat, and guiding the horse; but to those who wish to sit a horse through all his paces, firmly, yet gracefully, to have the animal entirely under command, and as if imbued with one intelligence, to unite boldness, with modesty, and employ energy, without losing delicacy, these hints are addressed. preparatory remarks. _a lady's riding dress_, should be neat, and compact, at the same time she should carefully avoid the slightest approach to a _mannish_ appearance; she may study the becoming, provided there be nothing in her whole toilette likely to become disarranged or loosened by wind, or violent exercise. the hair should be so arranged that it cannot be blown about the eyes, and the hat should be perfectly secured on the head. so much for outward appearance, in other respects comfort alone should be studied. _the whip_, should be light, and stiff. when too pliable, a lady frequently touches her horse with it unintentionally, thereby teasing and exciting him, and moreover such a whip is useless as an "aid." _the lady's bridle_, should be, what is called a double bitted bridle, consisting of a bit with a curb-chain; and a snaffle, two separate head-stalls, united by one brow-band, each, with a separate rein. the _curb-bit_ is a very powerful implement, the best for all purposes is a light one; in choosing a bit for a horse, the distance between the cheeks, should accord with the width of the horse's mouth; they should be of an average length, and the mouth-piece should be only sufficiently arched, to admit of the horse's tongue passing freely underneath it. the bit should be placed in the horse's mouth, so that the mouth-piece be one inch above the lower tusk, the curb chain should be laid flat, and smooth under the jaw, and so loose, as to allow a finger to pass freely inside of it. the _snaffle_ acts as an auxiliary to the curb-bit, and is placed above it in the horse's mouth, it should bear slightly upon the corners of the mouth, but not so as to wrinkle the cheeks. for a person who has not a light hand, the curb-bit may, with advantage, be placed a little higher in the horse's mouth; and when the mouth may be wanting in delicacy, it may be lowered a little, but it should never touch the tusk, or it will fret the horse. the _reins_ should be soft, flexible, and of a good quality, the rein which is attached to the curb-bit is usually fastened in the centre by a sewing, while that attached to the snaffle may be known, by its having a small buckle in the centre. _throat-strap_ should not be buckled too tightly, but only sufficiently so, to prevent the headstalls of the bridle, from getting out of place. _martingales_, though frequently used, are very seldom necessary if the horse has been educated, and taught to carry his head properly, and to be _obedient to the bit_; but if a horse carries his head high, or be unsteady and fretful, then a light running martingale will be found of service; it must however be attached to the snaffle reins, and never to the curb-bit reins. the _saddle_ should be roomy, but not too large, it should in short, be made to fit the person. the third crutch is indispensable, as it renders the seat so much more secure, and if properly fitted, it never incommodes the rider. the saddle should be placed on the horse's back, so as not in the least to interfere with the action of the horse's shoulder, and care must be taken that the pad, or stuffing, only rests on the horse's ribs, leaving in the centre a thorough channel, over the spine. _the lady's horse_ should be good tempered, free and willing, for a sluggish horse is the most unpleasant of any to a lady; but he must not be restless, nor impatient in company: he should be steady, and safe on the roads, smooth in all his paces; and with these natural qualifications which are essential, he must be properly broken, and taught to go collectedly in all his paces; and particularly to lead off in a canter with the right leg; to arch his neck on the reins being felt, to be obedient, and light in hand; it is further desirable that the horse should possess elegance of figure, power, and action, with speed in all his paces. however, much will depend upon the person, for whom he is intended, as a timid rider would be alarmed by the sprightliness of a free going horse, which might perfectly suit a lady with a light hand, and a steady seat. a young horse is naturally unsteady, the beau ideal of a lady's horse, is an officer's charger, about ten years old, as he still possesses life and spirit, without the freshness of a colt. directions for mounting. the lady holding the falling folds of her habit in both hands, walks up to the horse's head, or side; but never behind him, lest he should kick at her. there should be two persons in attendance, the groom should stand before the horse's head, with a hand on each side of the bridle, close to his mouth, to keep him steady; the gentleman takes the reins in his left hand, separating them with his forefingers, the lady receives them in her right hand, in like manner, and lets them glide gently and evenly through her fingers, until her hand reaches the near crutch, which she takes hold of; and having passed the whip over the saddle, she holds it also in her right hand. standing close to the near side of the saddle, and facing the gentleman who has taken a lock of the mane in his left hand, the lady places her left foot, which he stoops to receive, full in his right hand, lets the habit fall from her left hand, which she places upon his right shoulder, leaning thereon, and assisted by her hold on the crutch, she springs up from her right instep, as uprightly as possible, having been careful not to place her left foot too far forward, but keeping it directly under her, she straightens her left knee and assumes an upright position; the gentleman, when he feels her spring, accelerates the movement, by simultaneously lifting his hand high enough, to place the lady on the saddle, she steadying herself, by the hold she has with her right hand, seats herself, and places her right leg between the two outward pommels, the gentleman places her foot in the stirrup, and she takes the reins in her left hand. to adjust the habit, the lady raises herself by placing her right hand on the off pommel and standing in her stirrup, the gentleman shakes the back part of the skirt into its place, she re-seats herself, and raising her right knee to free the habit, the gentleman assists to adjust the front part of the skirt by gently drawing it forward. the seat and balance. a lady seldom appears to greater advantage than when mounted on a fine horse, that is, if her deportment be graceful; and her position corresponds with his paces and attitudes; but the reverse is the case, if, instead of acting with, and influencing the movements of, the horse, she appears to be tossed to and fro, and overcome by them. she should rise, and descend, advance, and stop with, and not after the animal. from this harmony of motion results ease, elegance, and a good effect. the lady should sit in such a position, that the weight of her body may rest on the centre of the saddle, and so far back, as just to admit of her right leg passing easily round the crutch, for if the knee be too far forward, the seat will be very insecure; the right foot should be flat to the saddle, the toe turned downwards, that it may not be seen through the habit, when a firmer seat is required, the heel should be depressed, as doing so, will tend to brace the muscles of the leg, and give a firmer hold on the crutch. the _left leg_ and knee must be in close contact with the saddle, from the knee the leg should fall in a natural position, the foot should be parallel to the horse's side, and close to it, the heel slightly depressed. the stirrup leather should be adjusted accordingly, as it is only of use, to support the foot in its proper position, too long a stirrup throws the rider on one side, and raises the right hip, too short a stirrup again, forces the knee outwards, and throws the seat too much to the right, giving to the rider a distorted appearance. a small strap fastened to the surcingle about two inches above the stirrup, passing round the stirrup leather, with a play of about three inches, adds greatly to the security of the seat, as it prevents the leg from flying out from the saddle. the _arms_ should hang straight down from the shoulder, nearly close to the sides, but not stiffly, the elbows bent, and the hands level with the elbows, the right arm and hand, when not occupied with the reins, may be allowed to hang straight from the shoulder. the whip should be held with the lash downwards, between the two fingers and thumb. the whip may also be carried in the manner adopted by gentlemen; but care should be taken that its point does not tickle, or irritate the horse. _the proper position of the bridle hand_, is immediately opposite to the centre of the waist, and about three or four inches from it, the wrist should be slightly rounded, the back of the hand to the front, the knuckles opposite to the horse's ears, the thumb uppermost, and pressed over the third joint of the finger. the hand should not be allowed to move across the body, all the movements being made by the wrist. the arm from the shoulder to the waist, must be one continued spring, impulsive to the motion of the horse's head, moving backwards and forwards as he moves, for if it be not so, the horse's mouth will be spoiled by the dead pull upon it. the _body_ must always be in a situation, as well to preserve the balance, as to maintain the seat. the shoulders should be thrown back, so as to open the chest as much as possible. the rider should look in the direction, and lean to the side the horse is turning to, which is in fact the _necessary balance_. holding the reins. there are various ways of holding the reins, depending upon fancy, and circumstances; such as the fineness of a horse's mouth, and the delicacy of the rider's hand. _holding a single rein._--the rein is taken in the centre where the joining is, between the fore-finger and thumb of the right hand, and drawn towards the body, the left hand is placed over the reins, and the little finger is inserted between them; the hand is then closed, and the reins are drawn through the fingers, by the right hand, until a proper feeling is obtained upon the horse's mouth; the loop end of the rein is allowed to drop over the fore-finger, and the thumb is placed upon the rein, to prevent its slipping. _holding a double rein._--the curb rein being held as directed, the loop of the snaffle rein is placed over the curb rein in the palm of the left hand, or, to have a double bearing upon the horse's mouth, the rein may be drawn, till the required tension is obtained, the left rein lying over the curb rein in the palm of the hand, the right snaffle rein, passing between the second and third fingers. in dividing the reins with the little finger, the right rein, which passes over that finger, is always a little longer than the other, and requires to be shortened, if this be not attended to, the horse will be ridden chiefly upon the left rein, his head will be bent to the left, and he will not be looking the way he is going. _holding the curl and snaffle reins separated._--the curb being held as directed in the first described method, the snaffle rein is taken in the same manner, in the right hand, below the left; the principal bearing is brought upon this rein, which keeps the horse's head steady, while with the left hand the horse's mouth is kept alive, by a play on the bit, giving and taking, but, at the same time retaining a light bearing upon the horse's mouth. this is an excellent method for holding the reins with a fiery, high actioned horse, not up to hand. _adjusting the reins._--the rider should take hold of the loop end of the rein, and draw it through her hand until the proper bearing and tension has been obtained. aids and indications. all those motions of the body, the hand, the leg, and the whip, which either indicate the rider's wishes, or in some degree assist the horse to perform them, are, in the art of riding denominated 'aids;' in their execution, a perfect combination, and the greatest uniformity, exactness, and delicacy are required. _the indications of the hand_ are of two sorts, guiding and retaining, those of the leg and whip, are also of two sorts, guiding and urging. the aids serve to put the horse in movement, to direct, and to stop him; they should not only decide the pace which the horse is to take, but also signify to him, the rate at which each pace is to be executed, and also determine his carriage during the performance of it. the power of these aids, and the degree of severity to be used, must be governed by circumstances, and the sensibility of the horse. _the hand_, being placed holding the reins, as previously described, and the reins being drawn to that determined length, that the bracing of the muscles of the hand would rein the horse back, and the easing of them permit him to advance freely; if the hand be held steady, as the horse advances in a trot, the fingers will feel by the tightening and loosening of the reins, a slight sensation or tug, occasioned by the measure or cadence of every step, this sensation or tug, which is reciprocally felt in the horse's mouth, by means of the correspondence between the hand and the mouth, is called the appui; and while this appui is preserved, the horse is in perfect obedience to the rider, the hand directing him with the greatest ease, so that the horse seems to work by the will of the rider, rather than by the compulsion of the hand. when a horse is ridden on a snaffle, he only feels the direct pull more or less of the rider's hand, with a curb-bit in his mouth the effect is different, and more powerful, on account of the lever which tightens the curb-chain on the horse's jaw. a curb in a rough and uneven hand, becomes an instrument of extreme torture; the hand should always be firm, but delicate, the horse's mouth should never be surprised, by any sudden transition of the bearing from tight to slack, or from slack to tight, every thing in horsemanship should be effected by degrees. the rider should never rest her hand upon the pommel, as by doing so, she at once destroys the sympathy which ought to exist between the hand and the horse's mouth. _fineness of mouth_, means a mouth that is perfectly trained, and responds to the determined action of a sensitive hand. the acquirement of the bearing upon the horse's mouth, the turning the horse upon the proper rein, the power of collecting the horse, and retaining him on his proper balance, smoothness of indications, in the shortening of the reins, and the working together of the hand, leg, and whip, are the unseen, and unappreciated foundation, upon which good riding stands; these, and not strength, nor violence commands the animal, with these, the horse will rely on the hand, comply to it, and without force on the rider's part, he will bend to the hand in every articulation. without these, however unintentional on the rider's part, she will be perpetually subjecting him to the severest torture, to defend himself against which, he will resist the hand, poke his nose, stiffen his neck, and every other part of his body; for the horse can endure no greater torture, than that resulting from an uneven hand. _the leg and whip._--the leg should hang straight from the knee, easy and steady, and be near to the horse's sides; the pressure being increased as occasion required, but the size and substance of the flap of the saddle, in numerous cases, renders the pressure of the leg nugatory, therefore, as the whip is the chief additional aid a lady has to depend upon, its exact management ought to be reduced to a perfect science. every movement and touch of the whip must be made for purpose and effect; it can be used on both sides of the horse, as the case may require; the lady will have no difficulty in using it, on the right, or off side of the horse: but to use the whip on the near side requires caution and address. to strike the near forehand; the lady should raise the whip gently to an upright position, holding it with a firm grasp, she should then let the whip suddenly descend along the shoulder, and instantly remove it: she should be careful not to strike the horse on any part of the head except in cases of vice. to strike the near hind quarters, the lady must pass her right hand gently behind her waist, as far as the arm will reach, without distorting the body; and holding the whip between the two first fingers and thumb, strike the horse. this position is most excellent practice, by compelling the pupil to draw in her waist to its proper place: and until a lady can perform it easily, without disturbing the position and action of her bridle hand, she will fail in attaining a graceful and elegant carriage. the whip on the one side, pressed to the horse's side, corresponds with the leg on the other, but except in moving straight-forward, they should not be applied opposite to each other; that the pressure of one, may not counteract the effect of the other; thus the one intended to communicate a forward impulse, should be applied further forward, to keep the horse up to hand, than that, which communicates an impulse to the horse to step side ways, which should be applied behind the girth. the rider must always bear in mind, that every movement of the bridle, the leg, and of the whip, is felt, and responded to, by the sensitiveness of the horse; when she errs, the horse goes wrong, it is therefore indispensable that they should act in conjunction. guiding. the horse, previous to moving forward, should be made to collect himself, to arch his neck, and to stand evenly upon both his hind legs, for thereupon depends the balance of the horse's body, his lightness in hand, and proper carriage. _to advance._--the lady should call the attention of the horse, by an increased bearing upon the reins, and at the same time should animate him, by closing the leg, and using the whip gently on the right flank; having communicated a sufficient impulse to the horse, to carry him forward, she should at the same moment, by turning up the back of her hand, ease the pressure upon the reins, and prevent him to move forward: but she should not slacken the reins, because by doing so, the horse's head and neck may relapse into a position, which the hand cannot control. to turn the horse, colonel greenwood in his book of "hints on horsemanship" observes, "when you wish to turn to the right, pull the right rein stronger than the left; this is common sense--the common error is, when you wish to turn to the right, to pass the hand to the right, by which the right rein is slackened, and the left rein tightened, across the horse's neck; and the horse is required to turn to the right, when the left rein is pulled." _to turn to the right._--the hand, holding the reins the proper length, and having a correct appui or feeling of the horse's mouth, must not be moved from its position, in a line with the crest; but the tightening of the rein, must be effected, by turning the wrist; the little finger, with the first joint pressing against the rein, is raised, and turned towards the right shoulder; thus giving a double feeling, or pressure upon the right rein, and turning the horse's head in the desired direction, the pressure of the left rein against the neck, which follows, induces the horse to turn to the right. or the right hand may be placed upon the right rein, to tighten it. the pressure with the left leg, should at the same time be increased, to prevent the horse from throwing his hind quarters too much outwards, or to the left. the rider's body should incline inwards, and face the direction turning to. if the whip be used, it should be applied upon the left shoulder, with a continued pressure, till the turn has been completed. _to turn to the left._--the lady should increase the bearing upon the left rein, by turning the back of her hand downwards, so as to bring the little finger towards the left shoulder; at the same time, she should apply the whip to the horse's right flank, to make him collect himself, and to prevent him, from throwing his hind-quarters too much to the right; when the horse has completed the turn, the bearing and pressure should be equalized, to induce the horse to move straight forward. the horse, when at a stop, may be made to turn quite round by making him move his hind-quarters only. _to circle the horse to the right, on his fore-hand._--the lady should apply her leg, to the horse's side, as far back as she can; to induce him to step to the right, with his hind legs; at the same time, she must increase the bearing upon the left rein; if the horse does not readily obey the pressure of the foot, she may pass her hand behind her waist, and touch the horse with the whip gently on his left flank. _to circle the horse to the left, on the forehand._--the lady should apply the whip gently to the horse's right flank, to induce him to step to the left, she should have a double bearing upon the right rein, and she should at the same time press her foot against the horse's side, as far forward as she can, to oppose the movement of the fore-legs. the horse can be made to turn on his hind legs, by the movement only of his fore-hand. the lady _to turn the horse to the right_, must apply her leg as far back as possible, to keep the horse's haunches steady; at the same time, she should with the bit, bend the horse's head a little to the right, to induce him to step with his fore-feet to the right. if necessary, the whip may be used, by gentle touches upon the left shoulder. _to turn on the haunches to the left._--the lady must press her whip on the horse's right flank, and her leg, against his side as far forward as possible, at the same time, she should communicate an impulse to the horse, to step to the left, to turn the horse quite round when in movement; the lady should first bring her horse to a momentary stop, and then proceed to turn him. _to stop._--the lady must close her leg smartly to the horse's side, to make him bring his haunches under him; at the same instant she must increase the bearing upon the reins, gradually yet firmly, by turning the back of her bridle hand downwards, and drawing it back, and upwards; the body should also be thrown backwards, to give weight to the pull: as soon as the horse has obeyed the check and remains still, the lady should ease the bearing upon the reins. if the lady does not give an impulse to the horse, by the pressure of her leg to his side, to bring his haunches under him, but merely pulls the bridle, the horse might be stopped by strength of arm, but it would be entirely on his fore-hand; and she would be thrown up and down in her saddle, in a very helpless way. the stop should not be made too suddenly. _reining back._--the great use of reining back, is to render the horse obedient, and tractable. the lady should first make her horse collect himself, when well balanced, she should communicate an impulse to the horse, by the pressure of her leg and whip to his sides, to induce him to raise one of his hind feet, at the moment of his doing so, she should double the feeling upon both reins, by drawing her hand back, and turning her little finger up towards her chest; the horse, to recover his balance, will step back. the movement of the hand must be repeated, at each step of the horse; should the horse bring his haunches too much under him, the bearing upon the reins must be eased, and the pressure of the leg and whip, increased, to give him a forward impulse. the horse must not be allowed to hurry, or run back out of hand, nor to diverge from the straight line; he should be guided, by an increased pressure of either rein, as may be necessary, and by an additional pressure with the leg, or whip, to keep his hind-quarters in the desired direction. _reining in._--the object desired is, to make the horse assume a more correct balance. the lady should shorten her reins a little, by drawing them through her left hand, thus keeping the bit-hand low and steady, with an extra bearing upon the reins; she should with her right hand, play with the snaffle rein, and at the same time, communicate to the horse a forward impulse; the horse feeling the bit to be an insurmountable obstacle, will, in place of throwing his weight forward, bring his haunches under him. should the urging indication be applied too abruptly, the horse may throw so much weight forward, as to pull the reins out of the rider's hands; if used judiciously, and controlled by the hand, the horse will collect himself, arch his neck, champ the bit, and be ready for any movement. this practice gives the horse confidence, for most young horses are afraid of the bit; and if frightened by too sudden a jerk upon the reins will never after, go kindly up to hand. the lady having learnt the indications necessary, to induce the horse to move either, his fore-hand round his haunches, or his croup round his fore-hand; may next proceed to apply them, so as to induce the horse to move diagonally, or sideways. _shoulder in._--in this movement the horse's body is bent more or less. the pupil should separate her reins, and take one in each hand, holding them rather short; if the horse is to move to the left, her right hand must be drawn back to her hip, to bend the horse's head to the right, her left hand should be advanced to guide the horse, she must apply her whip by light touches to the horse's right side, in line with the girths, to induce him to step diagonally. _passaging._--signifies moving side ways.--if the retaining and urging indications be given with equal force, but the right rein be felt the stronger, the horse will incline to the right; to induce him to move his hind quarters also in that direction, the urging indication upon the left flank must be increased, by the rider applying her leg to the horse's side, as far back as she can, if necessary, she may pass her whip behind her waist, and touch the horse with it, on his left flank. in passaging to the left, the whip should be used by gentle touches, on the horse's right shoulder, or flank as may be necessary. the rider should lean to the side, the horse is moving to. animations. _animations_ are intended to produce greater speed, or to render the horse more lively, and on the alert, without increasing his pace; some horses scarcely ever require animations, while others are so dull, and deficient in mettle, as to call them frequently into use. the slightest movement of the body, the hand, or the leg, is enough to rouse the well bred, and thoroughly trained animal; but it is necessary with sluggish horses, that the animations, to be so spirited and united, as almost to become corrections: in fact, what is mere animation to the one horse, would be a positive correction to another. animations should be used in all cases, when the horse, contrary to the rider's inclination, either decreases his speed, droops his head, bears heavily and languidly upon the bit, or begins to be lazy and slovenly in the performance of his pace. a good rider foresees the necessity for an animation, before the horse actually abates his speed, or loses the _ensemble_ of his action, and the grace and spirit of his deportment. it is much easier to maintain, than to restore a horse's animation; therefore, the whip, the hand, the leg, or the voice, should do its office a few moments before, rather than at a time, when doing so has become indispensable. a slight motion of the fingers of the bridle hand, serves as an excellent animation; it reminds the horse of his duty, awakens the sensibility of his mouth, and preserves a proper correspondence between that, and the hand. when it is necessary to recur to animation frequently, they ought to be varied; even the whip, if it be often used, unless with different degrees of force, will lose its effect. soothings. we should endeavor, as xenophon observes, "to make ourself to our horse, the organ of pleasure, and that he should associate with our presence, the idea of the absence of pain." horses are by degrees made obedient, through the hope of recompense, as well as the fear of punishment; to use these two incentives with judgment, is a very difficult matter, requiring much thought, much practice and good temper; mere force, and want of skill, and coolness, tend to confirm vice and restiveness. the voice, the leg and the whole body, may be employed to soothe and encourage. high mettled or fretful horses, it is often necessary to soothe, and timid ones to encourage. a spirited animal is frequently impatient when first mounted, or if a horse or carriage pass him at a quick rate; in either case, the rider should endeavor to soothe her horse, by speaking to him in a calm gentle tone; she should keep her whip as motionless as possible, taking even more care than usual, that its lash do not touch his flank, her seat should be easy, her leg still, and her bridle hand steady. the perfection of soothing consists in the rider sitting so still, and easy, as not to add in the least, to the horse's animation, at the same time being on her guard, so as to be able to meet any contingency that may occur. corrections. the best horse sometimes requires correction, but the sooner a lady gets rid of a horse that she is compelled to _flog_, the better; the effect is most unpleasant, though the éclát may be great, and such a sight would destroy every previously formed idea of her grace and gentleness: moderate corrections are however some times necessary, and the lady should make no scruple of having recourse to them when absolutely necessary, but not otherwise. the best way to correct a horse is to dishearten him, and make him do what he would fain avoid, not so much by force and obstinate resolution, in contesting with him openly, and directly, when he is perfectly prepared to resist; as by a cool opposition, and indirect means. there are different methods of attaining the same end, and those which are the least obvious to the animal should be adopted; a lady cannot rival him in physical strength, but she may conquer him by ingenuity, or subdue him by a calm determined assumption of superior power: severe flogging seldom produces good effect, and all quarrels between a horse and his rider should be avoided; on the other hand, too much indulgence may induce him to think that she is afraid of him; should he do so, she will find that he will exercise every means to convince her, that he considers himself her master, instead of acknowledging by implicit obedience, that she is his. when it is necessary to use the whip as a correction, it should be applied, by giving the horse two or three smart cuts in a line with the girths, or on the shoulder. the lady should not fret her horse, by continually tapping him with the whip. vices. the word vice, is used to signify those actions which arise from a perverse, or mischievous disposition--those, in which the horse opposes his own will, to that of his rider, or those in which he purposely attempts to injure other horses, or the persons about him. a lady certainly should not ride any horse, that is addicted to shying, stumbling, rearing, or any other kind of vice; but she ought nevertheless, to be prepared against their occurrence; for, however careful, and judicious those persons, by whom her horse is selected, may be, and however long a trial she may have had of his temper, and merits, she cannot be sure, even with the best tempered horse, that she may not have to exercise her skill, to save herself from danger; she should therefore, be prepared against frailty, or accident. when a horse resists, or suddenly becomes uneasy in his gait, instead of punishing the animal; the bridle, saddle, girths, &c., should be examined, to ascertain the cause, and remedy it. for want of this necessary precaution, the poor animal is often used ill, without reason, and being forced into despair, is in a manner obliged to act accordingly, be his temper and inclination ever so good. _weakness_ frequently drives horses into being vicious, when any thing beyond their strength is required of them: great care should therefore be taken, to ascertain from what cause the opposition arises. _resistance_ in horses, is often a mark of strength and vigour, and proceeds from high spirits, but punishment would turn it into vice; a timorous rider, or a passionate person, would alike spoil the horse; the former, by suffering him to have his own will, establishes bad habits, and creates new ones; for horses find out many ways, and means of opposing what is demanded to them; many will imperceptibly gain a little every day on their riders; the lady must however always treat the horse kindly, at the same time show him that she does not fear him. the other, from want of reason, and temper, enrages the horse, and causes him to become vicious. horses of a bad disposition or temper, are exceedingly subtle, and watch their opportunity; they first, as it were, feel for their rider's firmness of seat, and her resolution, and are sure to defend themselves upon that point, on which they expect she will attack them; now, the object of the lady in this contest must be, to frustrate the horse's intentions, and protect herself from injury in the struggle. some horses have a vicious habit of _turning round suddenly_; instead of endeavouring to prevent him, in which the lady would in all probability be foiled, were she to try to do so by force; the better plan is, to turn the horse smartly round to the side to which he is turning, until his head has made a complete circle, and he finds to his astonishment, that he is precisely in the place from which he started. should he, on the lady attempting to urge him forward, repeat the trick; she should pull him round on the same side three or four times, and assist the hand in doing so, by a smart aid of the whip, or the leg; while this is doing, she must take care to preserve her balance, by an inclination of the body, towards the centre of the circle which is described by the horse's head in his revolution. the same plan may be pursued, when the horse endeavors _to turn a corner contrary to the wish of his rider_; and if he be successfully baffled three or four times, it is most probable that he will not renew his attempts. when a horse _refuses to advance_, and probably whipping would increase his obstinacy, or make him rear, or bolt away in an opposite direction, it is advisable, on the same principle, to make him walk backwards, until he evinces a willingness to advance: should the rider not mind her horse giving a kick or two, a couple of smart cuts over the croup, will generally prove successful. should a horse _back into difficulties_; he must be turned with his head towards the danger, and then backed off, until there be sufficient room to handle him. restive horses, and even docile animals when put out of temper, sometimes _rear up against a wall or a carriage_; an inexperienced rider, in such a situation, would strive to pull his head _from_ the wall, which would bring her knee in contact with it, consequently, all further chastisement thereupon ceases; for were the rider to make her horse plunge, her legs would be crushed against the wall, the horse discovering the rider's weakness, and that punishment had ceased; would turn it to her disadvantage, and on future occasions fly to the wall for shelter. instead of _from_ the wall. the horse's head should be pulled _towards_ it, so as to place his eye, in place of his rider's knee, against it. she should use her leg, and whip, to force the croup out, when the horse can be easily backed off, and he will never go near a wall again. some horses will _stand stock still_, if ladies have the patience to sit on their backs, and keep them in the same spot for a time, it is the most proper punishment for such an offence, and will surely cure that mode of defence. when a horse begins to _kick_, the rider must bear forcibly upon his mouth, and keep his head up, at the same time, she should press her leg to the horse's side, keeping her body well back, to save herself from being thrown forwards. she should use as little coercion as possible, and be careful to preserve her own temper, and her seat; should the horse, in spite of her exertions, get his head down; she must endeavour to give him a smart blow with her whip on his head, which will induce him to throw it up, and thereby stop his kicking; should an opportunity occur, she should also try to give the horse, two or three smart turns; this may also be done with effect, as a preventative, should she detect any incipient attempts in the animal to kick. _rearing_ is a bad vice, and in weak horses especially, a dangerous one. when the horse rears, the rider must cease to bear upon the mouth, she should lean her body well forward, towards his neck, and with her right hand take hold of the mane, to save herself from falling off, or pulling the horse backwards upon her; as the horse comes to the ground with his fore-feet, not before, she should give him a few smart cuts with the whip on his croup, to force him forward, and endeavor to pull him round two or three times, and thus divert him from his object; the latter course may also be adopted to prevent rearing, if the rider can foresee the horse's intention. if a lady have the misfortune to be mounted on a _runaway_ horse, she may avoid evil consequences, if she can but contrive to retain her self-possession. she must endeavor also to retain her seat at all hazards, sitting well back and perfectly quiet, for the least symptom of alarm on her part, will increase the terror, or determination of the horse. she should not attempt to throw herself off the horse, except in cases when the horse may be taking her into imminent danger; she should separate her reins, holding the curb in her left hand, and the snaffle in her right, and pull at each alternately; which renders the mouth more sensitive, than a dead heavy pull upon any one bit, and the horse consequently more obedient to the hand. should an open space present itself, turning a horse in a circle, will frequently bring him up in a few seconds. _plunging_, is very common amongst restive horses. if the horse continue to do so in one place, or backing; he must be urged forward; but if the horse does it flying forward, he should be kept back, and ridden slowly for some time. _starting_, often proceeds from a defect in sight, which therefore should be carefully looked to. when a horse starts or shies, no notice should be taken of the movement, further, than to meet him, with the proper bearings and pressures, to compel him to move in the true direction; should he however, be alarmed at an object, and instead of going up to, or passing it, turn round; he should be soothed, and brought up gently to it, caressed at every step, he advances. to attempt to force the horse up to the object he dreads, would not only be ridiculous and dangerous, but the punishment would add to the alarm, and the horse would take an early opportunity to shy afresh, at the first strange object that presented itself, and very probably he would add another start, in anticipation of the chastisement that might be in store for him. thus, what was originally a failing from defect of vision, or ebullition of spirit from over feeding, or want of proper exercise, becomes a vice rooted, and confirmed, and of a dangerous character. when passing an object that the horse may be alarmed at, his head should be turned away from it, rather than towards it, a good rider thus prevents her horse from shying, while the young and bad rider, by the reverse treatment, of pulling a horse's head towards the object, and whipping him up to it, makes her horse shy. the horse should never be allowed to evade passing the object, but he should be got past in the manner, that occasions the least alarm to, or contention with him. when the horse starts, the rider should instantly direct her eyes to the horse's ears, when her body will naturally take the same direction that the horse shies to, but if her eyes be directed to what the horse shies from, she may loose her balance, and fall. paces of the horse. the _walk_ is the least raised, the slowest, and the most gentle of all the paces; but it should be an animated quick step, and to be pleasant to the rider, it must be true; that is, it should be conducted by a harmonious elevation and setting down of the feet, each foot being dropped flat on the ground, and not, as is too often the case, the toe being placed first, and then the heel. one lady by a good seat and hand, will cause her horse to carry his head, with his neck arched, and to elevate and extend his limbs, the one in unison with the other; another, by her bad hand, and seat, will bring the horse she rides, to step short, and irregular, and so mix his trot, with his walk, as to do little more than shuffle over the ground. previous to urging the horse into a walk, the lady should ascertain that he is well in hand, and on his proper balance; then, by turning her hand, with the little finger towards her breast, she must increase the bearing upon the horse's mouth, to draw his attention, and at the same instant, she must communicate to him, by closing the leg, and using the whip gently upon the right side, a sufficient impulse to carry him forward, easing, as he advances, the bearing upon the mouth, by the hand resuming its proper position, but she must not slacken the reins. in the walk, the reins should be held so that the rider have a delicate, but distinct feeling of the horse's mouth, to cause the horse to carry his head in a proper position, and to keep time in the beats of his action, but not held so tightly, as to impede the measurement of his steps, or to make him, on being slightly animated, break from a walk into a trot. the rider's body should be erect but pliable, neither obeying too much the action of the horse, nor yet resisting it. if the horse do not exert himself sufficiently, or hang on the bit, he should be animated, by a play on the snaffle bridle; should he break into a trot, he must be checked, but the bearing upon the reins, must neither be so firm nor continued, as to make him stop. _the trot_, is a more animated pace. to make the horse advance from the walk into a trot, the horse must, with the leg and whip, be urged into greater animation, at the same time retained, by an increased bearing upon the reins. the lady must be careful, to retain the lightness in hand, without counteracting the impulse necessary to the movement, when the animal will proceed with that safety, which is natural to a horse balanced and light in hand. when the horse trots, the lady must preserve her balance, steadiness and pliancy, as in the walk; the rise in the trot, is to be acquired by practice; when the horse in his action raises the rider from her seat, she should advance her body, and rest a considerable portion of her weight, upon her right knee; by means of which and the bearing of her left foot upon the stirrup, she may return to her former position, without being jerked; but she must carefully time her movements to the horse's action, and the closer she maintains her seat, consistently with her own comfort the better. the _canter_, and _gallop_, are paces of still higher animation; the canter is a repetition of bounds, during which the forehand raises first, and higher than the hind quarters; it is the most elegant and agreeable of all the paces, when properly performed by horse and rider; its perfection consists in its union and animation, rather than its speed. a horse may canter false, disunited with the fore, or disunited with the hind legs, for instance, if a horse is cantering in a circle to the right, leads with his near fore leg, followed by the near hind leg, he is cantering false. if leading with the near fore leg, the off hind, remains further back than the near one, he is said to be disunited; if leading with the proper fore leg, the off hind remains further back than the left, the pace must be rectified. the lady should learn to ascertain by the motion of the horse, if his canter be false or true, and she should acquire the means, of making him rectify his action. a horse must not be allowed to canter with either leg leading at his own will, but must be made to do so, at the will of the rider. when cantering with the off fore-leg leading, the pace is more agreeable to the lady, consequently a lady's horse should be taught to start off into a canter, with his right leg leading. there are many opinions, as to what are the proper indications to be given to the horse, to induce him to lead with either particular leg, but considering that a horse when cantering in a circle to the right, must lead with the off-fore, and that the indications in that case are, a double bearing upon the right rein, and an increased pressure with the leg, or whip on the left side of the horse, these appear to be the most rational. to start the horse into a _canter_ with the right or off-fore leg leading. the lady having her horse properly animated, light in hand, and well balanced, should, as in the walk, draw the horse's attention, by an increased bearing upon both reins, but upon the right rein the stronger; and at the same time, by a strong pressure of the leg, or heel, and by the application of the whip to the horse's left shoulder, communicate to him, an impulse to carry him forward. if the horse hesitates to canter, she should pass the whip behind her waist, and strike the horse on his near-hind-quarter; the whip must not be used on the right side of the horse, because muscular action being retractile, doing so, would cause him to draw back his right leg, rather than to advance it before the left. to start the horse into a canter, with the left leg leading, the extra bearing must be made upon the left rein, and the horse should be touched with the whip on the right shoulder or flank. it is an excellent lesson to cause the horse to change the leading leg, when in the canter, so that upon any disturbance of pace, or change of direction, the action of the one, may be as familiar, and as easy to the rider, as the other. the lady should sit well down in the centre of the saddle, with her body perfectly upright, and square to the front, without stiffness or constraint, she must continue the bearings upon the horse's mouth, throughout the entire pace, and if the horse flags in his movements, or does not respond to the action of the bridle-hand, then the whip must be instantly applied. in turning a corner, or cantering in a curve, the lady must incline her body in that direction, to preserve her balance, and she must be careful that the bridle arm, does not acquire the bad habit, of moving from the side of the body, and throwing the elbow outwards. the _gallop_, is a further increase of pace upon the full canter, but no lady of taste ever gallops on the road, into this pace, the lady's horse is never urged, nor permitted to break, excepting in the field. the action being the same as that of the canter, excepting being more extended and quicker, nothing further need be said in this place. leaping. a lady's horse must be perfectly steady, and thoroughly trained, before she attempts to put him to a leap. leaping is beneficial, as it tends to confirm the seat, and enables the rider more effectually to preserve her balance, should she ever be mounted upon an unsteady, or vicious horse. the skill in leaping consists principally, in the rider's own acute anticipation of the horse's spring, and in participating in his movements, going over with him, as a part of the horse's-self; she must not, by being late, and hanging back, have to be jerked forward by the spring; which operating at an angle of the person, pitches the rider over the horse's head, before the animal's fore-quarters reach the ground. preparatory to the leap, the rider should take up the snaffle rein, and slacken the curb; because the snaffle acting in the corners of the horse's mouth, lifts up his head, and allows him more freedom, whereas the curb-bit acting lower down in the mouth, tends to draw the head and chin inwards, towards the breast, and restrains his power of extension. leaps are of two kinds, the "standing" and the "flying." in the standing leap, or leap over a height from a standing position; the horse raises himself on his hind feet, and springs from his hind legs, throwing himself over the object. the flying leap, is taken from any pace, it differs from the standing leap, principally in agility, and in the horse being more extended in his movements. the position of the rider is to be governed in this, as in all other cases, by the action of the horse; no weight should be borne on the stirrup, the right leg must press strongly the middle pommel, and the left, be closed to the saddle. the bridle should be held so as to offer no check to the horse's movement, but should the horse show an unwillingness to jump, or be inclined to swerve, it is prudent to keep him firmly in hand, until the moment of his spring, when the tension on the reins may be lessened. _a standing jump._--the rider must press her leg close against the saddle, she must animate the horse to jump, by gently lifting his head; as he raises on his haunches for the leap, she should yield the reins, to give him ample room to extend his neck and shoulders, and to exert himself; as his fore-quarters ascend, the lady should lean slightly forward, keeping her head upright and steady; as he springs, she resumes her upright position, and as he descends, she inclines her body backwards to balance herself; urging, and at the same time restraining the horse, to induce him to collect, and fully recover himself upon his legs. _the flying leap._--in the flying leap, the seat is to be preserved, as in the standing leap, but the horse's posture being more horizontal, the lady need not lean forward as he raises; she must approach the leap in such a manner, as neither to hurry or flurry the horse, but so as to allow him a full view of the place he has to go over. holding the horse's head with the snaffle, with a firm but delicate hand, straight to his jump, she brings him up at an animated pace. as he springs, she must slightly yield the reins, as he descends, she must incline her body backwards pressing her left leg firmly to the third crutch, and looking straight to her front, she will retain her seat and balance immoveably; she then resumes the tension of the reins; and the moment the horse touches the ground, she should be prepared to use her whip if necessary, to induce the horse to collect himself, to prevent him from stumbling or falling. road riding. when persons are pursuing their business or pleasure on the road, precise formality, and attention to the strict rules of riding, would interrupt their enjoyment. the rudiments of the art being once known, when on the road, no more of it is to be applied, than will, with the greatest ease, facilitate our designs. when nothing more is required of the horse, than to perform the natural paces, he will walk, trot, and gallop with the greatest freedom. the rider participates in the like ease, or unrestrained liberty, but this ease or inattention, is not to suffer unseemly habits to take place, such as the back and shoulders to get round, the head to shake, the leg to dangle, and beat against the horse's side. these errors may creep on a person, who has not been confirmed in the principles by sufficient practice; but when habits of good riding are once firmly established, the ease and liberty the rider assumes, will not exceed propriety, risk her security, nor abandon, nor baffle her horse,--her hand will keep its situation and properties, though the body be turned to any extreme for the purpose of conversing, and the like, nor will the body by any freedom it takes, throw itself out of balance, nor take the liberty, when it cannot be done with safety. this freedom and ease, so desirable and so universally admired, is affected by every person who is in the habit of riding, but with this difference, some possess system, with negligence, and ease, and others merely negligence and ease, without system. a lady's horse should be sure footed, but the best become careless. when a horse trips, he should be kept more than usually collected. it is useless to whip a horse after stumbling, as it is also after shying, for it is clear, he would not run the risk of breaking his knees nor his nose if he could help it. a bad horsewoman throws her horse down, which a good horsewoman does not do. that is, because a bad horsewoman hurries her horse, over bad ground, or down hill, or over loose stones, or rough and broken ground, lets him flounder into difficulties, and when there, pulls him so that he cannot see, nor exert himself to get out of them and expecting chastisements, the horse springs to avoid it, before he has recovered his feet, and goes down with a tremendous impetus; if she have to cross a rut to the right, she probably forces her horse across it, when the right foot is on the ground; in which case, unless the horse collect himself, and jump; if he attempts to step across it, the probability is, that crossing his legs, he knocks one against the other and falls. the reverse of all this, colonel greenwood, writes, should be the case, if the lady have not sufficient tact to feel, which of her horse's feet is on the ground, she must allow him his own time for crossing, which will be, when the left foot is on the ground. the rider should habitually choose her horse's ground for him, this by practice, will become as easy to her, as choosing her own path when walking. it is a common error to suppose, that a rider can support a horse when falling, lift him over a leap, or hold him up, they are mechanical impossibilities. were a similar weight attached to the thin rein of a lady's bridle, could the lady lift it with her left hand. a pull from the curb, will indeed give the horse so much pain in the mouth, that he will throw up his head, and the rider flatters herself that she has saved her horse from falling; but this error is not harmless, by so doing, she prevents his seeing to foot out any unsafe ground; and further, when an unmounted horse stumbles, nature teaches him to drop his head and neck, which relieves the shoulders of their weight, and that is the instant that the horse makes his effort to recover himself; the muscular power employed to raise the head and neck, will act to sink his knees, for as much as the rider pulls up, so much will she pull down. the great point is, to keep the horse so well balanced and in hand, with his legs well under him, that should the horse stumble, or get into difficulties, he is able to recover himself without much exertion. _when proceeding along a road_, the rule is, to keep to the left side of it, but when about to pass those travelling in the same direction, though at a less speedy pace; to pass on their right. a party meeting another passes to the right, that is, the right hands of the parties meeting, are towards each other. _a gentleman riding with a lady_, should be on her right side, as on that side, if the road be dirty, he does not bespatter the lady's habit, and on that side also, he is situated next the carriages, and various objects they meet, or which may be passing near them. if a lady find her horse become affected and uneasy in his gait, she should endeavor to ascertain the cause, the probability is, there will be found to be something wrong, in the bridle or saddle or perhaps a stone in the horse's foot, and she should have it remedied if possible. a lady should also habitually prevent her horse out-walking, or lagging behind her companions, she is either very unsociable, or a bad horsewoman, who does not keep abreast of them. a lady, although advised to ride in general on the curb bridle, should occasionally use both hands to the reins. it assists in obtaining a firm seat, by giving greater power and command over the horse; it prevents the strain on the left arm, which is the natural result of holding a horse entirely with one hand, it makes the pressure upon the animal's mouth more even, which is so truly essential to the comfort of both horse and rider, it keeps the shoulders square, a very important point in the elegance of a young lady's appearance, it causes the elbows to be even on either side instead of one being infinitely in the rear of the other, as is too often the case, and though last not least, it keeps the whip quiet until its use is called for. there is a piece of inhumanity practised, as much, perhaps more by ladies than by gentlemen, it is, _riding a horse fast on hard ground_. if the ground be hard and even, a collected canter may be allowed, but one hour's gallop on hard and uneven ground, would do the soundest horse irremediable injury, his sinews would be strained, his joints prematurely stiffened, fever in the feet would be produced, and the horse would be deprived at once, and for ever, of his elasticity and action, and be brought prematurely a cripple to the grave. dismounting. the first operation preparatory to dismounting is, to bring the horse to an easy yet perfect stop. if the lady be light, and dexterous, she may dismount without assistance. the lady when preparing to dismount, should take the reins in her right hand, and put the whip in her left. the reins should be held sufficiently tight, to restrain the horse from advancing; and yet not so firmly, as to cause him to back, rear, or swerve. the lady should next disengage her right leg from the pommel clearing her dress as she raises her knee; place her right hand on the near crutch, and take her foot out of the stirrup. if the lady be assisted, the gentleman taking her left hand in his left, places his right hand under her left elbow, which she keeps firm to her side; as she springs, he supports her in her descent, she retains hold of the crutch or of the hunting pommel; as she quits the saddle, she turns to face the gentleman, who stands near the horse's shoulder, and alights on the ground on the balls of her feet. if the lady dismount without assistance, after clearing her foot from the stirrup, she places her right hand on the near crutch, and her left upon the third crutch or hunting pommel, she must spring clear from the saddle facing towards the horse's side as she descends. by whatever mode the lady dismount, she should, to prevent an unpleasant shock on reaching the ground bend her knees, suffer her body to be perfectly pliant, and alight upon the balls of her feet; she is not to relinquish her hold, nor the gentleman to withdraw his support, until she be perfectly safe on the ground. concluding remarks. riding for recreation, and riding for improvement, are distinct things, yet both are necessary. many persons unacquainted with the principles of "horsemanship," can perceive no other excellence, than riding boldly, and riding fast, and some even assert, that a horse broken by a riding master, has been spoiled; this idea is easily accounted for, as the better a horse is broken or educated, the more unsuited he is for an awkward rider. there are many, it is true, who have been in the habit of riding from their infancy, who, although they never have had any instructions, ride hunting, or on a straight road admirably well; but many more affect to ride as well, who commit the greatest absurdities. though the ordinary modes of riding may gratify, and convey one on a horse's back, wherever the will directs, yet, from want of knowledge of the true principles of riding, one is continually exposed to innumerable hazards. most persons are desirous to ride well, though not in a _manége_ style. to ride well, a lady must be perfectly at her ease, with a hand capable of managing her horse, with facility to herself, and comfort to her animal. these requirements will be sooner attained, by a few proper lessons, with study and application, than by years of riding without them. to conclude, a lady on horseback cannot look too quiet; she should appear perfectly at her ease, and in perfect temper with her horse; in short whether natural, or acquired, she should seem, "born with a sweet temper, a light hand, and a good seat." transcriber's note the following typographical errors were corrected: page error 10 hand is them changed to hand is then 26 by implict changed to by implicit 28 all probabilty changed to all probability 32 should he soothed changed to should be soothed 32 carressed changed to caressed 37 applicacation changed to application 38 perpectly changed to perfectly 39 to a leap, changed to to a leap. 39 rider's own accute changed to rider's own acute 39 of the horses changed to of the horse's the following words were inconsistently spelled. fore-hand / forehand head-stalls / headstalls on horsemanship by xenophon translation by h. g. dakyns xenophon the athenian was born 431 b.c. he was a pupil of socrates. he marched with the spartans, and was exiled from athens. sparta gave him land and property in scillus, where he lived for many years before having to move once more, to settle in corinth. he died in 354 b.c. on horsemanship advises the reader on how to buy a good horse, and how to raise it to be either a war horse or show horse. xenophon ends with some words on military equipment for a cavalryman. preparer's note this was typed from dakyns' series, "the works of xenophon," a four-volume set. the complete list of xenophon's works (though there is doubt about some of these) is: work number of books the anabasis 7 the hellenica 7 the cyropaedia 8 the memorabilia 4 the symposium 1 the economist 1 on horsemanship 1 the sportsman 1 the cavalry general 1 the apology 1 on revenues 1 the hiero 1 the agesilaus 1 the polity of the athenians and the lacedaemonians 2 text in brackets "{}" is my transliteration of greek text into english using an oxford english dictionary alphabet table. the diacritical marks have been lost. on horsemanship i claiming to have attained some proficiency in horsemanship (1) ourselves, as the result of long experience in the field, our wish is to explain, for the benefit of our younger friends, what we conceive to be the most correct method of dealing with horses. (1) lit. "since, through the accident of having for a long time 'ridden' ourselves, we believe we have become proficients in horsemanship, we wish to show to our younger friends how, as we conceive the matter, they will proceed most correctly in dealing with horses." {ippeuein} in the case of xenophon = serve as a {ippeus}, whether technically as an athenian "knight" or more particularly in reference to his organisation of a troop of cavalry during "the retreat" ("anab." iii. iii. 8-20), and, as is commonly believed, while serving under agesilaus ("hell." iii. iv. 14) in asia, 396, 395 b.c. there is, it is true, a treatise on horsemanship written by simon, the same who dedicated the bronze horse near the eleusinion in athens (2) with a representation of his exploits engraved in relief on the pedestal. (3) but we shall not on that account expunge from our treatise any conclusions in which we happen to agree with that author; on the contrary we shall hand them on with still greater pleasure to our friends, in the belief that we shall only gain in authority from the fact that so great an expert in horsemanship held similar views to our own; whilst with regard to matters omitted in his treatise, we shall endeavour to supply them. (2) l. dind. (in athens). the eleusinion. for the position of this sanctuary of demeter and kore see leake, "top. of athens," i. p. 296 foll. for simon see sauppe, vol. v. praef. to "de r. e." p. 230; l. dind. praef. "xen. opusc." p. xx.; dr. morris h. morgan, "the art of horsemanship by xenophon," p. 119 foll. a fragment of the work referred to, {peri eidous kai ekloges ippon}, exists. the ms. is in the library of emmanual coll. cant. it so happens that one of the hipparchs (?) appealed to by demosthenes in arist. "knights," 242. {andres ippes, paragenesthe nun o kairos, o simon, o panaiti, ouk elate pros to dexion keras}; bears the name. (3) lit. "and carved on the pedestal a representation of his own performances." as our first topic we shall deal with the question, how a man may best avoid being cheated in the purchase of a horse. take the case of a foal as yet unbroken: it is plain that our scrutiny must begin with the body; an animal that has never yet been mounted can but present the vaguest indications of spirit. confining ourselves therefore to the body, the first point to examine, we maintain, will be the feet. just as a house would be of little use, however beautiful its upper stories, if the underlying foundations were not what they ought to be, so there is little use to be extracted from a horse, and in particular a war-horse, (4) if unsound in his feet, however excellent his other points; since he could not turn a single one of them to good account. (5) (4) or, "and that a charger, we will suppose." for the simile see "mem." iii. i. 7. (5) cf. hor. "sat." i. ii. 86: regibus hic mos est: ubi equos mercantur, opertos inspiciunt, ne, si facies, ut saepe, decora molli fulta pede est, emptorem inducat hiantem, quod pulchrae clunes, breve quod caput, ardua cervix. and see virg. "georg." iii. 72 foll. in testing the feet the first thing to examine will be the horny portion of the hoof. for soundness of foot a thick horn is far better than a thin. again it is important to notice whether the hoofs are high both before and behind, or flat to the ground; for a high hoof keeps the "frog," (6) as it is called, well off the ground; whereas a low hoof treads equally with the stoutest and softest part of the foot alike, the gait resembling that of a bandy-legged man. (7) "you may tell a good foot clearly by the ring," says simon happily; (8) for the hollow hoof rings like a cymbal against the solid earth. (9) (6) lit. "the swallow." (7) al. "a knock-kneed person." see stonehenge, "the horse" (ed. 1892), pp. 3, 9. (8) or, "and he is right." (9) cf. virg. "georg." iii. 88; hor. "epod." xvi. 12. and now that we have begun with the feet, let us ascend from this point to the rest of the body. the bones (10) above the hoof and below the fetlock must not be too straight, like those of a goat; through not being properly elastic, (11) legs of this type will jar the rider, and are more liable to become inflamed. on the other hand, these bones must not be too low, or else the fetlock will be abraded or lacerated when the horse is galloped over clods and stones. (10) i.e. "the pasterns ({mesokunia}) and the coffin should be 'sloping.'" (11) or, "being too inflexible." lit. "giving blow for blow, overuch like anvil to hammer." the bones of the shanks (12) ought to be thick, being as they are the columns on which the body rests; thick in themselves, that is, not puffed out with veins or flesh; or else in riding over hard ground they will inevitably be surcharged with blood, and varicose conditions be set up, (13) the legs becoming thick and puffy, whilst the skin recedes; and with this loosening of the skin the back sinew (14) is very apt to start and render the horse lame. (12) i.e. "the metacarpals and metatarsals." (13) or, "and become varicose, with the result that the shanks swell whilst the skin recedes from the bone." (14) or, "suspensory ligament"? possibly xenophon's anatomy is wrong, and he mistook the back sinew for a bone like the fibula. the part in question might intelligibly enough, if not technically, be termed {perone}, being of the brooch-pin order. if the young horse in walking bends his knees flexibly, you may safely conjecture that when he comes to be ridden he will have flexible legs, since the quality of suppleness invariably increases with age. (15) supple knees are highly esteemed and with good reason, rendering as they do the horse less liable to stumble or break down from fatigue than those of stiffer build. (15) lit. "all horses bend their legs more flexibly as time advances." coming to the thighs below the shoulder-blades, (16) or arms, these if thick and muscular present a stronger and handsomer appearance, just as in the case of a human being. again, a comparatively broad chest is better alike for strength and beauty, and better adapted to carry the legs well asunder, so that they will not overlap and interfere with one another. again, the neck should not be set on dropping forward from the chest, like a boar's, but, like that of a game-cock rather, it should shoot upwards to the crest, and be slack (17) along the curvature; whilst the head should be bony and the jawbone small. in this way the neck will be well in front of the rider, and the eye will command what lies before the horse's feet. a horse, moreover, of this build, however spirited, will be least capable of overmastering the rider, (18) since it is not by arching but by stretching out his neck and head that a horse endeavours to assert his power. (19) (16) lit. "the thighs below the shoulder-blades" are distinguished from "the thighs below the tail." they correspond respectively to our "arms" (i.e. forearms) and "gaskins," and anatomically speaking = the radius (os brachii) and the tibia. (17) "slack towards the flexure" (stonehenge). (18) or, "of forcing the rider's hand and bolting." (19) or, "to display violence or run away." it is important also to observe whether the jaws are soft or hard on one or other side, since as a rule a horse with unequal jaws (20) is liable to become hard-mouthed on one side. (20) or, "whose bars are not equally sensitive." again, a prominent rather than a sunken eye is suggestive of alertness, and a horse of this type will have a wider range of vision. and so of the nostrils: a wide-dilated nostril is at once better than a contracted one for respiration, and gives the animal a fiercer aspect. note how, for instance, when one stallion is enraged against another, or when his spirit chafes in being ridden, (21) the nostrils at once become dilated. (21) or, "in the racecourse or on the exercising-ground how readily he distends his nostrils." a comparatively large crest and small ears give a more typical and horse-like appearance to the head, whilst lofty withers again allow the rider a surer seat and a stronger adhesion between the shoulders and the body. (22) (22) or if with l. d. ({kai to somati}), transl. "adhesion to the horse's shoulders." a "double spine," (23) again, is at once softer to sit on than a single, and more pleasing to the eye. so, too, a fairly deep side somewhat rounded towards the belly (24) will render the animal at once easier to sit and stronger, and as a general rule better able to digest his food. (25) (23) reading after courier {rakhis ge men}. see virg. "georg." iii. 87, "at duplex agitur per lumbos spina." "in a horse that is in good case, the back is broad, and the spine does not stick up like a ridge, but forms a kind of furrow on the back" (john martyn); "a full back," as we say. (24) or, "in proportion to." see courier ("du commandement de la cavalerie at de l'equitation": deux livres de xenophon, traduits par un officier d'artillerie a cheval), note ad loc. p. 83. (25) i.e. "and keep in good condition." the broader and shorter the loins the more easily will the horse raise his forequarters and bring up his hindquarters under him. given these points, moreover, the belly will appear as small as possible, a portion of the body which if large is partly a disfigurement and partly tends to make the horse less strong and capable of carrying weight. (26) (26) al. "more feeble at once and ponderous in his gait." the quarters should be broad and fleshy in correspondence with the sides and chest, and if they are also firm and solid throughout they will be all the lighter for the racecourse, and will render the horse in every way more fleet. to come to the thighs (and buttocks): (27) if the horse have these separated by a broad line of demarcation (28) he will be able to plant his hind-legs under him with a good gap between; (29) and in so doing will assume a posture (30) and a gait in action at once prouder and more firmly balanced, and in every way appear to the best advantage. (27) lit. "the thighs beneath the tail." (28) reading {plateia to gramme diorismenous ekhe}, sc. the perineum. al. courier (after apsyrtus), op. cit. p. 14, {plateis te kai me diestrammenous}, "broad and not turned outwards." (29) or, "he will be sure to spread well behind," etc. (30) {ton upobasin}, tech. of the crouching posture assumed by the horse for mounting or "in doing the demi-passade" (so morgan, op. cit. p. 126). the human subject would seem to point to this conclusion. when a man wants to lift anything from off the ground he essays to do so by bringing the legs apart and not by bringing them together. a horse ought not to have large testicles, though that is not a point to be determined in the colt. and now, as regards the lower parts, the hocks, (31) or shanks and fetlocks and hoofs, we have only to repeat what has been said already about those of the fore-legs. (31) {ton katothen astragelon, e knemon}, lit. "the under (or hinder?) knuckle-bones (hocks?) or shins"; i.e. anatomically speaking, the os calcis, astragalus, tarsals, and metatarsal large and small. i will here note some indications by which one may forecast the probable size of the grown animal. the colt with the longest shanks at the moment of being foaled will grow into the biggest horse; the fact being--and it holds of all the domestic quadrupeds (32)--that with advance of time the legs hardly increase at all, while the rest of the body grows uniformly up to these, until it has attained its proper symmetry. (32) cf. aristot. "de part. anim." iv. 10; "h. a." ii. 1; plin. "n. h." xi. 108. such is the type (33) of colt and such the tests to be applied, with every prospect of getting a sound-footed, strong, and fleshy animal fine of form and large of stature. if changes in some instances develop during growth, that need not prevent us from applying our tests in confidence. it far more often happens that an ugly-looking colt will turn out serviceable, (34) than that a foal of the above description will turn out ugly or defective. (33) lit. "by testing the shape of the colt in this way it seems to us the purchaser will get," etc. (34) for the vulg. {eukhroastoi}, a doubtful word = "well coloured," i.e. "sleek and healthy," l. & s. would read {eukhrooi} (cf. "pol. lac." v. 8). l. dind. conj. {enrostoi}, "robust"; schneid. {eukhrestoi}, "serviceable." ii the right method of breaking a colt needs no description at our hands. (1) as a matter of state organisation, (2) cavalry duties usually devolve upon those who are not stinted in means, and who have a considerable share in the government; (3) and it seems far better for a young man to give heed to his own health of body and to horsemanship, or, if he already knows how to ride with skill, to practising manoeuvres, than that he should set up as a trainer of horses. (4) the older man has his town property and his friends, and the hundred-and-one concerns of state or of war, on which to employ his time and energies rather than on horsebreaking. it is plain then that any one holding my views (5) on the subject will put a young horse out to be broken. but in so doing he ought to draw up articles, just as a father does when he apprentices his son to some art or handicraft, stating what sort of knowledge the young creature is to be sent back possessed of. these will serve as indications (6) to the trainer what points he must pay special heed to if he is to earn his fee. at the same time pains should be taken on the owner's part to see that the colt is gentle, tractable, and affectionate, (7) when delivered to the professional trainer. that is a condition of things which for the most part may be brought about at home and by the groom--if he knows how to let the animal connect (8) hunger and thirst and the annoyance of flies with solitude, whilst associating food and drink and escape from sources of irritation with the presence of man. as the result of this treatment, necessarily the young horse will acquire--not fondness merely, but an absolute craving for human beings. a good deal can be done by touching, stroking, patting those parts of the body which the creature likes to have so handled. these are the hairiest parts, or where, if there is anything annoying him, the horse can least of all apply relief himself. (1) or, "the training of the colt is a topic which, as it seems to us, may fairly be omitted, since those appointed for cavalry service in these states are persons who," etc. for reading see courier, "notes," p. 84. (2) "organisation in the several states." (3) or, "as a matter of fact it is the wealthiest members of the state, and those who have the largest stake in civic life, that are appointed to cavalry duties." see "hippparch," i. 9. (4) cf. "econ." iii. 10. (5) {ego}. hitherto the author has used the plural {emin} with which he started. (6) reading {upodeigmata}, "finger-post signs," as it were, or "draft in outline"; al. {upomnemata} = "memoranda." (7) "gentle, and accustomed to the hand, and fond of man." (8) lit. "if he knows how to provide that hunger and thirst, etc., should be felt by the colt in solitude, whilst food and drink, etc., come through help of man." the groom should have standing orders to take his charge through crowds, and to make him familiar with all sorts of sights and noises; and if the colt shows sign of apprehension at them, (9) he must teach him--not by cruel, but by gentle handling--that they are not really formidable. (9) or, "is disposed to shy." on this topic, then, of training, (10) the rules here given will, i think, suffice for any private individual. (10) or, "in reference to horsebreaking, the above remarks will perhaps be found sufficient for the practical guidance of an amateur." iii to meet the case in which the object is to buy a horse already fit for riding, we will set down certain memoranda, (1) which, if applied intelligently, may save the purchaser from being cheated. (1) "which the purchaser should lay to heart, if he does not wish to be cheated." first, then, let there be no mistake about the age. if the horse has lost his mark teeth, (2) not only will the purchaser's hopes be blighted, but he may find himself saddled for ever with a sorry bargain. (3) (2) or, "the milk teeth," i.e. is more than five years old. see morgan, p. 126. (3) lit. "a horse that has lost his milk teeth cannot be said to gladden his owner's mind with hopes, and is not so easily disposed of." given that the fact of youth is well established, let there be no mistake about another matter: how does he take the bit into his mouth and the headstall (4) over his ears? there need be little ambiguity on this score, if the purchaser will see the bit inserted and again removed, under his eyes. next, let it be carefully noted how the horse stands being mounted. many horses are extremely loath to admit the approach of anything which, if once accepted, clearly means to them enforced exertion. (4) {koruphaia}, part of the {khalinos} gear. another point to ascertain is whether the horse, when mounted, can be induced to leave other horses, or when being ridden past a group of horses standing, will not bolt off to join the company. some horses again, as the result of bad training, will run away from the exercising-ground and make for the stable. a hard mouth may be detected by the exercise called the {pede} or volte, (5) and still more so by varying the direction of the volte to right or left. many horses will not attempt to run away except for the concurrence of a bad mouth along with an avenue of escape home. (6) (5) see sturz, s.v.; pollux, i. 219. al. "the longe," but the passage below (vii. 14) is suggestive rather of the volte. (6) al. "will only attempt to bolt where the passage out towards home combines, as it were, with a bad mouth." {e... ekphora} = "the exit from the manege or riding school." another point which it is necessary to learn is, whether when let go at full speed the horse can be pulled up (7) sharp and is willing to wheel round in obedience to the rein. (7) {analambanetai}, "come to the poise" (morgan). for {apostrephesthai} see ix.6; tech. "caracole." it is also well to ascertain by experience if the horse you propose to purchase will show equal docility in response to the whip. every one knows what a useless thing a servant is, or a body of troops, that will not obey. a disobedient horse is not only useless, but may easily play the part of an arrant traitor. and since it is assumed that the horse to be purchased is intended for war, we must widen our test to include everything which war itself can bring to the proof: such as leaping ditches, scrambling over walls, scaling up and springing off high banks. we must test his paces by galloping him up and down steep pitches and sharp inclines and along a slant. for each and all of these will serve as a touchstone to gauge the endurance of his spirit and the soundness of his body. i am far from saying, indeed, that because an animal fails to perform all these parts to perfection, he must straightway be rejected; since many a horse will fall short at first, not from inability, but from want of experience. with teaching, practice, and habit, almost any horse will come to perform all these feats beautifully, provided he be sound and free from vice. only you must beware of a horse that is naturally of a nervous temperament. an over-timorous animal will not only prevent the rider from using the vantage-ground of its back to strike an enemy, but is as likely as not to bring him to earth himself and plunge him into the worst of straits. we must, also, find out of the horse shows any viciousness towards other horses or towards human beings; also, whether he is skittish; (8) such defects are apt to cause his owner trouble. (8) or, "very ticklish." as to any reluctance on the horse's part to being bitted or mounted, dancing and twisting about and the rest, (9) you will get a more exact idea on this score, if, when he has gone through his work, you will try and repeat the precise operations which he went through before you began your ride. any horse that having done his work shows a readiness to undergo it all again, affords sufficient evidence thereby of spirit and endurance. (9) reading {talla dineumata}, lit. "and the rest of his twistings and twirlings about." to put the matter in a nutshell: given that the horse is sound-footed, gentle, moderately fast, willing and able to undergo toil, and above all things (10) obedient--such an animal, we venture to predict, will give the least trouble and the greatest security to his rider in the circumstances of war; while, conversely, a beast who either out of sluggishness needs much driving, or from excess of mettle much coaxing and manoeuvering, will give his rider work enough to occupy both his hands and a sinking of the heart when dangers thicken. (10) al. "thoroughly." iv we will now suppose the purchaser has found a horse which he admires; (1) the purchase is effected, and he has brought him home--how is he to be housed? it is best that the stable should be placed in a quarter of the establishment where the master will see the horse as often as possible. (2) it is a good thing also to have his stall so arranged that there will be as little risk of the horse's food being stolen from the manger, as of the master's from his larder or store-closet. to neglect a detail of this kind is surely to neglect oneself; since in the hour of danger, it is certain, the owner has to consign himself, life and limb, to the safe keeping of his horse. (1) lit. "to proceed: when you have bought a horse which you admire and have brought him home." (2) i.e. "where he will be brought as frequently as possible under the master's eye." cf. "econ." xii. 20. nor is it only to avoid the risk of food being stolen that a secure horse-box is desirable, but for the further reason that if the horse takes to scattering his food, the action is at once detected; and any one who observes that happening may take it as a sign and symptom either of too much blood, (3) which calls for veterinary aid, or of over-fatigue, for which rest is the cure, or else that an attack of indigestion (4) or some other malady is coming on. and just as with human beings, so with the horse, all diseases are more curable at their commencement (5) than after they have become chronic, or been wrongly treated. (6) (3) "a plethoric condition of the blood." (4) {krithiasis}. lit. "barley surfeit"; "une fourbure." see aristot. "h. a." viii. 24. 4. (5) i.e. "in the early acute stages." (6) al. "and the mischief has spread." but if food and exercise with a view to strengthening the horse's body are matters of prime consideration, no less important is it to pay attention to the feet. a stable with a damp and smooth floor will spoil the best hoof which nature can give. (7) to prevent the floor being damp, it should be sloped with channels; and to avoid smoothness, paved with cobble stones sunk side by side in the ground and similar in size to the horse's hoofs. (8) a stable floor of this sort is calculated to strengthen the horse's feet by the mere pressure on the part in standing. in the next place it will be the groom's business to lead out the horse somewhere to comb and curry him; and after his morning's feed to unhalter him from the manger, (9) so that he may come to his evening meal with greater relish. to secure the best type of stable-yard, and with a view to strengthening the horse's feet, i would suggest to take and throw down loosely (10) four or five waggon loads of pebbles, each as large as can be grasped in the hand, and about a pound in weight; the whole to be fenced round with a skirting of iron to prevent scattering. the mere standing on these will come to precisely the same thing as if for a certain portion of the day the horse were, off and on, stepping along a stony road; whilst being curried or when fidgeted by flies he will be forced to use his hoofs just as much as if he were walking. nor is it the hoofs merely, but a surface so strewn with stones will tend to harden the frog of the foot also. (7) lit. "a damp and smooth floor may be the ruin of a naturally good hoof." it will be understood that the greeks did not shoe their horses. (8) see courier, p. 54, for an interesting experiment tried by himself at bari. (9) cf. "hipparch," i. 16. (10) or, "spread so as to form a surface." but if care is needed to make the hoofs hard, similar pains should be taken to make the mouth and jaws soft; and the same means and appliances which will render a man's flesh and skin soft, will serve to soften and supple a horse's mouth. (11) (11) or, "may be used with like effect on a horse's mouth," i.e. bathing, friction, oil. see pollux, i. 201. v it is the duty of a horseman, as we think, to have his groom trained thoroughly in all that concerns the treatment of the horse. in the first place, then, the groom should know that he is never to knot the halter (1) at the point where the headstall is attached to the horse's head. by constantly rubbing his head against the manger, if the halter does not sit quite loose about his ears, the horse will be constantly injuring himself; (2) and with sores so set up, it is inevitable that he should show peevishness, while being bitted or rubbed down. (1) lit. "by which the horse is tied to the manger"; "licol d'ecurie." (2) al. "in nine cases out of ten he rubs his head... and ten to one will make a sore." it is desirable that the groom should be ordered to carry out the dung and litter of the horse to some one place each day. by so doing, he will discharge the duty with least trouble to himself, (3) and at the same time be doing the horse a kindness. (3) al. "get rid of the refuse in the easiest way." the groom should also be instructed to attach the muzzle to the horse's mouth, both when taking him out to be groomed and to the rolling-ground. (4) in fact he should always muzzle him whenever he takes him anywhere without the bit. the muzzle, while it is no hindrance to respiration, prevents biting; and when attached it serves to rob the horse of opportunity for vice. (5) (4) cf. "econ." xi. 18; aristoph. "clouds," 32. (5) or, "prevents the horse from carrying out vicious designs." again, care should be taken to tie the horse up with the halter above his head. a horse's natural instinct, in trying to rid himself of anything that irritates the face, is to toss up his head, and by this upward movement, if so tied, he only slackens the chain instead of snapping it. in rubbing the horse down, the groom should begin with the head and mane; as until the upper parts are clean, it is vain to cleanse the lower; then, as regards the rest of the body, first brush up the hair, by help of all the ordinary implements for cleansing, and then beat out the dust, following the lie of the hair. the hair on the spine (and dorsal region) ought not to be touched with any instrument whatever; the hand alone should be used to rub and smooth it, and in the direction of its natural growth, so as to preserve from injury that part of the horse's back on which the rider sits. the head should be drenched with water simply; for, being bony, if you try to cleanse it with iron or wooden instruments injury may be caused. so, too, the forelock should be merely wetted; the long hairs of which it is composed, without hindering the animal's vision, serve to scare away from the eyes anything that might trouble them. providence, we must suppose, (6) bestowed these hairs upon the horse, instead of the large ears which are given to the ass and the mule as a protection to the eyes. (7) the tail, again, and mane should be washed, the object being to help the hairs to grow--those in the tail so as to allow the creature the greatest reach possible in brushing away molesting objects, (8) and those of the neck in order that the rider may have as free a grip as possible. (6) lit. "the gods, we must suppose, gave..." (7) lit. "as defences or protective bulwarks." (8) insects, etc. mane, forelock, and tail are triple gifts bestowed by the gods upon the horse for the sake of pride and ornament, (9) and here is the proof: a brood mare, so long as her mane is long and flowing, will not readily suffer herself to be covered by an ass; hence breeders of mules take care to clip the mane of the mare with a view to covering. (10) (9) {aglaias eneka} (a poetic word). cf. "od." xv. 78; xvii. 310. (10) for this belief schneid. cf aristot. "h. a." vi. 18; plin. viii. 42; aelian, "h. a." ii. 10, xi. 18, xii. 16, to which dr. morgan aptly adds soph. "fr." 587 (tyro), a beautiful passage, {komes de penthos lagkhano polou diken, k.t.l.} (cf. plut. "mor." 754 a). washing of the legs we are inclined to dispense with--no good is done but rather harm to the hoofs by this daily washing. so, too, excessive cleanliness of the belly is to be discouraged; the operation itself is most annoying to the horse; and the cleaner these parts are made, the thicker the swarm of troublesome things which collect beneath the belly. besides which, however elaborately you clean these parts, the horse is no sooner led out than presently he will be just as dirty as if he had not been cleaned. omit these ablutions then, we say; and similarly for the legs, rubbing and currying by hand is quite sufficient. vi we will now explain how the operation of grooming may be performed with least danger to oneself and best advantage to the horse. if the groom attempts to clean the horse with his face turned the same way as the horse, he runs the risk of getting a knock in the face from the animal's knee or hoof. when cleaning him he should turn his face in the opposite direction to the horse, and planting himself well out of the way of his leg, at an angle to his shoulder-blade, proceed to rub him down. he will then escape all mischief, and he will be able to clean the frog by folding back the hoof. let him clean the hind-legs in the same way. the man who has to do with the horse should know, with regard to this and all other necessary operations, that he ought to approach as little as possible from the head or the tail to perform them; for if the horse attempt to show vice he is master of the man in front and rear. but by approaching from the side he will get the greatest hold over the horse with the least risk of injury to himself. when the horse has to be led, we do not approve of leading him from in front, for the simple reason that the person so leading him robs himself of his power of self-protection, whilst he leaves the horse freedom to do what he likes. on the other hand, we take a like exception to the plan of training the horse to go forward on a long rein (1) and lead the way, and for this reason: it gives the horse the opportunity of mischief, in whichever direction he likes, on either flank, and the power also to turn right about and face his driver. how can a troop of horses be kept free of one another, if driven in this fashion from behind?--whereas a horse accustomed to be led from the side will have least power of mischief to horse or man, and at the same time be in the best position to be mounted by the rider at a moment's notice, were it necessary. (1) see a passage from strattis, "chrys." 2 (pollux, x. 55), {prosage ton polon atrema, proslabon ton agogea brakhuteron. oukh oras oti abolos estin}. in order to insert the bit correctly the groom should, in the first place, approach on the near (2) side of the horse, and then throwing the reins over his head, let them drop loosely on the withers; raise the headstall in his right hand, and with his left present the bit. if the horse will take the bit, it is a simple business to adjust the strap of the headstall; but if he refuses to open his mouth, the groom must hold the bit against the teeth and at the same time insert the thumb (3) of his left hand inside the horse's jaws. most horses will open their mouths to that operation. but if he still refuses, then the groom must press the lip against the tush (4); very few horses will refuse the bit, when that is done to them. (5) (2) lit. "on the left-hand side." (3) {ton megan daktulon}, hdt. iii. 8. (4) i.e. "canine tooth." (5) or, "it is a very exceptional horse that will not open his mouth under the circumstances." the groom can hardly be too much alive to the following points * * * if any work is to be done: (6) in fact, so important is it that the horse should readily take his bit, that, to put it tersely, a horse that will not take it is good for nothing. now, if the horse be bitted not only when he has work to do, but also when he is being taken to his food and when he is being led home from a ride, it would be no great marvel if he learnt to take the bit of his own accord, when first presented to him. (6) reading with l. dind. {khre de ton ippokomon kai ta oiade... paroxunthai, ei ti dei ponein}, or if as schneid., sauppe, etc., {khre de ton ippon me kata toiade, k.t.l.}, transl. "the horse must not be irritated in such operations as these," etc.; but {toiade} = "as follows," if correct, suggests a lacuna in either case at this point. it would be good for the groom to know how to give a leg up in the persian fashion, (7) so that in case of illness or infirmity of age the master himself may have a man to help him on to horseback without trouble, or, if he so wish, be able to oblige a friend with a man to mount him. (8) (7) cf. "anab." iv. iv. 4; "hipparch," i. 17; "cyrop." vii. i. 38. (8) an {anaboleus}. cf. plut. "c. gracch." 7. the one best precept--the golden rule--in dealing with a horse is never to approach him angrily. anger is so devoid of forethought that it will often drive a man to do things which in a calmer mood he will regret. (9) thus, when a horse is shy of any object and refuses to approach it, you must teach him that there is nothing to be alarmed at, particularly if he be a plucky animal; (10) or, failing that, touch the formidable object yourself, and then gently lead the horse up to it. the opposite plan of forcing the frightened creature by blows only intensifies its fear, the horse mentally associating the pain he suffers at such a moment with the object of suspicion, which he naturally regards as its cause. (9) cf. "hell." v. iii. 7 for this maxim. (10) al. "if possibly by help of another and plucky animal." if, when the groom brings up the horse to his master to mount, he knows how to make him lower his back, (11) to facilitate mounting, we have no fault to find. still, we consider that the horseman should practise and be able to mount, even if the horse does not so lend himself; (12) since on another occasion another type of horse may fall to the rider's lot, (13) nor can the same rider be always served by the same equerry. (14) (11) {upobibazesthai}. see above, i. 14; pollux, i. 213; morgan ad loc. "stirrups were unknown till long after the christian era began." (12) or, "apart from these good graces on the animal's part." (13) as a member of the cavalry. (14) reading {allo}. al. reading {allos} with l. d., "and the same horse will at one time humour you in one way and again in another." cf. viii. 13, x. 12, for {uperetein} of the horse. vii the master, let us suppose, has received his horse and is ready to mount. (1) we will now prescribe certain rules to be observed in the interests not only of the horseman but of the animal which he bestrides. first, then, he should take the leading rein, which hangs from the chin-strap or nose-band, (2) conveniently in his left hand, held slack so as not to jerk the horse's mouth, whether he means to mount by hoisting himself up, catching hold of the mane behind the ears, or to vault on to horseback by help of his spear. with the right hand he should grip the reins along with a tuft of hair beside the shoulder-joint, (3) so that he may not in any way wrench the horse's mouth with the bit while mounting. in the act of taking the spring off the ground for mounting, (4) he should hoist his body by help of the left hand, and with the right at full stretch assist the upward movement (5) (a position in mounting which will present a graceful spectacle also from behind); (6) at the same time with the leg well bent, and taking care not to place his knee on the horse's back, he must pass his leg clean over to the off side; and so having brought his foot well round, plant himself firmly on his seat. (7) (1) reading {otan... paradexetai... os anabesomenos}. or, reading {otan paradexetai ton ippea (sc. o. ippos) ws anabesomenon}, transl. "the horse has been brought round ready for mounting." (2) so courier, "la muserolle." it might be merely a stitched leather strap or made of a chain in part, which rattled; as {khrusokhalinon patagon psalion} (aristoph. "peace," 155) implies. "curb" would be misleading. (3) "near the withers." (4) or, "as soon as he has got the springing poise preliminary to mounting." (5) "give himself simultaneously a lift." reading {ekteinon}, or if {enteinon}, "keeping his right arm stiff." (6) or, "a style of mounting which will obviate an ungainly attitude behind." (7) lit. "lower his buttocks on to the horse's back." to meet the case in which the horseman may chance to be leading his horse with the left hand and carrying his spear in the right, it would be good, we think, for every one to practise vaulting on to his seat from the right side also. in fact, he has nothing else to learn except to do with his right limbs what he has previously done with the left, and vice versa. and the reason we approve of this method of mounting is (8) that it enables the soldier at one and the same instant to get astride of his horse and to find himself prepared at all points, supposing he should have to enter the lists of battle on a sudden. (8) lit. "one reason for the praise which we bestow on this method of mounting is that at the very instant of gaining his seat the soldier finds himself fully prepared to engage the enemy on a sudden, if occasion need." but now, supposing the rider fairly seated, whether bareback or on a saddle-cloth, a good seat is not that of a man seated on a chair, but rather the pose of a man standing upright with his legs apart. in this way he will be able to hold on to the horse more firmly by his thighs; and this erect attitude will enable him to hurl a javelin or to strike a blow from horseback, if occasion calls, with more vigorous effect. the leg and foot should hang loosely from the knee; by keeping the leg stiff, the rider is apt to have it broken in collision with some obstacle; whereas a flexible leg (9) will yield to the impact, and at the same time not shift the thigh from its position. the rider should also accustom the whole of his body above the hips to be as supple as possible; for thus he will enlarge his scope of action, and in case of a tug or shove be less liable to be unseated. next, when the rider is seated, he must, in the first place, teach his horse to stand quiet, until he has drawn his skirts from under him, if need be, (10) and got the reins an equal length and grasped his spear in the handiest fashion; and, in the next place, he should keep his left arm close to his side. this position will give the rider absolute ease and freedom, (11) and his hand the firmest hold. (9) i.e. "below the knee"; "shin and calf." (10) lit. "pulled up" (and arranged the folds of his mantle). (11) {eustalestatos}, "the most business-like deportment." as to reins, we recommend those which are well balanced, without being weak or slippery or thick, so that when necessary, the hand which holds them can also grasp a spear. as soon as the rider gives the signal to the horse to start, (12) he should begin at a walking pace, which will tend to allay his excitement. if the horse is inclined to droop his head, the reins should be held pretty high; or somewhat low, if he is disposed to carry his head high. this will set off the horse's bearing to the best advantage. presently, as he falls into a natural trot, (13) he will gradually relax his limbs without the slightest suffering, and so come more agreeably to the gallop. (14) since, too, the preference is given to starting on the left foot, it will best conduce to that lead if, while the horse is still trotting, the signal to gallop should be given at the instant of making a step with his right foot. (15) as he is on the point of lifting his left foot he will start upon it, and while turning left will simultaneously make the first bound of the gallop; (16) since, as a matter of instinct, a horse, on being turned to the right, leads off with his right limbs, and to the left with his left. (12) "forwards!" (13) or, "the true trot." (14) {epirrabdophorein}, "a fast pace in response to a wave of the whip." (15) see berenger, i. p. 249; also the "cavalry drill book," part i. equitation, s. 22, "the canter." (16) {tes episkeliseos}, "he will make the forward stride of the gallop in the act of turning to the left." see morgan ad loc. as an exercise, we recommend what is called the volte, (17) since it habituates the animal to turn to either hand; while a variation in the order of the turn is good as involving an equalisation of both sides of the mouth, in first one, and then the other half of the exercise. (18) but of the two we commend the oval form of the volte rather than the circular; for the horse, being already sated with the straight course, will be all the more ready to turn, and will be practised at once in the straight course and in wheeling. at the curve, he should be held up, (19) because it is neither easy nor indeed safe when the horse is at full speed to turn sharp, especially if the ground is broken (20) or slippery. (17) {pede}, figure of eight. (18) or, "on first one and then the other half of the manege." (19) {upolambanein}. see "hipparch," iii. 14; "hunting," iii. 10; vi. 22, of a dog. (20) {apokroton}, al. {epikroton}, "beaten, hard-trodden ground." but in collecting him, the rider should as little as possible sway the horse obliquely with the bit, and as little as possible incline his own body; or, he may rest assured, a trifle will suffice to stretch him and his horse full length upon the ground. the moment the horse has his eyes fixed on the straight course after making a turn, is the time to urge him to full speed. in battle, obviously, these turns and wheelings are with a view to charging or retiring; consequently, to practise quickening the pace after wheeling is desirable. when the horse seems to have had enough of the manege, it would be good to give him a slight pause, and then suddenly to put him to his quickest, away from his fellows first, (21) and now towards them; and then again to quiet him down in mid-career as short as possible; (22) and from halt once more to turn him right-about and off again full charge. it is easy to predict that the day will come when there will be need of each of these manoeuvres. (21) {mentoi}, "of course." (22) or, "within the narrowest compass"; "as finely as possible." when the moment to dismount has come, you should never do so among other horses, nor near a group of people, (23) nor outside the exercising-ground; but on the precise spot which is the scene of his compulsory exertion there let the horse find also relaxation. (24) (23) or, "a knot of bystanders"; cf. thuc. ii. 21. (24) or, as we say, "be caressed, and dismissed." viii as there will, doubtless, be times when the horse will need to race downhill and uphill and on sloping ground; times, also, when he will need to leap across an obstacle; or, take a flying leap from off a bank; (1) or, jump down from a height, the rider must teach and train himself and his horse to meet all emergencies. in this way the two will have a chance of saving each the other, and may be expected to increase their usefulness. (1) {ekpedan} = exsilire in altum (sturz, and so berenger); "to leap over ditches, and upon high places and down from them." and here, if any reader should accuse us of repeating ourselves, on the ground that we are only stating now what we said before on the same topics, (2) we say that this is not mere repetition. in the former case, we confined ourselves to advising the purchaser before he concluded his bargain to test whether the horse could do those particular things; (3) what we are now maintaining is that the owner ought to teach his own horse, and we will explain how this teaching is to be done. (2) or, "treating of a topic already handled." (3) i.e. possessed a certain ability at the date of purchase. with a horse entirely ignorant of leaping, the best way is to take him by the leading rein, which hangs loose, and to get across the trench yourself first, and then to pull tight on the leading-rein, to induce him to leap across. if he refuses, some one with a whip or switch should apply it smartly. the result will be that the horse will clear at a bound, not the distance merely, but a far larger space than requisite; and for the future there will be no need for an actual blow, the mere sight of some one coming up behind will suffice to make him leap. as soon as he is accustomed to leap in this way you may mount him and put him first at smaller and then at larger trenches. at the moment of the spring be ready to apply the spur; and so too, when training him to leap up and leap down, you should touch him with the spur at the critical instant. in the effort to perform any of these actions with the whole body, the horse will certainly perform them with more safety to himself and to his rider than he will, if his hind-quarters lag, in taking a ditch or fence, or in making an upward spring or downward jump. (4) (4) lit. "in making these jumps, springs, and leaps across or up or down." to face a steep incline, you must first teach him on soft ground, and finally, when he is accustomed to that, he will much prefer the downward to the upward slope for a fast pace. and as to the apprehension, which some people entertain, that a horse may dislocate the shoulder in galloping down an incline, it should encourage them to learn that the persians and odrysians all run races down precipitous slopes; (5) and their horses are every bit as sound as our own. (6) (5) cf. "anab." iv. viii. 28; and so the georgians to this day (chardin ap. courier, op. cit. p. 70, n. 1). (6) lit. "as are those of the hellenes." nor must we omit another topic: how the rider is to accommodate himself to these several movements. (7) thus, when the horse breaks off into a gallop, the rider ought to bend forward, since the horse will be less likely to slip from under; and so to pitch his rider off. so again in pulling him up short (8) the rider should lean back; and thus escape a shock. in leaping a ditch or tearing up a steep incline, it is no bad plan to let go the reins and take hold of the mane, so that the animal may not feel the burthen of the bit in addition to that of the ground. in going down a steep incline the rider must throw himself right back and hold in the horse with the bit, to prevent himself being hurled headforemost down the slope himself if not his horse. (7) or, "to each set of occurrences." (8) al. "when the horse is being brought to a poise" (morgan); and see hermann ap. schneid., {analambanein} = retinere equum, anhalten, pariren. i.e. "rein in" of the "parade." it is a correct principle to vary these exercises, which should be gone through sometimes in one place and sometimes in another, and should sometimes be shorter and sometimes longer in duration. the horse will take much more kindly to them if you do not confine him to one place and one routine. since it is a matter of prime necessity that the rider should keep his seat, while galloping full speed on every sort of ground, and at the same time be able to use his weapons with effect on horseback, nothing could be better, where the country suits and there are wild animals, than to practise horsemanship in combination with the chase. but when these resources fail, a good exercise may be supplied in the combined efforts of two horsemen. (9) one of them will play the part of fugitive, retreating helter-skelter over every sort of ground, with lance reversed and plying the butt end. the other pursues, with buttons on his javelins and his lance similarly handled. (10) whenever he comes within javelin range he lets fly at the retreating foeman with his blunted missiles; or whenever within spear thrust he deals the overtaken combatant a blow. in coming to close quarters, it is a good plan first to drag the foeman towards oneself, and then on a sudden to thrust him off; that is a device to bring him to the ground. (11) the correct plan for the man so dragged is to press his horse forward: by which action the man who is being dragged is more likely to unhorse his assailant than to be brought to the ground himself. (9) {ippota}. a poetic word; "cavaliers." (10) or, "manipulated." (11) or, "that may be spoken off as the 'purl trick'"; "it will unhorse him if anything." if it ever happens that you have an enemy's camp in front, and cavalry skirmishing is the order of the day (at one time charging the enemy right up to the hostile battle-line, and again beating a retreat), under these circumstances it is well to bear in mind that so long as the skirmisher is close to his own party, (12) valour and discretion alike dictate to wheel and charge in the vanguard might and main; but when he finds himself in close proximity to the foe, he must keep his horse well in hand. this, in all probability, will enable him to do the greatest mischief to the enemy, and to receive least damage at his hands. (12) see "hipparch," viii. 23. the gods have bestowed on man, indeed, the gift of teaching man his duty by means of speech and reasoning, but the horse, it is obvious, is not open to instruction by speech and reasoning. if you would have a horse learn to perform his duty, your best plan will be, whenever he does as you wish, to show him some kindness in return, and when he is disobedient to chastise him. this principle, though capable of being stated in a few words, is one which holds good throughout the whole of horsemanship. as, for instance, a horse will more readily take the bit, if each time he accepts it some good befalls him; or, again, he will leap ditches and spring up embankments and perform all the other feats incumbent on him, if he be led to associate obedience to the word of command with relaxation. (13) (13) lit. "if every time he performs the word of command he is led to expect some relaxation." ix the topics hitherto considered have been: firstly, how to reduce the chance of being cheated in the purchase of a colt or full-grown horse; secondly, how to escape as much as possible the risk of injuring your purchase by mishandling; and lastly, how to succeed in turning out a horse possessed of all the qualities demanded by the cavalry soldier for the purposes of war. the time has come perhaps to add a few suggestions, in case the rider should be called upon to deal with an animal either unduly spirited or again unduly sluggish in disposition. the first point to recognise is, that temper of spirit in a horse takes the place of passion or anger in a man; and just as you may best escape exciting a man's ill-temper by avoiding harshness of speech and act, so you will best avoid enraging a spirited horse by not annoying him. thus, from the first instant, in the act of mounting him, you should take pains to minimise the annoyance; and once on his back you should sit quiet for longer than the ordinary time, and so urge him forward by the gentlest signs possible; next, beginning at the slowest pace, gradually work him into a quicker step, but so gradually that he will find himself at full speed without noticing it. (1) any sudden signal will bewilder a spirited horse, just as a man is bewildered by any sudden sight or sound or other experience. (i say one should be aware that any unexpected shock will produce disturbance in a horse.) (2) (1) or, "so that the horse may insensibly fall into a gallop." (2) l. dindorf and others bracket, as spurious. so if you wish to pull up a spirited horse when breaking off into a quicker pace than requisite, you must not suddenly wrench him, but quietly and gently bring the bit to bear upon him, coaxing him rather than compelling him to calm down. it is the long steady course rather than the frequent turn which tends to calm a horse. (3) a quiet pace sustained for a long time has a caressing, (4) soothing effect, the reverse of exciting. if any one proposes by a series of fast and oft-repeated gallops to produce a sense of weariness in the horse, and so to tame him, his expectation will not be justified by the result; for under such circumstances a spirited horse will do his best to carry the day by main force, (5) and with a show of temper, like a passionate man, may contrive to bring on himself and his rider irreparable mischief. (3) or, "long stretches rather than a succession of turns and counter turns," {apostrophai}. (4) reading {katapsosi} with l. dind. (5) {agein bia}, vi agere, vi uti, sturz; al. "go his own gait by sheer force." a spirited horse should be kept in check, so that he does not dash off at full speed; and on the same principle, you should absolutely abstain from setting him to race against another; as a general rule, your fiery-spirited horse is only too fond of contention. (6) (6) reading {skhedon gar kai phil oi thum}, or if {... oi thil kai th.} transl. "the more eager and ambitious a horse is, the more mettlesome he will tend to become." smooth bits are better and more serviceable than rough; if a rough bit be inserted at all, it must be made to resemble a smooth one as much as possible by lightness of hand. it is a good thing also for the rider to accustom himself to keep a quiet seat, especially when mounted on a spirited horse; and also to touch him as little as possible with anything except that part of the body necessary to secure a firm seat. again, it should be known that the conventional "chirrup" (7) to quiet and "cluck" to rouse a horse are a sort of precept of the training school; and supposing any one from the beginning chose to associate soft soothing actions with the "cluck" sound, and harsh rousing actions with the "chirrup," the horse could be taught to rouse himself at the "chirrup" and to calm himself at the "cluck" sound. on this principle, at the sound of the trumpet or the shout of battle the rider should avoid coming up to his charger in a state of excitement, or, indeed, bringing any disturbing influence to bear on the animal. as far as possible, at such a crisis he should halt and rest him; and, if circumstances permit, give him his morning or his evening meal. but the best advice of all is not to get an over-spirited horse for the purposes of war. (7) al. "whistling," and see berenger, ii. 68. {poppusmos}, a sound from the lips; {klogmos}, from the cheek. as to the sluggish type of animal, i need only suggest to do everything the opposite to what we advise as appropriate in dealing with an animal of high spirit. x but possibly you are not content with a horse serviceable for war. you want to find in him a showy, attractive animal, with a certain grandeur of bearing. if so, you must abstain from pulling at his mouth with the bit, or applying the spur and whip--methods commonly adopted by people with a view to a fine effect, though, as a matter of fact, they thereby achieve the very opposite of what they are aiming at. that is to say, by dragging the mouth up they render the horse blind instead of alive to what is in front of him; and what with spurring and whipping they distract the creature to the point of absolute bewilderment and danger. (1) feats indeed!--the feats of horses with a strong dislike to being ridden--up to all sorts of ugly and ungainly tricks. on the contrary, let the horse be taught to be ridden on a loose bridle, and to hold his head high and arch his neck, and you will practically be making him perform the very acts which he himself delights or rather exults in; and the best proof of the pleasure which he takes is, that when he is let loose with other horses, and more particularly with mares, you will see him rear his head aloft to the full height, and arch his neck with nervous vigour, (2) pawing the air with pliant legs (3) and waving his tail on high. by training him to adopt the very airs and graces which he naturally assumes when showing off to best advantage, you have got what you are aiming at--a horse that delights in being ridden, a splendid and showy animal, the joy of all beholders. (1) al. "the animals are so scared that, the chances are, they are thrown into disorder." (2) {gorgoumenos}, with pride and spirit, but with a suggestion of "fierceness and rage," as of job's war-horse. (3) "mollia crura reponit," virg. "georg." iii. 76; hom. "hymn. ad merc." how these desirable results are, in our opinion, to be produced, we will now endeavour to explain. in the first place, then, you ought to have at least two bits. one of these should be smooth, with discs of a good size; the other should have heavy and flat discs (4) studded with sharp spikes, so that when the horse seizes it and dislikes the roughness he will drop it; then when the smooth is given him instead, he is delighted with its smoothness, and whatever he has learnt before upon the rough, he will perform with greater relish on the smooth. he may certainly, out of contempt for its very smoothness, perpetually try to get a purchase on it, and that is why we attach large discs to the smooth bit, the effect of which is to make him open his mouth, and drop the mouthpiece. it is possible to make the rough bit of every degree of roughness by keeping it slack or taut. (4) see morgan, op. cit. p. 144 foll. but, whatever the type of bit may be, let it in any case be flexible. if it be stiff, at whatever point the horse seizes it he must take it up bodily against his jaws; just as it does not matter at what point a man takes hold of a bar of iron, (5) he lifts it as a whole. the other flexibly constructed type acts like a chain (only the single point at which you hold it remains stiff, the rest hangs loose); and while perpetually hunting for the portion which escapes him, he lets the mouthpiece go from his bars. (6) for this reason the rings are hung in the middle from the two axles, (7) so that while feeling for them with his tongue and teeth he may neglect to take the bit up against his jaws. (5) or, "poker," as we might say; lit. "spit." (6) schneid. cf. eur. "hippol." 1223. (7) see morgan, note ad loc. berenger (i. 261) notes: "we have a small chain in the upset or hollow part of our bits, called a 'player,' with which the horse playing with his tongue, and rolling it about, keeps his mouth moist and fresh; and, as xenophon hints, it may serve likewise to fix his attention and prevent him from writhing his mouth about, or as the french call it, 'faire ses forces.'" to explain what is meant by flexible and stiff as applied to a bit, we will describe the matter. a flexible bit is one in which the axles have their points of junction broad and smooth, (8) so as to bend easily; and where the several parts fitting round the axles, being large of aperture and not too closely packed, have greater flexibility; whereas, if the several parts do not slide to and fro with ease, and play into each other, that is what we call a stiff bit. whatever the kind of bit may be, the rider must carry out precisely the same rules in using it, as follows, if he wishes to turn out a horse with the qualities described. the horse's mouth is not to be pulled back too harshly so as to make him toss his head aside, nor yet so gently that he will not feel the pressure. but the instant he raises his neck in answer to the pull, give him the bit at once; and so throughout, as we never cease repeating, at every response to your wishes, whenever and wherever the animal performs his service well, (9) reward and humour him. thus, when the rider perceives that the horse takes a pleasure in the high arching and supple play of his neck, let him seize the instant not to impose severe exertion on him, like a taskmaster, but rather to caress and coax him, as if anxious to give him a rest. in this way the horse will be encouraged and fall into a rapid pace. (8) i.e. "the ends of the axles (at the point of junction) which work into each other are broad and smooth, so as to play freely at the join." (9) "behaves compliantly." that a horse takes pleasure in swift movement, may be shown conclusively. as soon as he has got his liberty, he sets off at a trot or gallop, never at a walking pace; so natural and instinctive a pleasure does this action afford him, if he is not forced to perform it to excess; since it is true of horse and man alike that nothing is pleasant if carried to excess. (10) (10) l. dind. cf. eur. "med." 128, {ta de' uperballont oudena kairon}. but now suppose he has attained to the grand style when ridden--we have accustomed him of course in his first exercise to wheel and fall into a canter simultaneously; assuming then, he has got that lesson well by heart, if the rider pulls him up with the bit while simultaneously giving him one of the signals to be off, the horse, galled on the one hand by the bit, and on the other collecting himself in obedience to the signal "off," will throw forward his chest and raise his legs aloft with fiery spirit; though not indeed with suppleness, for the supple play of the limbs ceases as soon as the horse feels annoyance. but now, supposing when his fire is thus enkindled (11) you give him the rein, the effect is instantaneous. under the pleasurable sense of freedom, thanks to the relaxation of the bit, with stately bearing and legs pliantly moving he dashes forward in his pride, in every respect imitating the airs and graces of a horse approaching other horses. listen to the epithets with which spectators will describe the type of horse: the noble animal! and what willingness to work, what paces, (12) what a spirit and what mettle; how proudly he bears himself (13)--a joy at once, and yet a terror to behold. (11) cf. "hell." v. iv. 46, "kindled into new life." (12) {ipposten}, "a true soldier's horse." (13) {sobaron}, "what a push and swagger"; {kai ama edun te kai gorgon idein}, "a la fois doux et terrible a voir," see victor cherbuliez, "un cheval de phidias," p. 148. thus far on this topic; these notes may serve perhaps to meet a special need. xi if, however, the wish is to secure a horse adapted to parade and state processions, a high stepper and a showy (1) animal, these are qualities not to be found combined in every horse, but to begin with, the animal must have high spirit and a stalwart body. not that, as some think, a horse with flexible legs will necessarily be able to rear his body. what we want is a horse with supple loins, and not supple only but short and strong (i do not mean the loins towards the tail, but by the belly the region between the ribs and thighs). that is the horse who will be able to plant his hind-legs well under the forearm. if while he is so planting his hind-quarters, he is pulled up with the bit, he lowers his hind-legs on his hocks (2) and raises the forepart of his body, so that any one in front of him will see the whole length of his belly to the sheath. (3) at the moment the horse does this, the rider should give him the rein, so that he may display the noblest feats which a horse can perform of his own free will, to the satisfaction of the spectators. (1) {lampros}. cf. isae. xi. 41 ("on the estate of hagnias"), lys. xix. 63 ("de bon. arist."). (2) see berenger, ii. 68. (3) lit. "testicles." there are, indeed, other methods of teaching these arts. (4) some do so by touching the horse with a switch under the hocks, others employ an attendant to run alongside and strike the horse with a stick under the gaskins. for ourselves, however, far the best method of instruction, (5) as we keep repeating, is to let the horse feel that whatever he does in obedience to the rider's wishes will be followed by some rest and relaxation. (4) lit. "people, it must be admitted, claim to teach these arts in various ways--some by... others by bidding..." (5) reading {didaskalion}, al. {didaskalion}, "systems." schneid. cf. herod. v. 58. to quote a dictum of simon, what a horse does under compulsion he does blindly, and his performance is no more beautiful than would be that of a ballet-dancer taught by whip and goad. the performances of horse or man so treated would seem to be displays of clumsy gestures rather than of grace and beauty. what we need is that the horse should of his own accord exhibit his finest airs and paces at set signals. (6) supposing, when he is in the riding-field, (7) you push him to a gallop until he is bathed in sweat, and when he begins to prance and show his airs to fine effect, you promptly dismount and take off the bit, you may rely upon it he will of his own accord another time break into the same prancing action. such are the horses on which gods and heroes ride, as represented by the artist. the majesty of men themselves is best discovered in the graceful handling of such animals. (8) a horse so prancing is indeed a thing of beauty, a wonder and a marvel; riveting the gaze of all who see him, young alike and graybeards. they will never turn their backs, i venture to predict, or weary of their gazing so long as he continues to display his splendid action. (6) or, "by aids and signs," as we say. (7) or, "exercising-ground." (8) or, "and the man who knows how to manage such a creature gracefully himself at once appears magnificent." if the possessor of so rare a creature should find himself by chance in the position of a squadron leader or a general of cavalry, he must not confine his zeal to the development of his personal splendour, but should study all the more to make the troop or regiment a splendid spectacle. supposing (in accordance with the high praise bestowed upon the type of animal) (9) the leader is mounted on a horse which with his high airs and frequent prancing makes but the slightest movement forward--obviously the rest of the troop must follow at a walking pace, and one may fairly ask where is the element of splendour in the spectacle? but now suppose that you, sir, being at the head of the procession, rouse your horse and take the lead at a pace neither too fast nor yet too slow, but in a way to bring out the best qualities in all the animals, their spirit, fire, grace of mien and bearing ripe for action--i say, if you take the lead of them in this style, the collective thud, the general neighing and the snorting of the horses will combine to render not only you at the head, but your whole company (10) down to the last man a thrilling spectacle. (9) reading as vulg. {os malista epainousi tous toioutous ippous, os}. l. dind. omits the words as a gloss. (10) reading {oi} (for {osoi}) {sumparepomenoi}. see hartmann, "an. xen. nov." xiv. p. 343. one word more. supposing a man has shown some skill in purchasing his horses, and can rear them into strong and serviceable animals, supposing further he can handle them in the right way, not only in the training for war, but in exercises with a view to display, or lastly, in the stress of actual battle, what is there to prevent such a man from making every horse he owns of far more value in the end than when he bought it, with the further outlook that, unless some power higher than human interpose, (11) he will become the owner of a celebrated stable, and himself as celebrated for his skill in horsemanship. (11) or, "there is nothing, humanly speaking, to prevent such a man." for the phrase see "mem." i. iii. 5; cf. "cyrop." i. vi. 18; and for the advice, "econ." iii. 9, 10. xii we will now describe the manner in which a trooper destined to run the risks of battle upon horseback should be armed. in the first place, then, we would insist, the corselet must be made to fit the person; since, if it fits well, its weight will be distributed over the whole body; whereas, if too loose, the shoulders will have all the weight to bear, while, if too tight, the corselet is no longer a defensive arm, but a "strait jacket." (1) again, the neck, as being a vital part, (2) ought to have, as we maintain, a covering, appended to the corselet and close-fitting. this will serve as an ornament, and if made as it ought to be, will conceal the rider's face--if so he chooses--up to the nose. (1) cf. "mem." iii. x. (2) l. dind. cf. hom. "il." viii. 326: {... othi kleis apoergei aukhena te stethos te, malista de kairion estin.} "where the collar-bone fenceth off neck and breast, and where is the most deadly spot" (w. leaf). as to the helmet, the best kind, in our opinion, is one of the boeotian pattern, (3) on the principle again, that it covers all the parts exposed above the breastplate without hindering vision. another point: the corselet should be so constructed that it does not prevent its wearer sitting down or stooping. about the abdomen and the genitals and parts surrounding (4) flaps should be attached in texture and in thickness sufficient to protect (5) that region. (3) schneider cf. aelian, "v. h." iii. 24; pollux, i. 149. (4) schneider cf. "anab." iv. vii. 15, and for {kai ta kuklo}, conj. {kuklo}, "the abdomen and middle should be encircled by a skirt." (5) lit. "let there be wings of such sort, size, and number as to protect the limbs." again, as an injury to the left hand may disable the horseman, we would recommend the newly-invented piece of armour called the gauntlet, which protects the shoulder, arm, and elbow, with the hand engaged in holding the reins, being so constructed as to extend and contract; in addition to which it covers the gap left by the corselet under the armpit. the case is different with the right hand, which the horseman must needs raise to discharge a javelin or strike a blow. here, accordingly, any part of the corselet which would hinder action out to be removed; in place of which the corselet ought to have some extra flaps (6) at the joints, which as the outstretched arm is raised unfold, and as the arm descends close tight again. the arm itself, (7) it seems to us, will better be protected by a piece like a greave stretched over it than bound up with the corselet. again, the part exposed when the right hand is raised should be covered close to the corselet either with calfskin or with metal; or else there will be a want of protection just at the most vital point. (6) {prosthetai}, "moveable," "false." for {gigglumois} l. & s. cf. hipp. 411. 12; aristot. "de an." iii. 10. 9 = "ball-and-socket joints." (7) i.e. "forearm." moreover, as any damage done to the horse will involve his rider in extreme peril, the horse also should be clad in armour--frontlet, breastplate, and thigh-pieces; (8) which latter may at the same time serve as cuisses for the mounted man. beyond all else, the horse's belly, being the most vital and defenceless part, should be protected. it is possible to protect it with the saddle-cloth. the saddle itself should be of such sort and so stitched as to give the rider a firm seat, and yet not gall the horse's back. (8) cf. "cyrop." vi. iv. 1; vii. i. 2. as regards the limbs in general, both horse and rider may be looked upon as fully armed. the only parts remaining are the shins and feet, which of course protrude beyond the cuisses, but these also may be armed by the addition of gaiters made of leather like that used for making sandals. and thus you will have at once defensive armour for the shins and stockings for the feet. the above, with the blessing of heaven, will serve for armour of defence. to come to weapons of offence, we recommend the sabre rather than the straight sword, (9) since from the vantage-ground of the horse's position the curved blade will descend with greater force than the ordinary weapon. (9) the {makhaira} (or {kopis}), persian fashion, rather than the {xephos}. "cyrop." i. ii. 13. again, in place of the long reed spear, which is apt to be weak and awkward to carry, we would substitute two darts of cornel-wood; (10) the one of which the skilful horseman can let fly, and still ply the one reserved in all directions, forwards, backwards, (11) and obliquely; add to that, these smaller weapons are not only stronger than the spear but far more manageable. (10) for these reforms, the result of the author's asiatic experiences perhaps, cf. "hell." iii. iv. 14; "anab." i. viii. 3; "cyrop." i. ii. 9. (11) reading {eis toupisthen} after leoncl. as regards range of discharge in shooting we are in favour of the longest possible, as giving more time to rally (12) and transfer the second javelin to the right hand. and here we will state shortly the most effective method of hurling the javelin. the horseman should throw forward his left side, while drawing back his right; then rising bodily from the thighs, he should let fly the missile with the point slightly upwards. the dart so discharged will carry with the greatest force and to the farthest distance; we may add, too, with the truest aim, if at the moment of discharge the lance be directed steadily on the object aimed at. (13) (12) al. "to turn right-about." (13) "if the lance is steadily eyeing the mark at the instant of discharge." this treatise, consisting of notes and suggestions, lessons and exercises suited to a private individual, must come to a conclusion; the theory and practice of the matter suited to a cavalry commander will be found developed in the companion treatise. (14) (14) in reference to "the cavalry general", or "hipparch." transcriber's note obvious typographical errors have been corrected. a list of corrections is found at the end of the text. the young lady's equestrian manual. [illustration] [illustration] [illustration: the young lady's equestrian manual.] e.landells.s. london. whitehead and comp^y. 76, fleet street. mdcccxxxviii. [illustration] preface. the following pages contain a treatise on the art of riding on horseback, for ladies, which originally appeared in the publishers' well-known manual of elegant feminine recreations, exercises, and pursuits, the young lady's book; with, however, various additions to the text, and a number of new illustrations and embellishments. in offering the treatise, thus improved and adorned, in a separate form, the publishers, it need scarcely be said, have been influenced, materially, by that high and most extensive patronage, which, under royal auspices, has been conferred by the ladies of this country, since the commencement of the present reign, on the art of which it is the subject. [illustration] [illustration] contents. page introduction 7 equestrian technicalities 23 the lady's horse 26 personal equipments 31 accoutrements for the horse 33 rules of the road 34 mode of mounting 36 management of the reins 41 the seat and balance 44 aids and defences 51 soothings and animations 55 corrections 58 vices 60 exercises in the paces 71 the walk 73 the trot 79 the canter 81 the gallop 84 stopping and backing 85 leaping 87 dismounting 91 concluding remarks 95 [illustration] the young lady's equestrian manual. [illustration] our virgin queen, peerless elizabeth, with grace and dignity rode through the host: and proudly paced that gallant steed, as though he knew his saddle was a royal throne. introduction. riding on horseback is, confessedly, one of the most graceful, agreeable, and salutary of feminine recreations. no attitude, perhaps, can be regarded as more elegant than that of a lady in the modern side-saddle; nor can any exercise be deemed capable of affording more rational and innocent delight, than that of the female equestrian. pursued in the open air, it affords a most rapid, and, at the same time, exhilarating succession of scenic changes, at a degree of personal exertion, sufficient to produce immediate pleasure, without inducing the subsequent languor of fatigue. nor is riding on horseback attended with that danger to ladies, attributed to it by the indolent, the melancholy, and the timid. accidents, indeed, in the side-saddle, are of extremely rare occurrence. strange as it may seem, it is, however, an incontrovertible fact, that horses, in general, are much more docile and temperate, with riders of the fair sex, than when mounted by men. this may be attributed, partially, to the more backward position, in the saddle, of the former than the latter; but, principally, perhaps, to their superior delicacy of hand in managing the reins. as an active recreation, and a mode of conveyance, riding on horseback appears to have been of very remote usage among our fair countrywomen. during a long period, indeed, it was the only one known to, or, adopted by them, for the performance of journies. such, too, appears to have been the case (with some modifications) in other european countries. the only _voiture_ of the french, says garsault, until the reign of charles the sixth, was the back of the horse or mule: neither kings, queens, princes, nor subjects were acquainted with any other. in the time of that monarch, litters, borne by two horses, first appeared; but these were uncovered, and used, only, by ladies of the court. froissart describes isabel, the second wife of richard the second of england, as having been borne "en une litière moult riche, qui etoit ordonnèe pour elle;" and this kind of vehicle, during the reigns of several succeeding monarchs, appears to have been used by women of distinction in this country, but, only, it is to be observed, in cases of illness, or on occasions of ceremony. for example,--when margaret, daughter of henry the seventh, went into scotland, she generally rode "a faire palfrey;" while, after her, was conveyed "one vary riche litere, borne by two faire coursers, vary nobly drest; in the which litere the sayd queene was borne in the intrying of the good townes, or otherwise, to her good playsher." towards the end of the thirteenth century, vehicles with wheels, for the use of ladies, were first introduced. they appear to have been of italian origin, as the first notice of them is found in an account of the entry of charles of anjou into naples; on which occasion, we are told, his queen rode in a _careta_, the outside and inside of which were covered with sky-blue velvet, interspersed with golden lilies. under the gallicised denomination of _char_, the italian _careta_, shortly afterwards became known in france; where, so early as the year 1294, an ordinance was issued by philip the fair, forbidding its use to citizens' wives. nor was england far behind in the adoption of the vehicle; for, in "the squyr of low degree," a poem supposed to have been written anterior to the time of chaucer, we find the father of a royal lady promising that she shall hunt with him, on the morrow, in "_a chare_," drawn by "jennettes of spain that ben so white, trapped to the ground with velvet bright." "it shall be covered with velvet red, and clothes of fine gold all about your head; with damask white and azure blue, well diapered with lilies blue." however richly ornamented, the _careta_, _char_, or _chare_--and there is little, if any, doubt, to be entertained as to their identity--may have been, it was, probably, a clumsy, inelegant, and inconvenient structure; for its employment appears to have been far from general among high-born ladies, even on occasions of ceremony and pomp. during the fourteenth, fifteenth, and sixteenth centuries, the french princesses usually rode on donkies; and so late as the year 1534, a sacred festival was attended by queen eleonora, and the females of the blood royal of france, on horseback. nor did the superior and more recent invention of coaches, for a long period, tend materially to supersede, among ladies, the use of the saddle. these vehicles, according to stow, became known, in england, in 1580; but, many years after, queen elizabeth herself is described as having appeared, almost daily, on her palfrey. in the time of charles the second, the fashion, among ladies, of riding on horseback, declined; during subsequent reigns, it gradually revived; and the exercise may now be regarded as firmly established, among our fair countrywomen, by the august example of their illustrious queen. [illustration] the present graceful, secure, and appropriate style of female equestrianism is, however, materially different from that of the olden time. in by-gone days, the dame or damosel rode precisely as the knight or page. of this, several illustrations occur in an illuminated manuscript of the fourteenth century, preserved in the royal library. in one of these, a lady of that period is depicted on horseback, enjoying the pastime of the chase. in another, are represented two gentlewomen of the same period, on horseback, with an individual of the other sex, engaged (as is shewn by some parts of the design, which it would be needless, for our present purpose, to copy) in the once much-favoured diversion of hawking. [illustration] queen elizabeth, says a writer in the encyclopædia londinensis, "seems to have been the first who set the ladies the more modest fashion of riding sideways. considerable opposition was, at first, made to it, as inconvenient and dangerous: but, practice, in time, brought it into general use; particularly when ladies found they could ride a-hunting, take flying leaps, and gallop over cross roads and ploughed fields, without meeting with more accidents than the men: besides, it was not only allowed to be more decorous, but, in many respects, more congenial to the ease and comfort of a female rider." our author is, however, wrong in ascribing the fashion of riding sideways, by women in this country, to elizabeth; by whom it could only have been confirmed, or, at the most, revived;--the honour of its introduction being clearly attributable to another queen of england, who lived at a much more early period of our history. ann of bohemia, consort of richard the second, is the illustrious personage to whom we allude. she, it was, according to stow (whom beckman follows on this point), that originally shewed the women of this country how gracefully and conveniently they might ride on horseback sideways. another old historian, enumerating the new fashions of richard the second's reign, observes, "likewise, noble ladies then used high heads and cornets, and robes with long trains, and seats, or _side-saddles_, on their horses, by the example of the respectable queen, ann, daughter of the king of bohemia; who first introduced the custom into this kingdom: for, before, women of every rank rode as men do" (t. rossii, _hist. re. ang._ p. 205). in his beautiful illustrative picture of chaucer's canterbury pilgrims, stothard appears to have committed an anachronism, in placing the most conspicuous female character of his fine composition sideways on her steed. that the lady should have been depicted riding in the male fashion, might, it strikes us, have been inferred, without any historical research on the subject, from the poet's describing her as having, on her feet, "_a paire_ of spurrés sharpe." neither the original example of ann of bohemia, nor that, in later days, of elizabeth, as female equestrians, however extensively followed, had sufficient force, entirely to abolish, among our countrywomen, the mode of riding like the other sex. in the time of charles the second, it appears, from a passage in the duke of newcastle's great work on horsemanship, to have still, at least partially, subsisted. another writer of the seventeenth century, whose manuscripts are preserved in the harleian collection, speaks of it, as having been practised, in his time, by the ladies of bury, in suffolk, when hunting or hawking; and our venerable contemporary, lawrence (a voluminous writer on the horse), it is worthy of remark, states, that at an early period of his own life, two young ladies of good family, then residing near ipswich, _in the same county_, "were in the constant habit of riding about the country, in their smart doe-skins, great coats, and flapped beaver hats." [illustration] although entirely relinquished, at present, perhaps in this country, the mode of female equestrianism under notice continues to prevail in various other localities. in the following sketch, taken from charles audry's magnificent "ecole d' equitation," a persian lady is delineated as just about to start on a journey, in the saddle; and, in the next, which is engraved from an original drawing, "done from the life," a lady and gentleman of lima are represented on horseback. "i have endeavoured," the artist says, in manuscript, on the reverse of his sketch, "to depict the horses '_pacing_;' as they are almost universally taught to do, in peru: that is, to move both the legs, of one side, forward together. it resembles an english butcher's trot in appearance; but, it is so easy, that one might go to sleep on the horse: and, after riding '_a pacer_,' it is difficult to sit a trotter at first. it is, also, excessively rapid;--good _pacers_ beating other horses at a gallop. the ladies of lima do not always ride with the face covered: but, only, when the sun is powerful. they, sometimes, ride in _ponchos_, like the men: in fact, it is excessively difficult, at first sight, to determine whether a person on horseback be male or female." [illustration] the side-saddle introduced to this country by ann of bohemia, differed, materially, from that now used by british ladies; having, no doubt, been a mere pillion, on which the rider sate, as in a chair. [illustration] [illustration] at what period our fair countrywomen first began to ride with the knee over the pommel, we are not enabled to state: it is, however, clear, according to the original of the above sketch, which occurs in one of the historical illustrations of equestrianism, given by audry, that the courtly dames of england did so, about the middle of the seventeenth century. our author describes the figure, as being that of the countess of newcastle. [illustration] it may be conjectured, that a single crutch, only, for the advanced leg, was at first used; and this, it is not improbable, was fixed on the centre of the pommel, as in the lady's saddle, now, or at least very lately, common in some parts of mexico; where the women, it would seem, ride with the left hand towards the animal's head. this, also, appears to have been, sometimes, the case, down to a recent period, in our own country; for, in rather a modern description of the side-saddle, the crutches are spoken of as being moveable, in order to afford a lady, by merely changing their relative positions, the means of riding, as she might please, on either side of her horse.[18-*] that a second crutch was used about the middle of the last century (we are unable to state how much earlier), in france, at least, is evident from a plate of the lady's hunting saddle, at that period, given by garsault; in which, it is curious, a sort of hold-fast is provided for the fair equestrian's right hand. but, even so recently as garsault's time, the saddle in ordinary use, by french women, was, we learn from his work on equitation, still, a kind of pillion, on which the rider sate, diagonally, with both feet resting on a broad suspended ledge or stirrup. the pillion in this country has not yet become obsolete; being still, frequently, to be seen, on the backs of donkies and hack ponies, at watering places. during the early part of the present century, its employment continued to be general. it was fixed behind a man's saddle, on the croup of a steady horse, trained to go at an easy though shuffling pace between a walk and a trot. the groom, or gentleman, equipped with a broad leathern belt buckled about his waist--by which the lady secured her position, in case of need--first mounted; and his fair companion was then lifted, backwards, and behind him, into her seat. in an old work on horsemanship, written by one william stokes, and published at oxford, it is not, perhaps, unworthy of notice, directions are given for vaulting into the saddle, _after_ the lady has been placed on the croup; together with a plate illustrative of so exquisitely nice and marvellously absurd an operation. in mexico "they manage these things," if not "better," at all events, with more gallantry, than our forefathers did, for with them, "the _pisana_, or country lady," we are told, "is often seen mounted _before_ her _cavaliero_; who, seated behind his fair one, supports her with his arm thrown around her waist." our illustrative sketch of this custom (in the preceding page) is taken from a beautiful model,--the work of a native mexican artist. [illustration] [illustration] having, now, offered our fair readers a slight and unpretending historical sketch of female equestrianism, we shall proceed, after a few preliminary remarks, to the practical details of the art. its various advantages, inducements, and attractions, as an exercise, have, already, been noticed. much, however, as we wish to interest our fair countrywomen, in its favour, it is proper, on our part, to tell them, frankly, that equestrianism is far from being an intuitive art:--there is no "royal road" to it. to be enjoyed and appreciated, it must be learnt. that ease and elegance,--that comparative safety in the side-saddle, of which we have spoken,--it is impossible to achieve, without considerable practice, based upon proper principles. many young ladies, however, feel a delicate repugnance to passing through the ordeal of a riding-school; some, again, do not reside in situations, where the benefit of a teacher's directions can be procured; while others, erroneously flatter themselves, that they are in possession of every needful acquirement, as regards equestrianism, when they have discovered how to retain a seat on the saddle, and guide a horse by means of the bridle. to such of our readers as happen to be comprised within either of these classes,--and to those, also, who, after having received a professor's initiative instructions, are desirous of further improvement, the following pages, if carefully perused, will, the writer most zealously hopes, prove beneficial. [illustration] footnotes: [18-*] since writing the above, we have been assured by a friend, that, within a few weeks past, he has seen several ladies, at brighton, seated on the wrong side of the horse. side-saddles, with moveable crutches, indeed, are now far from uncommon (to our own knowledge), in saddlers' shops. equestrian technicalities. a few, among the most generally adopted, of these, it will be expedient, in the first place, to notice and explain. most parts in the external structure of the horse are known by names of obvious signification: but such is not, exactly, the case with all. [illustration] to commence with the anterior limb:--_a_ is the fore pastern; _b_, the fetlock; _c_, the leg; and _d_, the arm. in the hind limb, _e_ is the hind pastern; _f_, the hock; _g_, the stifle; and _h_, the haunch. the upper surface of the neck, _i_, is denominated the crest; _k_, the withers, and _l_, the croup. [illustration] in the bridle, supposing it to be double-reined, _a_ is the double head-stall; _b_, the front; _c_, the nose-band; _d_, the throat-lash; _e_, _e_, the snaffle rein; and _f_, _f_, the curb rein. at _g_, _g_, is the martingale. [illustration] in the saddle, _a_, is the near crutch; _b_, the off crutch; _c_, the cantle; _d_, the crupper; _e_, the safe; _f_, the skirt; _g_, the stirrup; _h_, the near side half of the surcingle; and _i_, _i_, the girths. a lady's right hand is termed the _whip_-hand, and her left, the _bridle_-hand. the _near_ side of a horse is that which is on the _left_ of the rider; and the _off_ side that which is on her _right_. the height of a horse is always estimated in _hands_, of four inches each: it is always measured at the tip of the shoulder. a horse is never spoken of as being so many hands _tall_, but so many hands _high_. [illustration] the lady's horse. although the lady usually has a horse selected for her, by some gentleman, either of her own family or her acquaintance, it may not be inexpedient to inform the fair reader of those qualities which, combined in the same animal, may be said to constitute a complete lady's horse. such a creature, however, we must observe, is exceedingly difficult to be procured, even by those possessed of the nicest judgment on the subject; and, to whom, the usually important question of price is not an object of consideration. the beau ideal of this kind of horse is superlatively elegant in form, exquisitely fine in coat, and unexceptionably beautiful in colour; of a height, in the nicest degree appropriate to the figure of the rider; graceful, accurate, well-united, and thoroughly safe in every pace; "light as a feather" in the hand, though not at all painfully sensitive to a proper action of the bit; bold in the extreme, yet superlatively docile; free, in every respect, from what is technically denominated "vice;" excellent in temper, but still "though gentle, yet not dull;" rarely, if ever, requiring the stimulus of the whip, yet submitting temperately to its occasional suggestions. [illustration] in some, though not in all respects, the form should approach closely to that of a thorough-bred animal. the head should be small, neat, "well-set" on the neck, and gracefully "carried." the nostrils should be wide; the eyes large, rather protruding, dark, yet brilliant; the ears erect, and delicately tapering towards their tips. the expression of the countenance should be lively, animated, noble, and most highly intelligent; the neck rather arched and muscular; the ridge of the shoulders narrow and elevated; the chest full and fleshy; the back broad; the body, round or barrel-like; the space between the hips and tail, long, and very gradually depressed towards the latter organ, which, it is essential, should be based high on the croup. the fore and hind limbs should be distant, the one pair from the other; the "arms" muscular; the knees broad, the hocks (laterally) wide; the legs flat and sinewy; the pasterns rather long; and the hoofs large, and nearly round. a rough, or, what is technically termed, a "staring" coat, considerably deteriorates the appearance of a horse, however perfect in other conditions. its surface, on a well-bred, healthy, and properly groomed animal, is not only smooth, but brilliantly polished. the mane, if too long and thick, will interfere with that delicate management of the reins so desirable to a lady on horseback; and the tail, if of immoderate length, will, by the animal's whisking it towards his sides, prove inconvenient, to the fair rider, at all times; but, especially so, in dirty weather. neither of these appendages, however, on the other hand, should be ungracefully brief or scanty. of all colours presented by the horse, none is so rich, and, at the same time, so elegant and chaste, as a bright bay; provided the mane, tail, and lower parts of the legs, be black. a small white star on the forehead, and a white speck on one of the heels, are to be considered, rather, as beauties, than defects: but much white, either on the face or legs, whatever be the general hue, is quite the reverse of desirable. after bright bay, chestnut, perhaps, deserves to rank next in the scale of taste; provided it be not, as is very frequently the case, accompanied with white legs. some of the various shades of grey, however, are, in the opinion of many, entitled to be placed above it: of these, the silver grey, with black mane and tail, claims the highest place. brown is rather exceptionable, on account of its dulness. black is not much admired; though, as we think, when of a deep jet, remarkably elegant. roan, sorrel, dun, piebald, mouse, and even cream colour (however appropriate the latter may be for a state-carriage-horse) are all to be eschewed. the height of her horse should be in harmonious proportion with that of the rider. a very young or short lady is in no less false a position, as regards grace, on a lofty steed, than a tall, full-grown woman, on a diminutive pony. for ladies of the general stature, a horse measuring from fifteen to fifteen and a half hands, at the point of the shoulder, is usually considered, as regards height, more desirable than any other. in paces, the lady's horse should be perfect; or, at all events, so far as regards the walk and canter. the former should be fast, bold, firm, and lively, without being unsteady; and, the latter, light, easy, well-combined, and graceful: so, too, should the hand-gallop; although, it is true, a lady's horse is rarely put to this pace, unless used for the field. the trot, again, is but little practised: still the complete lady's horse is expected to be capable of performing it with great precision of step, and but little concussion to the rider:--many ladies regarding it,--however discountenanced by the majority, perhaps,--as preferable, from its vigour, liveliness, and dash, to any other pace. to expatiate on the absolute necessity of the lady's horse being safe on his limbs, would be needless. the mouth should be sensible of the most delicate hint of the rider's will, communicated to it by means of the bit. a horse that pulls hard, or hangs heavily upon the reins, is very unsuitable for a lady's use: so, again, is one having the mouth so tender as to suffer from moderate pressure, either by the snaffle or the curb. the former is no less fatiguing to, than the latter is distressed by, the bridle hand. [illustration] personal equipments. in the selection of these, a lady has a fair opportunity for the proper display of a refined and judicious taste. all that is gaudy, needless, or even elaborate, is vulgar. perfect simplicity, indeed, as regards, not only her own costume, but "the trappings of her palfrey," is expected, at the present day, on the part of every well-bred female equestrian. the habit should fit the bust, without a crease: but, beneath the waist, it ought to be, not only long, but, somewhat full and flowing. its colour should be dark as possible, without being positively black. the hair should be plaited; or, if otherwise dressed, so arranged and secured, that it may not be blown into the rider's eyes; nor, from exercise, or the effect of humid weather, be liable to be so discomposed, as to become embarrassing. to ride in a bonnet is far from judicious. a hat, or neat undress military cap, is indispensable to the female equestrian. it should be secured most carefully to the head: for, the loss of it would not merely be inconvenient, but, perhaps, dangerous, from the startling effect which its fall might produce on the sensitive temperament of the horse. a veil is the reverse of objectionable, provided it be of moderate length, and safely tied to the hat or cap; which, it is proper to state, should have no other ornament or appendage. the whip should be exquisitely neat and highly finished; but with little, if any, decoration. [illustration] accoutrements for the horse. every accoutrement for the horse, however ornamental and pictorial, beyond the mere saddle and bridle, is to be rejected, as being in bad taste. the crupper and breast-band are now almost obsolete; the saddle-cloth has nearly disappeared; nettings are, generally speaking, abandoned; and the martingale itself, valuable as it may be for horses of a certain character, is rarely to be seen. simplicity, indeed, as regards female equestrianism, is now imperatively (and, strange to say, most judiciously) enjoined, by "that same fickle goddess, fashion," in obedience to whose sovereign behest, a lady's horse, in the olden time, was disguised, as it were, "in cloth of gold most curiously wrought." [illustration] rules of the road. without a knowledge of these, the fair equestrian, when riding in public, would be exposed to considerable inconvenience, and, often, to no slight degree of danger. by a generally understood compact, persons, whether riding or driving, when proceeding in opposite directions, pass, each on his or her own _near_, or left-hand, side, of the road; and when on a parallel course, the faster party goes by the other, on the _off_, or right. in other words, when the former is the case, the right hands of the parties meeting, are towards each other; and, in the latter, the left hand of the faster, is towards the right hand of the slower. it follows, therefore, that when the rider is about to meet horses or carriages, she should take her ground on her _near_, or left, side of the road; and, when about to pass those travelling in the same direction with, though at a less speedy pace than, herself, on her right, or _off_. in meeting one rider, or vehicle, and, at the same time, passing, by superior speed, another, she must leave the first, on her right, and the second, on her left. it will not be inexpedient, under the present head, to make some observations as to which side the lady should take, when riding in company with a gentleman. adams, a teacher of equitation, and the author of a work on the subject, remarks, that the only inducements for a gentleman to ride on the left of a lady, would be, that, by having his right hand towards her, in case of her needing assistance, he might, the more readily and efficiently, be enabled to afford it, than if he were on the opposite side; and, should any disarrangement occur in the skirt of her habit, he might screen it until remedied. on the other hand, our author observes, with great good sense, though in terms somewhat homely,--addressing, it is to be noticed, his remarks to gentlemen,--"the inconvenience of riding on the left of the lady, is, that if you ride near, to give her any assistance, you are liable to rub, or incommode, the lady's legs, and alarm her; and the spur is liable to catch, or tear, the lady's habit: if the roads are dirty, your horse, likewise, bespatters the lady's habit. on the right hand of the lady, these inconveniences do not occur, if you ride ever so close; and you are situated next the carriages, and the various objects you meet, which, in narrow roads, or, passing near, might intimidate a lady. for these reasons, i think it most proper to take the right hand of a lady." [illustration] mounting. on approaching a horse, the skirt of the habit should be gracefully gathered up, and the whip be carried in the right hand. [illustration] [illustration] it is the groom's duty, when the rider approaches, to gather up the reins with his left hand, smoothly and evenly, the curb rein between, and somewhat tighter than the bridoon, properly dividing them with his fore-finger. the lady advancing, on the near side of the horse, to the saddle, receives them a little more forward than the point of the horse's shoulder, with her right hand, which still retains and passes the whip over the saddle to the _off_ or right side. on taking the bridle in this manner, her fore-finger is placed between the reins: the groom then removes his hand, and the lady draws her own back, suffering the reins to glide gently and evenly through her fingers, until she reaches the near crutch of the saddle, which she takes with her right hand, still holding the whip and reins, and places herself close to the near side of the horse, with her back almost turned towards him. the groom now quits his former post, and prepares to assist her to mount. the horse being thus left to the lady's government, it is proper, that, in passing her hand through the reins she should not have suffered them to become so loose as to prevent her, when her hand is on the crutch, from having a light, but steady bearing on the bit, and thus keeping the horse to his position during the process of mounting. she next places her left foot firmly in the right hand of the groom, or gentleman, in attendance, who stoops to receive it. the lady then puts her left hand on his right shoulder; and, straightening her left knee, bears her weight on the assistant's hand; which he gradually raises (rising, himself, at the same time) until she is seated on the saddle. during her elevation, she steadies, and even, if necessary, partly assists herself towards the saddle by her hands; one of which, it will be recollected, is placed on the crutch, and the other on her assistant's shoulder. it is important that she should keep her foot firm and her knee straight. [illustration] if these directions be well attended to, she will find herself raised to her saddle with but a trifling exertion, either, on her own part, or that of the assistant. should the latter be a lad only, or a groom not much accustomed to this part of his business, he should use both hands instead of one;--joining them by the fingers: indeed, this, generally speaking, is the safer mode. the lady, in all cases, should take care that her weight be well balanced on her left foot, from which she should rise as perpendicularly as possible; above all things taking care not to put her foot forward, but keeping it directly under her. the assistant should not begin to raise her until she has removed her right foot from the ground, and, by strengthening her knee, thrown her weight completely into his hand. [illustration] having reached the saddle, while her face is still turned to the near side of the horse, and before she places her knee on the pommel, the assistant puts the lady's left foot in the stirrup, while she removes her hand from the near to the off crutch of the saddle, holding the whip and reins as before directed. she now raises herself on the stirrup by the aid of her right hand, while the assistant, or the lady herself, with her left hand, draws the habit forward in its place. she then places her right knee between the crutches, and her seat is taken. should the back part of the habit at this time, or afterwards, in the course of the ride, require any arrangement, the lady raises herself in the stirrup, by strengthening her knee, and, with her left hand, disposes her habit to her satisfaction. [illustration] the reins. pupils, during their first lessons, may arrange the reins in the following manner:--the right hand is removed from the crutch of the saddle; the reins are separated, and one is held in each hand, passing up between the third and fourth fingers, the ends being brought over the fore-fingers, and held in their places by closing the thumbs upon them, and shutting the hands: these should be on a level with each other, at a little distance apart, three inches from the body, or thereabouts, with the knuckles of the little fingers in a line with the elbow. by slightly advancing the hands, or even relaxing the hold of the reins, the horse, if well trained, will go forward. the left hand is raised to turn to the near or left side, and the right hand to turn in an opposite direction. by slightly raising and approaching both hands toward the body, the horse may be made to stop. when either rein is acted on, to turn the horse, the other should be a little slackened, or the hand which holds it relaxed. as soon as the pupil has passed her noviciate in the art, she holds both reins in the left hand. some ladies separate them by the third and fourth fingers; others, by one of these fingers only; and many, by the fourth and little finger: but the greater number use the latter alone for this purpose, passing the off or right rein over it, and bringing the near or left rein up beneath it. the reins are carried flat upon each other up through the hand, near the middle joint of the fore-finger, and the thumb is placed upon them so that their ends fall down in front of the knuckles. the elbow should neither be squeezed close to the side, nor thrust out into an awkward and unnatural position; but be carried easily and gracefully, at a moderate distance from the body. the thumb should be uppermost, and the hand so placed that the lower part of it be nearer the waist than the upper; the wrist should be slightly rounded, the little finger in a line with the elbow, and the nails turned towards the rider. with the reins in this position, the lady, if she wish her horse to advance, brings her thumb towards her, until the knuckles are uppermost, and the nails over the horse's shoulder: the reins, by this simple motion, are slackened sufficiently to permit him to move forward. after he is put in motion, the rider's hand should return to the first position, gradually; or it may be slightly advanced, and the thumb turned upwards immediately. to direct a horse to the left, let the thumb, which in the first position is uppermost, be turned to the right, the little finger to the left, and the back of the hand brought upwards. this movement is performed in a moment, and it will cause the left rein to hang slack, while the right is tightened so as to press against the horse's neck. to direct the horse to the right, the hand should quit the first position, the nails be turned upwards, the little finger brought in towards the right, and the thumb moved to the left: the left rein will thus press the neck, while the right one is slackened. to stop the horse, or make him back, the nails should be turned, from the first position, upwards, the knuckles be reversed, and the wrist be rounded as much as possible. [illustration] the seat and balance. the body should always be in a situation, as well to preserve the balance, as to maintain the seat. [illustration] one of the most common errors committed by ladies on horseback, who have not been properly taught to ride is hanging by the near crutch, so that, instead of being gracefully seated in the centre of the saddle, with the head in its proper situation, and the shoulders even, the body is inclined to the left, the head is brought to the right by an inelegant bend of the neck, the right shoulder is elevated, and the left depressed. to correct or avoid these and similar faults, is important. all the rider's movements should harmonize with the paces of the animal: her position should be at once easy to herself and to her horse; and alike calculated to ensure her own safety and give her a perfect command over the animal. if she sit in a careless, ungraceful manner, the action of her horse will be the reverse of elegant. a lady seldom appears to greater advantage than when mounted on a fine horse, if her deportment be graceful, and her positions correspond with his paces and attitudes; but the reverse is the case, if, instead of acting with, and influencing the movements of the horse, she appear to be tossed to and fro, and overcome by them. she should rise, descend, advance, and stop _with_, and not _after_ the animal. from this harmony of motion result ease, elegance, and the most brilliant effect. the lady should sit in such a position, that the weight of the body may rest on the centre of the saddle. one shoulder should not be advanced more than the other. neither must she bear any weight on the stirrup, nor hang by the crutch towards the near side. she ought not to suffer herself to incline forward, but partially backward. if she bend forward, her shoulders will, most probably, be rounded, and her weight thrown too much upon the horse's withers: in addition to these disadvantages, the position will give her an air of timid _gaucherie_. leaning a little backward, on the contrary, tends to bring the shoulders in, keeps the weight in its proper bearing, and produces an appearance of graceful confidence. the head should be in an easy, natural position: that is, neither drooping forward nor thrown back; neither leaning to the right nor to the left. the bust should be elegantly developed, by throwing back the shoulders, advancing the chest, and bending the back part of the waist inward. the elbows should be steady, and kept in an easy, and apparently unconstrained position, near the sides. the lower part of the arm should form a right angle with the upper part, which ought to descend almost perpendicularly from the shoulder. the position of the hands, when both are occupied with the reins, or when the reins are held in one only, we have already noticed: the right arm and hand, in the latter case, may depend, easily, from the shoulder, and the whip be held in the fingers, with the lash downward, between two fingers and the thumb. the whip may also be carried in the right hand, in the manner adopted by gentlemen: the lady is not restricted to any precise rules in this respect, but may vary the position of her whip arm as she may think fit, so that she do not permit it to appear ungraceful. she must, however, take care that the whip be so carried, that its point do not tickle or irritate the flank of the horse. the stirrup is of very little use except to support the left foot and leg, and to assist the rider to rise in the trot: generally speaking, therefore, as we have already remarked, none of the weight of the body should be thrown upon the stirrup. the left leg must not be cramped up, but assume an easy and comfortable position: it should neither be forced out, so as to render the general appearance ungraceful, and the leg itself fatigued; nor, should it be pressed close to the horse, except when used as an aid; but descend gracefully by his side, without bearing against it. although hanging by the left crutch of the saddle, over the near side, is not only inelegant, but objectionable in many important respects, the near crutch, properly used, is a lady's principal dependence on horseback. the right knee being passed over the near crutch, the toes being slightly depressed, and the leg pressed against the fore part of the saddle, the pommel is grasped, and the rider well secured in the possession of her seat. it is said, that when a lady, while her horse is going at a smart trot, can lean over, on the right side, far enough to see the horse's shoe, she may be supposed to have established a correct seat; which, we repeat, she should spare no pains to acquire. in some of the schools, a pupil is often directed to ride without the stirrup, and, with her arms placed behind her, while the master holds the long rein, and urges the horse to various degrees of speed, and in different directions, in order to settle her firmly and gracefully on the saddle,--to convince her that there is security without the stirrup,--and to teach her to accompany, with precision and ease, the various movements of the horse. nothing can be more detrimental to the grace of a lady's appearance on horseback, than a bad position: a recent author says, it is a sight that would spoil the finest landscape in the world. what can be much more ridiculous, than the appearance of a female, whose whole frame, through mal-position, seems to be the sport of every movement of the horse? if the lady be not mistress of her seat, and be unable to maintain a proper position of her limbs and body, so soon as her horse starts into a trot, she runs the risk of being tossed about on the saddle, like the halcyon of the poets in her frail nest,- "floating upon the boisterous rude sea." if the animal should canter, his fair rider's head will be jerked to and fro as "a vexed weathercock;" her drapery will be blown about, instead of falling gracefully around her; and her elbows rise and fall, or, as it were, flap up and down like the pinions of an awkward nestling endeavouring to fly. to avoid such disagreeable similes being applied to her, the young lady, who aspires to be a good rider, should, even from her first lesson in the art, strive to obtain a proper deportment on the saddle. she ought to be correct, without seeming stiff or formal: and easy, without appearing slovenly. the position we have described, subject to occasional variations, will be found, by experience, to be the most natural and graceful mode of sitting a horse:--it is easy to the rider and her steed; and enables the former to govern the actions of the latter so effectually, in all ordinary cases, as to produce that harmony of motion, which is so much and so deservedly admired. the balance is conducive to the ease, elegance, and security of the rider:--it consists in a foreknowledge of the direction which any given motion of the horse will impart to the body, and a ready adaptation of the whole frame to the proper position, before the animal has completed his change of attitude or action;--it is that disposition of the person, in accordance with the movements of the horse, which prevents it from an undue inclination, forward or backward, to the right or to the left. by the direction and motion of the horse's legs the balance is governed. if the animal be either standing still, or merely walking straight-forward, the body should be preserved in the simple position which we have directed the lady to assume on taking her seat. should it be necessary to apply the whip, so as to make the animal quicken his pace, or to pull him in suddenly, the body must be prepared to accommodate itself to the animal's change of action. when going round a corner at a brisk pace, or riding in a circle, the body should lean back rather more than in the walking position: to the same extent that the horse bends inward, must the body lean in that direction. if a horse shy at any object, and either turn completely and suddenly round, or run on one side only, the body should, if possible, keep time with his movements, and adapt itself so as to turn or swerve with him; otherwise, the balance will be lost, and the rider be in danger of falling, on the side from which the animal starts. in no case, let it be remembered, should the rider endeavour to assist herself in preserving her balance, by pulling at the reins. [illustration] aids and defences. all such motions of the body, the hands, the legs, and the whip, as either indicate the rider's wishes, or, in some degree, assist the horse to fulfil them, are, in the art of riding, denominated _aids_; and those movements of the rider which tend to save the animal from disuniting himself, or running into danger, may, properly enough, be classed under the same title: while such as act for the preservation of the rider, against the attempts of the horse, when headstrong or vicious, are termed _defences_. the aids of the hand are considered the most important: all the other actions of the rider tending, principally, to assist the bridle-hand and carry its operations into complete effect. there should be a perfect harmony in the aids; and all of them ought to be governed by those of the rein. in many instances, the power of a movement performed by the hand may be destroyed by the omission of a correct accompanying aid or defence, with the body, or the leg. thus:--if a horse rear, it is useless for the rider to afford him a slack rein, if she do not also lean forward, in order, by throwing her weight on his fore-parts, to bring him down, and also to save herself from falling backward over his haunches. should the rider, when her horse rises, slacken the reins, but retain her usual position on the saddle, if he rear high, she must necessarily be thrown off her balance; and then, if she hang on the bit, in order to save herself from falling, there is great danger of her pulling the horse backward. the aids and defences of the body are numerous: we shall attempt to describe a few of them; the residue must be acquired by practice, and the lady's own observation. when the rider indicates by her hand that she wishes the horse to advance, the body should be inclined forward in a slight degree; and the left leg (with the whip, also, if the animal be sluggish, or not well trained) pressed to his side. should she, by pulling the rein towards her, or turning the wrist in the manner we have before directed, communicate her desire to stop, her body ought, at the same time, to be thrown back, with gentleness, or otherwise, in proportion to the severity of the action of the hand against the horse's inclination to increase his speed contrary to the will of his rider, or when he leaps, kicks, or plunges. if a horse rear, the rider should lean forward more than in the aid for the advance: but care must be taken, in this case, to perform the defence with discretion, especially with a pony, or galloway; for, should the animal rise suddenly, and the rider throw herself abruptly forward, it is not improbable that he might give her a violent blow on the face with the top of his head. we have already mentioned, in a previous part of our treatise, the direction which the body should take when riding in a circle, turning a corner, or acting as a defence against the danger attendant upon a horse's shying. in the first case, the aid of the body, if properly performed, will carry with it the aid of the hand, the leg, and even the whip, if it be held near the horse's side. we will explain this by an example:--suppose the rider wishes to turn a corner on her left; she inclines a little towards it, drawing her left shoulder in, and thrusting her right shoulder rather forward: the bridle-hand will thus be drawn back on the near side, the off rein will consequently act on the horse's neck, and the left leg be pressed close against the near side; so that all the necessary aids for effecting her object, are performed by one natural and easy movement. the aids of the whip, on one side, correspond with those of the leg, on the other: they are not only used in the manner we have already mentioned, when the rider wishes her horse to advance, or increase his pace, but also in clearing a corner, &c. if the lady be desirous of turning to the left, she may materially aid the operation of the hand, which directs the fore-parts of the horse to the near side, by pressing him with her stirrup leg, so as to throw his croup in some degree to the right, and thereby place it in a more proper position to follow the direction of his shoulders. in turning to the right, the whip may be made equally useful by driving out his croup to the left. the power of these aids, especially that of the whip, should be increased as circumstances require. the aid which is sufficient for some horses, may not be powerful enough by half for others: and even with, the same animal, while the slightest pressure will produce the desired effect in some cases, a moderate, or, even, a rather severe, lash with the whip is necessary in others. [illustration] soothings, animations, &c. the voice and the hand, the leg, and the whole body, may be employed to soothe and encourage. high-mettled or fretful horses, it is often necessary to soothe, and timid ones to encourage. a spirited animal is frequently impatient when first mounted, or, if a horse or a carriage pass him at a quick rate; and some horses are even so ardent and animated, as to be unpleasant to ride when with others. in either of these cases, the rider should endeavour to soothe her horse, by speaking to him in a calm, gentle tone. she should suffer the whip to be as motionless as possible, and take even more than usual care that its lash do not touch the flank. her seat should be easy, her leg still, and her bridle-hand steady. the bit should not be made to press on the horse's mouth with greater severity than is necessary to maintain the rider's command; and, as the horse gradually subsides from his animation, its bearing should be proportionately relaxed. the perfection of soothing consists in the rider's sitting so entirely still and easy, as not to add in the least to the horse's animation;--at the same time being on her guard, so as to be able to effect any of her defences in an instant, should occasion render them needful. there is scarcely any difference between soothings and encouragements; except that, in the latter, it is advisable to _pat_, and, as it were, caress the horse with the right hand, holding the whip in the left. a shy or timid horse may often be encouraged to pass an object that alarms him, to cross a bridge, enter a gateway, or take a leap, when force and correction would only add to his fear, and, perhaps, render him incorrigibly obstinate. animations are intended to produce greater speed, or, to render the horse more lively and on the alert, without increasing his pace. some animals scarcely ever require animations; while others are so dull and deficient in mettle as to call them frequently into use. the slightest movement of the body, the hand, or the leg, is enough to rouse the well-bred and thoroughly-trained animal; but it is necessary for the animations to be so spirited and united, with sluggish horses, as almost to become corrections: in fact, what is a mere animation to one horse, would be a positive correction to another. the aids of the hand, the whip, the leg, and the body, which we have before described, are animations; so, also, are _pattings_ with the hand, the tones of the voice, &c. animations should be used in all cases, when the horse, contrary to the rider's inclination, either decreases his speed, droops his head, bears heavily and languidly on the bit, or, begins to be lazy or slovenly in the performance of his paces. a good rider foresees the necessity of an animation before the horse actually abates his speed, or loses the _ensemble_ of his action, and the grace and spirit of his deportment. it is much easier to keep up, than to restore, a horse's animation: therefore, the whip, the leg, the hand, or the tongue, should do its office a few moments before, rather than at, the moment when its movements are indispensable. a slight motion of the fingers of the bridle-hand serves as an excellent animation: it reminds the horse of his duty, awakens the sensibility of his mouth, and preserves a proper correspondence between that and the hand. [illustration] corrections. ladies certainly ought not to ride horses which require extraordinary correction. for numerous reasons, which must occur to our readers, a lady should never be seen in the act of positively flogging her steed: such a sight would destroy every previous idea that had been formed of her grace or gentleness. moderate corrections are, however, sometimes necessary; and the fair rider should make no scruple of having recourse to them when absolutely needful, but not otherwise. astley, in his work on the management of the horse, after very properly recommending all quarrels between the steed and his rider to be avoided, observes, that too much indulgence may induce the horse to consider "that you are afraid of him;" and, our author adds, "if he should once think you are really so, you will find he will exercise every means to convince you that he considers himself your master, instead of acknowledging, by implicit obedience, that you are his." those, who imagine that a horse is to be corrected only with the whip, are very much mistaken. the aids and animations of the leg, the bridle-hand, the body, and the voice, may be made sufficiently severe to correct and render a horse obedient in all ordinary cases. severe flogging seldom produces any good effect; and, in most contests between a horse and his rider, when both get out of temper, the former usually gains some important advantage. the best way to correct a horse is to dishearten, and make him do what he would fain avoid;--not so much by force and obstinate resolution, in contesting openly and directly with him, when he is perfectly prepared to resist, as, by a cool opposition and indirect means. there are different methods of attaining the same end; and those which are the least obvious to the animal should be adopted: a lady cannot rival him in physical strength, but she may conquer him by mere ingenuity, or subdue him by a calm, determined assumption of superior power. [illustration] vices. some horses are addicted to a very troublesome and vicious habit of turning round suddenly,--we do not here allude to shyness, but restiveness,--without exhibiting any previous symptom of their intention. a horse soon ascertains that the left hand is weaker than the right, and, consequently, less able to oppose him; he, therefore, turns on the off side, and with such force and suddenness, that it is almost impossible, even if the rider be prepared for the attack, to prevent him. in this case, it would be unwise to make the attempt: the rider would be foiled, and the horse become encouraged, by his success in the struggle, to make similar endeavours to have his own way, or dismount his rider. the better plan is, instead of endeavouring to prevent him from turning, with the left hand, to pull him sharply with the right, until his head has made a complete circle, and he finds, to his astonishment, that he is precisely in the place from which he started. should he repeat the turn, on the rider's attempting to urge him on, she should pull him round, on the same side, three or four times, and assist the power of the hand in so doing, by a smart aid of the whip, or the leg. while this is doing, she must take care to preserve her balance, by an inclination of her body to the centre of the circle described by the horse's head. the same plan may be pursued when a horse endeavours to turn a corner, contrary to the wish of his rider; and, if he be successfully baffled, three or four times, it is most probable that he will not renew his endeavours. on the same principle, when a horse refuses to advance, and whipping would increase his obstinacy, or make him rear, or bolt away in a different direction, it is advisable to make him walk backward, until he evinces a willingness to advance. a runaway might, in many instances, be cured of his vice by being suffered to gallop, unchecked, and being urged forward, when he shewed an inclination to abate his speed, rather than by attempting to pull him in: but this remedy is, in most situations, dangerous, even for men; and all other means should be tried before it is resorted to by a lady. should our fair young reader have the misfortune to be mounted on a runaway, she may avoid evil consequences, if she can contrive to retain her self-possession, and act as we are about to direct. she must endeavour to maintain her seat, at all hazards, and to preserve the best balance, or position of body, to carry her defences into operation. the least symptom of alarm, on her part, will increase the terror or determination of the horse. a dead heavy pull at the bridle will rather aid him, than otherwise, in his speed, and prevent her from having sufficient mastery over his mouth and her own hands to guide him. she must, therefore, hold the reins in such a manner as to keep the horse _together_ when at the height of his pace, and to guide him from running against anything in his course; and, it is most probable that he will soon abate his speed, and gradually subside into a moderate pace. _sawing_ the mouth (that is, pulling each rein alternately) will frequently bring a horse up, in a few minutes. slackening the reins for an instant, and then jerking them with force, may also produce a similar effect: but, if the latter mode be adopted, the rider must take care that the horse, by stopping suddenly, do not bring her on his neck, or throw her over his head. in whatever manner the runaway be stopped, it is advisable for the lady to be on the alert, lest he should become so disunited, by the operation, as to fall. our readers may think, perhaps, that this advice, however easy to give, is difficult to follow: we beg leave, however, to tell them, that although it is not so easy as drawing on a glove, or replacing a stray curl, it is much more practicable than they may imagine; though, we trust, they may never have occasion to put it to the proof. there is another situation, in which it is advisable to force the horse, apparently, to have his own way, in order to baffle his attempts. restive horses, or even docile animals, when put out of temper, sometimes endeavour to crush their riders' legs against walls, gates, trees, posts, &c. an inexperienced lady, under such circumstances, would strive to pull the horse away; but her exertions would be unavailing: the animal would feel that he could master the opposition, and thus discovering the rider's weakness, turn it to her disadvantage on future occasions. we cannot too often repeat, that, although a rider should not desist until she have subdued her horse, she must never enter into an open, undisguised contest with him. it is useless to attack him on a point which he is resolute in defending: the assault should rather be directed to his weaker side. if he fortify himself in one place, he must proportionately diminish his powers of defence in another. he anticipates and prepares to resist any attempt to overcome him on his strong side; and his astonishment at being attacked on the other, and with success, on account of his weakness in that quarter, goes far to dishearten and subdue him. if he plant himself in a position of resistance against being forced to advance, it is a matter of very little difficulty to make him go back. if he appear to be determined not to go to the right, the rider may, on account of the mode in which he disposes his body and limbs, turn him, with great facility, to the left. if he stand _stock-still_, and will not move in any direction, his crime may be made his punishment: the rider, in such case, should sit patiently until he shew a disposition to advance, which he probably will in a very short time, when he discovers that she is not annoyed by his standing still. nothing will subdue a horse so soon as this mode of turning his attacks against himself, and making his defences appear acts of obedience to the rider's inclination. when, therefore, a horse viciously runs on one side towards a wall, pull his head forcibly in the same direction and, if, by the aid of the leg or whip, you can drive his croup out, you may succeed in backing him completely away from it. it is by no means improbable, that when he finds that his rider is inclined to go to the wall as well as himself, he will desist. should he not, his croup may be so turned, outward, that he cannot do his rider any mischief. in shying, the same principle may be acted upon, more advantageously, perhaps, than in any other case. should the lady's horse be alarmed at any object, and, instead of going up to, or passing it, turn round, the rider should manage him as we have recommended in cases where the horse turns, through restiveness. he should then be soothed and encouraged, rather than urged by correction, to approach, or pass, the object that alarms him: to attempt to force him up to it would be ridiculous and dangerous. if the horse swerve from an object, and try to pass it at a brisk rate, it is useless to pull him towards it; for, if you succeed in bringing his head on one side, his croup will be turned outward, and his legs work in an opposite direction. this resistance will increase proportionately to the exertions made by the rider. a horse, in this manner, may fly from imaginary, into real danger; for he cannot see where he is going, nor what he may run against. pulling in the rein, therefore, on the side from which the horse shies, is improper; it should rather be slackened, and the horse's head turned away from the object which terrifies him. by this mode, a triple advantage is gained: in the first place, the horse's attention is diverted to other things; secondly,--the dreaded object loses half its terror when he finds no intention manifested on the rider's part to force him nearer to it; and, lastly,--he is enabled to see, and, consequently, avoid any danger in front, or on the other side of him. a horse may be coaxed and encouraged to go up to the object that alarms him; and, if the rider succeed in making him approach it, a beneficial effect will be produced: the horse will discover that his fears were groundless, and be less likely to start again from any similar cause. after the first impulse of terror has subsided, the animal, if properly managed, will even manifest an inclination to approach and examine the object that alarmed him: but, while he is so doing, the rider must be on her guard; for the least movement, or timidity, on her part,--the rustling of a leaf, or the passing of a shadow,--will, in all probability, frighten him again, and he will start round more violently than before. after this, it will be exceedingly difficult to bring him up to the object. astley, however, whom we have before quoted, says, that should the first trial prove unsuccessful, it must be repeated, until you succeed; adding, that the second attempt should not be made until the horse's fears have subsided, and his confidence returned. a horse that is rather shy, may, in many cases, be prevented from starting, by the rider turning his head a little away from those objects, which, she knows by experience, are likely to alarm him, as well before she approaches as while she passes them. a lady, certainly, should not ride a horse addicted to shying, stumbling, rearing, or any other vice: but she ought, nevertheless, to be prepared against the occurrence of either; for, however careful and judicious those persons, by whom her horse is selected, may be, and however long a trial she may have had of his temper and merits, she cannot be sure, when she takes the reins, that she may not have to use her defences against rearing or kicking, or be required to exercise her skill to save herself from the dangers attendant on starting or stumbling, before she dismounts. the quietest horse may exhibit symptoms of vice, even without any apparent cause, after many years of good behaviour; the best-tempered are not immaculate, nor the surest-footed infallible: it is wise, therefore, to be prepared. stumbling is not merely unpleasant, but dangerous. to ride a horse that is apt to trip, is like dwelling in a ruin: we cannot be comfortable if we feel that we are unsafe; and, truly, there is no safety on the back of a stumbling nag. the best advice we can offer our reader, as to such an animal, is never to ride him after his demerits are discovered: although the best horse in the world, may, we must confess, make a false step, and even break his knees. when a horse trips, his head should be raised and supported, by elevating the hand; and the lady should instantly throw herself back, so as to relieve his shoulders from her weight. it is useless to whip a horse after stumbling (as it is, also, after shying); for, it is clear, he would not run the risk of breaking his knees, or his nose, if he could help it. if a horse be constantly punished for stumbling, the moment he has recovered from a false step, he will start forward, flurried and disunited, in fear of the whip, and not only put the rider to inconvenience, but run the risk of a repetition of his mishap, before he regains his self-possession. it being generally the practice,--and a very bad practice it is,--for riders to correct horses after having made a false step, an habitual stumbler may be easily detected. when a horse, that is tolerably safe, makes a false step, he gathers himself up, and is slightly animated for a moment or two only, or goes on as if nothing had happened; but if he be an old offender, he will remember the punishment he has repeatedly received immediately after a stumble, and dash forward in the manner we have described, expecting the usual flagellation for his misfortune. when a horse evinces any disposition to kick, or rear, the reins should be separated, and held by both hands, in the manner we have described in a previous page. this should also be done when he attempts to run away, grows restive, or shies. the body should also be put in its proper balance for performing the defences: the shoulders should be thrown back, the waist brought forward, and the head well poised on the neck. every part of the frame must be flexible, but perfectly ready for action. [illustration] the principal danger attendant on the horse's rearing is, that the rider may fall over the croup, and, perhaps, pull the horse backward upon her. to prevent either of these consequences, immediately that a horse rises, slacken the reins, and bend the body forward, so as to throw its weight on his shoulders; and the moment his fore-feet come to the ground,--having recovered your position, gradually, as he descends,--correct him smartly, if he will bear it; or, endeavour to pull him round two or three times, and thus divert him from his object. the latter course may also be adopted to prevent his rearing, if the rider should foresee his intention. a horse that displays any symptoms of kicking, should be held tight in hand. while his head is well kept up, he cannot do much mischief with his heels. [illustration] if, however, when the rider is unprepared, in spite of her exertions he should get his head down, she must endeavour, by means of the reins, to prevent the animal from throwing himself; and also, by a proper inclination of her body backward, to save herself from being thrown forward. should an opportunity occur, she must endeavour to give him two or three sharp turns: this may also be done, with advantage, if she detect any incipient attempts in the animal to kick. a horse inclined to rear seldom kicks much: but he may do both alternately; and the rider should be prepared against his attempts, by keeping her balance in readiness for either of the opponent defences. she must also take care, that, while she is holding her horse's head up and well in hand to keep him from kicking, she do not cause him to rear, by too great a degree of pressure on his mouth. [illustration] exercises in the paces. although our limits will not permit us to enter into an elaborate detail of the lessons taken by a pupil in the riding school, it is right that we should give the learner a few useful hints on the rudiments of riding, and not devote our whole space to the improvement of those who have made considerable progress. while we endeavour to correct bad habits in the self-taught artist,--in the pupil of a kind friend, an affectionate relative, or of a mere groom,--to confirm the regularly educated equestrian in the true principles and practice of the art,--to remind her of what she has forgotten, and to improve upon the knowledge she may have acquired,--we must not forget those among our young friends, who, having never mounted a horse, are desirous of learning how to ride with grace and propriety, and who dwell at a distance, or do not feel inclined to take lessons, from a master. to such, one-third, at least, of our preceding observations are applicable; and we recommend an attentive perusal of what we have said, as to mounting, the aids, &c., before they aspire to the saddle. our other remarks they will find useful when they have acquired a little practice. a quiet and well-trained horse, and a careful attendant, should, if possible, be procured. a horse, that knows his duty, will almost instruct his rider; and if a friend, who is accustomed to horses, or a careful servant, accompany the pupil, there is little or nothing to fear, even in the first attempts. the friend, or groom, may also, by his advice, materially assist the learner in her progress. it would be needless for us to repeat our advice as to the manner of mounting, holding the reins, making the horse advance, stop, turn, &c., or the proper disposition of the body and limbs: all these, in her early lessons, the pupil should gradually practise. [illustration] the walk. let the pupil walk the horse forward in a straight line, and at a slow rate, supporting his head in such a manner as to make him keep time in the beats of his pace; but not holding the reins so tight as to impede the measurement of his steps, or to make him break into a trot on being slightly animated. the hand should be so held, that it may delicately, but distinctly, feel, by the operation of the horse's mouth on the reins, every beat of his action. if he do not exert himself sufficiently, he should be somewhat animated. should he break into a trot, he must be checked by the reins; but the pull must neither be so firm nor continued as to make him stop. the moment he obeys the rein and drops into a walk, the hand is to be relaxed. should he require animating again, the movement for that purpose must be more gentle than before, lest he once more break into a trot. [illustration] after walking in a straight line for a short time, the lady should practise the turn to the right and to the left; alternately using both hands in these operations, in the manner directed in a previous page. she must observe, that when she pulls the right rein in order to turn the horse on that side, the other hand must be relaxed and lowered, or advanced, to slacken the left rein and ease the horse's mouth, and _vice versá_. if the horse do not readily obey the hand in turning, or bring forward his croup sufficiently, he must be urged to throw himself more on the bit, by an animation of the leg or whip. the animations, during the first lessons, should be commenced with great gentleness, and the rider will easily discover, by a little experience, to what degree it is necessary to increase them, in order to procure obedience. this observation should be attended to, were it only for the pupil's safety; for, if she begin with her animations above the horse's spirit, his courage will be so raised as to endanger, or, at least, alarm her, and thus render what would otherwise be an agreeable exercise, unpleasant. after the pupil has practised walking in a straight line, and turning on either side, for a few days, she may walk in a circle, and soon make her horse wheel, change, demi-volt, &c. the circle should be large at first; but when the pupil has acquired her proper equilibrium, &c., it must, day by day, be gradually contracted. in riding round a circle, the inner rein should be rather lowered, and the body inclined inward. this inclination must be increased during succeeding lessons, as the circle is contracted, and the pupil quickens the pace of her horse. she must practise in the large circle, until she is able, by her hands and aids, to make the horse perform it correctly. the inside rein must be delicately acted upon; if it be jerked, at distant intervals, or borne upon, without intermission, the horse, in the former case, will swerve in and out, and, in the latter, the rider's hand, and the animal's mouth, will both become, in some degree, deadened; and thus their correspondence will be decreased. in order to procure correct action, the inner rein should be alternately borne on in a very slight degree, and relaxed the next instant,--the hand keeping exact time in its operations with the cadence of the horse's feet. the direction is to be frequently changed; the pupil alternately working to the right and the left, so as to bring both her hands into practice. [illustration] as soon as the rider becomes tolerably well confirmed in her seat and balance, and in the performance of the simple aids and animations, as well in large as small circles, she should begin to ride in double circles; at first of considerable diameter, but decreasing them, by degrees, as she improves. riding in double circles, is guiding the horse to perform a figure of 8; and this, in the language of the riding-school, is effecting the large and narrow change, according to the size of the circles. the number of the circles may be increased, and the sizes varied, with great advantage both to the rider and the horse. they may be at some distance from each other, and the horse be guided to work from one to the other diagonally. thus, suppose he starts from _a_, he may be made to leave the upper circle at _e_, and enter the lower one at _d_; leave it at _c_, and enter the first again at _b_; and so continue for some time: then, beginning at _f_, to quit the lower circle at _c_, enter the upper one at _b_, leave it at _e_, and enter the lower circle again at _d_. thus, the position of the rider and horse are alternately changed, from working from the right to a straight line, thence to the left, thence to a straight line, and thence again to the right. to give an instance of riding in a greater number of circles, of different diameters, let the horse start from _a_ (see figure, p. 77), and leave the upper circle at _b_, traversing to the outer small circle at _c_, passing round, so as to enter the inner circle at _e_, and going round, by _f_, to _g_; quitting it at _g_, and entering the lower circle at _h_; quitting the latter again, after passing round _i_, at _k_, and thence proceeding towards the outer small circle; entering at _l_, going round and entering the inner circle at _e_, passing round, and quitting it at _f_, to return again to _a_, by entering the upper circle at _m_. these exercises may be diversified in various ways; the pupil, for instance, may perform the upper circle, and one or both of the pair below, return to the upper circle, cross from that, diagonally, to the lower circle, quit it, at _h_ or _k_, to perform one of the middle circles, return to the lower circle again, pass thence to the other middle circle, and quit it at _c_ or _f_ (as the case may happen), to return to the upper circle again. nothing can be more beneficial than this variety of action; it tends at once to confirm the pupil in her seat; to exercise her in her balance and aids; and to render the horse obedient: while, if he be kept in only one direction, he will perform the figure mechanically, without either improving his own mouth and action, or the rider's hands, aids, or balance. [illustration] in the art of riding, working on a circle is called a _volt_; in angles, or a zig-zag direction, _changes reverse_; and on half a circle from a line, a _demi-volt_. these figures may first be performed separately; but there can be no objection to the demi-volt and changes reverse being afterwards embodied in the exercises on circles. as in the last figure, the lady may work from _a_ in the mode directed, for some time; then perform the variations, by going across from _a_ to _b_, and describe a demi-volt round by _c_ _e_ to _a_; then return from _a_ to _b_, and work a demi-volt, in an opposite direction, from _b_ to _a_: thence, the lady may proceed in a line, enter the lower circle at _d_, and re-commence riding in circles. the change reverse may at any time be performed, by quitting the upper circle at _e_ or _f_, and working on the traversing lines, so as to cross the lower circle at _g_ or _h_, and enter it at _i_ or _k_. in fact, these exercises may be varied, _ad libitum_; and the more they are diversified, the greater advantage the lady will derive from them, provided she persevere until she can perform one figure with accuracy, before she enter upon another that is more complicated. should the horse, in changing, yield his head, but withhold his croup so as to destroy the union of his action, or mar the perfection of the change, the rider should bring it to the proper position, or sequence, by an aid of the whip or leg, as the case may be. [illustration] the trot. [illustration] the lady should begin to practise this pace as soon as she is tolerably perfect in the walking lessons. it will be as well for her, at first, to trot in a straight line: she may then work in the large circle, and proceed, gradually, through most of the figures which she has performed in a walk. to make the horse advance from a walk to a trot, draw upwards the little finger of each hand (or that of the left hand only, when the pupil has advanced enough to hold the reins in one hand), and turn them towards the body: an animation of the leg or whip should accompany this motion. the trot should be commenced moderately: if the horse start off too rapidly, or increase the pace beyond the rider's inclination, she must check him by closing the hands firmly; and, if that will not suffice, by drawing the little fingers upwards and towards the body. this must not be done by a jerk, but delicately and gradually; and, as soon as the proper effect is produced, the reins are again to be slackened. if the horse do not advance with sufficient speed, or do not bring up his haunches well, the animations used at starting him are to be repeated. when the horse proceeds to the trot, the lady must endeavour to preserve her balance, steadiness and pliancy, as in the walk. the rise in trotting is to be acquired by practice. when the horse, in his action, raises the rider from her seat, she should advance her body, and rest a considerable portion of her weight on the right knee; by means of which, and by bearing the left foot on the stirrup, she may return to her former position without being jerked; the right knee and the left foot, used in the same manner, will also aid her in the rise. particular attention must be paid to the general position of the body while trotting: in this pace, ordinary riders frequently rise to the left, which is a very bad practice, and must positively be avoided. the lady should also take care not to raise herself too high; the closer she maintains her seat, consistently with her own comfort, the better. the canter. the whole of the exercises on circles should next be performed in a canter; which may be commenced from a short but animated trot, a walk, or even a stop. if the horse be well trained, a slight pressure of the whip and leg, and an elevation of the horse's head, by means of the reins, will make him strike into a canter. should he misunderstand, or disobey these indications of the rider's will, by merely increasing his walk or trot, or going into the trot from a walk, as the case may be, he is to be pressed forward on the bit by an increased animation of the leg and whip;--the reins, at the same time, being held more firmly, in order to restrain him from advancing too rapidly to bring his haunches well under him; for the support of which, in this position, he will keep both his hind feet for a moment on the ground, while he commences the canter by raising his fore feet together. [illustration] the canter is by far the most elegant and agreeable of all the paces, when properly performed by the horse and rider: its perfection consists in its union and animation, rather than its speed. it is usual with learners who practise without a master, to begin the canter previously to the trot; but we are supported by good authority in recommending, that the lady should first practise the trot, as it is certainly much better calculated to strengthen and confirm her in the balance, seat &c. than the canter. the lady is advised, at this stage of her progress, to practise the paces, alternately, in the various combinations of the figures we have described; performing her aids with greater power and accuracy in turning and working in circles, when trotting or cantering, than when walking. she should also perfect herself in her aids, the correspondence, and balance, by alternately increasing and diminishing the speed in each pace, until she attain a perfect mastery over herself and her horse, and can not only make him work in what direction, and at what pace, but, also, at what degree of speed in each pace, she pleases. the horse ought to lead with the right foot: should he strike off with the left, the rider must either check him to a walk, and then make him commence the canter again, or induce him to advance the proper leg by acting on the near rein, pressing his side with the left leg, and touching his right shoulder with the whip. his hind legs should follow the direction of the fore legs, otherwise the pace will be untrue, disunited, and unpleasant, both to horse and rider: therefore, if the horse lead with his near fore leg (unless when cantering to the left--the only case when the near legs should be advanced), or with his near hind leg, except in the case just mentioned--although he may lead with the proper fore leg--the pace is false, and ought to be rectified. [illustration] the gallop. no lady of taste ever gallops on the road. into this pace, the lady's horse is never urged, or permitted to break, except in the field: and not above one among a thousand of our fair readers, it may be surmised, is likely to be endowed with sufficient ambition and boldness, to attempt "the following of hounds." any remarks, on our part, with regard to this pace, would, therefore, be all but needless. [illustration] stopping and backing. the lady must learn how to perform the perfect stop in all the paces. the perfect stop in the walk, is a cessation of all action in the animal, produced instantaneously by the rider, without any previous intimation being given by her to the horse. the slovenly stop is gradual and uncertain. the incorrect stop is a momentary and violent check on the action in the middle, instead of the conclusion, of the cadence, while the fore legs are coming to the ground. the proper movements should be performed, by the rider, so that the stop may conclude correctly with the cadence. the firmness of the hand should be increased, the body be thrown back, the reins drawn to the body, and the horse's haunches pressed forward by the leg and whip, so that he may be brought to bear on the bit. [illustration] the stop in the trot is performed as in the walk: the rider should operate when the advanced limbs of the animal, before and behind, respectively, have come to the ground, so that the stop may be perfected when the other fore leg and hind leg advance and complete the cadence. the stop in the canter is performed by the rider in a similar manner: the time should be at the instant when the horse's fore feet are descending;--the hind feet will immediately follow, and at once conclude the cadence. in an extended canter, it is advisable to reduce the horse to a short trot, prior to stopping him, or to perform the stop by a _double arrêt_;--that is, in two cadences instead of one. it is necessary that the lady should learn how to make a horse _back_, in walking: to do this, the reins must be drawn equally and steadily towards the body, and the croup of the horse kept in a proper direction by means of the leg and whip. leaping. in riding-schools, ladies who never intend to hunt, are frequently taught to leap the bar. the practice is certainly beneficial; as it tends to confirm the seat, and enables the rider more effectually to preserve her balance, should she ever be mounted on an unsteady or vicious horse. [illustration] leaps are taken, either standing or _flying_, over a bar, which is so contrived as to fall, when touched by the horse's feet, if he do not clear it: it is placed at a short distance from the ground, at first; and raised, by degrees, as the rider improves. the standing leap, which is practised first, the horse takes from the halt, close to the bar. the flying leap is taken from any pace, and is easier than the standing leap, although the latter is considered the safer of the two to begin with; as, from the steadiness with which it is made by a trained horse, the master or assistant can aid the pupil at the slightest appearance of danger. [illustration] the position of the rider is to be governed in this, as in all other cases, by the action of the horse. no weight is to be borne on the stirrup; for, in fact, pressure on the stirrup will tend to raise the body, rather than keep it close to the saddle. the legs--particularly the right one--must be pressed closely against the saddle, and the reins yielded to the horse, so that the rider can just distinguish a slight correspondence between her own hand and the horse's mouth. the animations thus produced, and the invitation thus given, will make the horse rise. as his fore quarters ascend, the lady is to advance forward; the back being bent inward, and the head kept upright and steady. a moment before the horse's hind legs quit the ground, the body should be inclined backward; the rider taking care not to bear heavily on the reins, lest the horse force her hand, and pull her forward on his neck, or over his head, as he descends. when the leap is cleared, the rider should bring the horse together, if at all disunited, and resume her usual position. in the flying leap, the seat is to be preserved as in the standing leap; except, that it is needless, and, indeed, unwise, to advance the body as the horse rises: because, in the flying leap, the horse's position, especially in a low leap, is more horizontal than when he rises at the bar from a halt; and there is great danger of the rider being thrown, if she lean forward, in case the horse suddenly check himself and refuse the leap; which circumstance occasionally happens. the waist should be brought forward, and the body suffered to take that inclination backward which will be produced by the spring forward of the horse. the horse's head is to be guided towards the bar, and the reins yielded to him as he advances. the proper distance for a horse to run previous to the leap, is from ten to fifteen yards. if he be well trained, he may be suffered to take his own pace; but it is necessary to animate an indolent animal into a short, collected gallop, and urge him, by strong aids, to make the leap. [illustration] dismounting. the first operation, preparatory to dismounting, is to bring the horse to an easy, yet perfect, stop. if the lady be light and dexterous, she may dismount without assistance, from a middle-sized horse: but, it is better not to do so if the animal be high. the right hand of the lady, when preparing to dismount, is to receive the reins, and be carried to the off crutch of the saddle. the reins should be held sufficiently tight to restrain the horse from advancing; and yet not so firm as to cause him to back or rear; nor uneven, lest it make him swerve. the lady should next disengage her right leg, clearing the dress as she raises her knee; remove her right hand to the near crutch; and then take her foot from the stirrup. thus far the process is the same whether the lady dismount with or without assistance. if the lady be assisted, the gentleman, or groom, may either lift her completely off the saddle to the ground; or, taking her left hand in his left hand, place his right hand on her waist, and, as she springs off, support her in her descent. she may also alight, if she be tolerably active, by placing her right hand in that of the gentleman (who, in this case, must stand at the horse's shoulder), and descend without any other support. should there be any objection to, or difficulty found in alighting by either of these modes, the gentleman, or groom, may place himself immediately in front of the lady, who is then to incline sufficiently forward for him to receive her weight, by placing his hands under her arms, and thus easing her descent. [illustration] if the lady dismount without assistance, after the hand is carried from the off to the near crutch, she must turn round so as to be able to take, in her left hand, a lock of the horse's mane; by the aid of which, and by bearing her right hand on the crutch, she may alight without difficulty. in dismounting thus, without assistance, she must turn as she quits the saddle, so as to descend with her face towards the horse's side. [illustration] by whatever mode the lady dismounts, but especially if she do so without assistance, she should--to prevent any unpleasant shock on reaching the ground--bend her knees, suffer her body to be perfectly pliant, and alight on her toes, or the middle of her feet. she is neither to relinquish her hold, nor is the gentleman, or groom, if she make use of his ministry, to withdraw his hand, until she is perfectly safe on the ground. in order to dismount with grace and facility, more practice is required than that of merely descending from the saddle after an exercise or a ride. it is advisable to mount and dismount, for some days, several times, successively, either before or after the ride;--commencing with the most simple modes, until a sufficient degree of confidence and experience is acquired to perform either of these operations in a proper manner, with the mere aid of the assistant's hand. [illustration] concluding remarks. the lady should perform her first lessons with a snaffle bridle, holding the reins in both hands, and without a stirrup. when she has acquired some degree of practice in the balance, aids, and general government of the horse, she may use a bridle with double reins, and hold them in the left hand, managing them as we have directed in some of the preceding pages. if the lady be but in her noviciate in the art, we strongly advise her not to place too much reliance on her own expertness, or to attempt too much at first; but, rather, to proceed steadily, and be satisfied with a gradual improvement; as it is utterly impossible to acquire perfection in the nicer operations of riding, before the minor difficulties are overcome. the lady, in all cases, should recollect that her horse requires occasional haltings and relaxation. the time occupied in each lesson should be in proportion to the pace and animation in which it has been performed. if the exercise be varied and highly animated, the horse should rest to recruit himself at the expiration of twelve or fifteen minutes; when refreshed, by halting, he may be made to go through another of the same, or rather less duration, and then be put up for the day. it would be still better to make two halts in the same space of time;--the exercise taken in such a lesson being equal to three hours' moderate work. when the lessons are less animated, they may be made proportionally longer; but, it is always better, if the pupil err in this respect, to do so on the side of brevity, than, by making her lessons too long, to harass her horse. [illustration] whitehead and comp^y. printers, 76, fleet street, london. transcriber's note the following typographical errors have been corrected. 29 diminutive poney changed to diminutive pony 47 dependance changed to dependence 75 inner rein is be changed to inner rein should be transcriber's note: every effort has been made to replicate this text as faithfully as possible, including inconsistencies in spelling and hyphenation. italic text has been marked with _underscores_. bold text has been marked with =equals signs=. [illustration] hand-book for horsewomen. by h. l. de bussigny, formerly lieutenant of cavalry and instructor of riding in the french army. new york: d. appleton and company, 1, 3, and 5 bond street. 1884. copyright, 1884, by d. appleton and company. preface. for many years two styles of riding have prevailed in western europe--the english and the continental or school system. the two are usually supposed to be somewhat antagonistic, so much so that the followers of each are not unapt to regard the other with feelings of more or less dislike, not to say contempt; the one side being sneered at as pedants, the other despised as barbarians. to the unprejudiced both seem somewhat unreasonable. the english method, originating in the national taste for field sports, has developed a race of horsemen worthy of that noblest of animals, the thorough-bred horse. the chief essential for the race-course and the hunting-field, however, being high speed on lines that are practically straight, the tendency of englishmen is to leave their horses very much alone, provided they can gallop and jump and are sufficiently under control not to run away, the rider usually keeping a pretty even pressure on the bit and making comparatively little attempt to regulate the animal's action by the use of his own legs. the school, on the other hand, is the nursery of cavalry; and, for the army, speed is not so much needed as uniformity of movement and general handiness in rapid and complicated evolutions. hence the great military riders of the continent have aimed at bringing the horse under complete control, and to this end they have applied themselves to the problem of mastering his hind legs, which are the propelling power, and therefore the seat of resistance. and it is precisely this subjection that horses dislike and try to evade with the utmost persistence. to accomplish the result, the rider is taught so to use his own legs and spurs as to bring the animal's hind legs under him, and thus carry him forward, instead of letting him go forward in his own way, as the english do. by balancing the effect of leg and spur upon the hind quarters, against the effect of hand and bit upon the mouth, the horse is brought into a position of equilibrium between the two, either at rest or in motion; he is then in complete subjection, and can be moved in any direction at his master's will. this is the basis of the whole manege system, and it is thus that horses are made to _passage_, to _piaffer_, or even to trot backward. the objection to the method is that, as equilibrium is gained, initiative is diminished, and this, together with the pedantry of the old-fashioned professors of the _haute école_, served to bring the whole theory into disrepute. looked at impartially, nevertheless, it must be admitted that each system is well adapted to accomplish its own peculiar objects, and thus it seems at least reasonable to suppose that ordinary people may be the better for learning something from both. amateurs, and especially ladies, do not expect to confine themselves to the silk jacket or even to the hunting-field, any more than they propose to give _haute école_ exhibitions in the circus. what the majority of men and women need for the park, the road, or even for hunting, is well-bitted, well-gaited animals, with light mouths, broken to canter on either leg, and easily gathered for a jump. but such horses when bought are not to be ridden off-hand. to begin with, the finer the training the more likely the beast is to turn restive if the rider leans on the reins. a seat independent of rein and stirrup is therefore the first requisite. secondly, supposing the seat satisfactory, no one can know, by the light of nature, how to stop a highly-broken horse, to say nothing of making it change its leg or gather for a jump. a certain amount of the art of management must therefore be learned to make an accomplished rider. now, beginners can get a seat in one of two ways. as children in the country they may be brought up on horseback, as they often are in the southern states and in england, in which case the difficulty will quickly settle itself; and this is doubtless best if practicable. but supposing it to be impossible, a pupil may be well taught by exercises in the school, just as officers are taught at west point or at saumur. one thing alone is certain: seat can never be acquired by desultory riding or by riding exclusively on the roads or in parks. next, as to management. without doubt the english dash and energy--in a word, rough-riding--is the first essential for any one who hopes to be either safe or happy on a horse. it is the foundation, without which nothing can avail. it means seat, confidence, and decision. yet there is something more that may be learned without at all impairing these qualities. to handle the horse rapidly and neatly, a control more or less complete must be established over his hind legs. in no other fashion can the thing be done. to attain this, it is not necessary or even desirable to go into all the niceties of the _haute école_. horsemen want to arrive at certain practical results for their own safety and comfort, and the problem to be solved is, how to accomplish them by rational and gentle means. ladies certainly do not care to _passage_ in the streets, but they do want to know how to stop their horses cleverly when they take fright, to turn their corners neatly at the trot without danger of a fall, and to avoid instantly any obstacle they may unexpectedly meet. it is also well to understand something of the simpler methods of regulating gaits. all these things may be learned best by studying the rudiments of the school system, and it is with rudiments only that this treatise pretends to deal. during the last twenty-five years many hand-books on equitation have been written for men, but few for women. this is the more remarkable as a woman's seat is such that she can not produce the same effects or use the same means as a man. instruction for him is therefore largely useless for her. men astride of a horse hold him between their legs and hands in a grip from which he can not escape, and can direct and force him with all the resolution and energy they possess. women, sitting on the left side, must supply the place of the right leg as well as they can. they are, of course, obliged to resort to various expedients, all more or less artificial and unsatisfactory certainly, but still the best they can command. yet it is for these very reasons far more important for women than for men to understand the art of management, since they must rely entirely on tact, skill, and knowledge, not only to overcome the difficulties of the cramped and unnatural seat imposed on them by fashion, but to supply their lack of physical strength. still, there is no reason for discouragement, for that these obstacles can be surmounted by intelligence and patience, and that women can learn to ride on something like an equality with the best men, the number of undoubtedly fine horsewomen sufficiently proves. contents. page introduction 11 chapter i. mounting--dismounting--the position on horseback--manner of holding the reins 22 chapter ii. exercises of pupils in private lessons--words of command--walking--turning to the right or left--voltes and reversed voltes--trotting 38 chapter iii. classes--successive and individual movements--the gallop--leaping--suggestions for riding on the road 51 chapter iv. resistances of the horse 66 introduction. it has been held by some professors of the art of horsemanship that it is impossible for a lady to ride with as much ease and as much control of her horse as a man, on account of the disadvantages of her high saddle and the absence of the right leg as a controlling agent; but the result of my experience has shown me that this is a mistaken opinion. under the systems according to which riding was formerly taught, however, the judgment was a just one, because the object to be attained was the maintenance of the horse in what may be called a state of momentary equilibrium, or equilibrium of the second degree, by means of a double bit, curb and snaffle, aided by repeated slight pressure of the spurs. under the more modern system the double bit is often replaced by a simple snaffle with one direct rein and one passing through a running martingale. the results obtained are more scientific and delicate, and the horse may be kept in a state of sustained equilibrium, or equilibrium of the first degree, in which condition he is entirely under the control of the lady who knows how to make a judicious use of her whip in place of the absent spur. there are two very different ways of riding; the more usual, because the easier, consists in letting the horse go forward at a walk, a trot, or a gallop, the rider contenting herself with guiding him, and staying on his back; while, in the other, the will as well as the action of the animal is controlled, and he is _carried_ forward in obedient and intelligent sympathy with his rider. this requires study, tact, and discretion; but the result well repays the labor, and, until it is reached, no lady, however well she may look on horseback, can be reckoned a horsewoman. i can not too strongly recommend to parents the greatest care in the choice of a teacher for their children, as in later years it always takes more time and trouble to correct bad habits than it would have done to acquire good ones in the beginning. as a general rule, riding-teachers are promoted grooms, or men of that class, who may be able to show boys how to become good rough-riders, but who are quite incompetent to teach a young lady the scientific principles by which alone she can obtain a thorough mastery of her horse. and here i hope that my readers will allow me to offer them, with the deepest respect, a few suggestions in regard to dress, as years of teaching have shown me that much of a lady's power on horseback depends upon her feeling at ease in the saddle, and consequently free to give her attention to her teacher and her horse. for full dress, such as park-riding, no hat is so distinguished as a plain high silk one; but in the riding-house, or in the country, the low derby shape, or a soft felt, is now generally worn. if the shape is stiff, it should be carefully fitted to the head, for greater security and to avoid the risk of headache, and in any case an elastic should hold it firmly in place. little girls usually wear their hair flowing on their shoulders, which saves trouble; but older riders should braid it closely to the back of the head below the hat, and pin it very securely, as the motion of the horse is apt to shake it loose, and a teacher can scarcely expect much attention from a pupil whose hat vacillates on her head at every step, or who is obliged to stop her horse in order to replace rebellious hair-pins. it may be laid down as a rule that ornaments of every kind, and even flowers, charming as they are at other times when worn by a lady, are out of place now that horsewomen have deigned to copy in their dress the simplicity of the sterner sex. rings are especially to be avoided, as they are apt to cause the fingers to swell, and thus hinder a firm grasp of the reins. the best gloves are of thin, flexible dog-skin, and they should be a size larger than those usually worn, to allow the hand and wrist as much freedom as possible. if a lady does not object to sacrificing appearances, she will find great benefit from riding sometimes without gloves. a horse's mouth is often a very delicate instrument, and the vibrations which it gives to the reins are felt much more readily by the bare hand. tailors almost always try to make a habit very tight fitting, especially at the waist; but a lady's position on horseback is at best an artificial one, and unless she is at ease in her habit she will never look at home on her horse. the constraint caused by a tight collar or arm-hole soon becomes intolerable, and the chances are that a tight waist will give the rider a pain in her side if her horse leaves a walk. whether trousers or breeches are worn, they should fit closely, and no seams should be allowed where they will come between the wearer and the saddle, for a seam, or even a fold, is apt in a short time to mean a blister. trousers should be kept in place by straps of cloth about two inches wide, which pass under the feet. gaiters are warm and comfortable for winter; but care must be taken to have very flat buttons on the outside of the right leg, as that presses against the flaps of the saddle; and, for the same reason, when breeches and boots are worn, the buttons which fasten the former above the ankle should be on the inside of the right leg. it is better to wear laced boots instead of buttoned, with trousers, because the victoria stirrup, which is now generally used, is liable to press against the buttons and catch them in a way that is uncomfortable, and may be on occasion even dangerous. woven merino under-clothing will be found more comfortable than linen, as that is apt to get into folds and wrinkles, and ladies may also find it convenient to have their collars and cuffs attached to a sort of shirt, as that will remove the necessity for pins and elastics, which are always likely to get out of place. although her single spur is at times a most valuable adjunct to a lady, it should never be worn by beginners, nor until its use has been thoroughly taught in the course of study. it is with regret that i see the riding-whip becoming superseded by the handle of the english hunting-crop, as this is neither rational nor practical, being too short and light to replace the right leg advantageously or to give efficient punishment if it is needed. a good whip, flexible, without being limp, rather long than short, not too heavy, but well balanced, is best, especially in the riding-school. i would strongly recommend to parents that, when a daughter begins to ride, it should be on her own saddle, made on her measure, or at least amply large for her, as riding on a short saddle leads to a cramped and ungraceful seat. the correct size should allow the space of three fingers between the end of the saddle and the base of the spine, when the right knee is round the second pommel. some teachers recommend that the saddles of young pupils should be covered with buckskin, and this is often very useful; but when a firm and well-balanced seat is once acquired, there is nothing like pig-skin. the third pommel, or leaping-horn, is an important and now almost invariable addition to a lady's saddle, and should be so placed that it does not press, nor even touch, the left leg, while it is not needed, and yet so that its aid may be obtained at any time by slightly drawing up the left leg. it should stand out enough from the saddle to cover the top of the thigh, and be slightly curved but not too much. i have seen this pommel made so long and so sharply curved that the left leg was fairly inclosed, and this may be dangerous. as it is movable, a pupil need not be allowed to become dependent on it; nor should it be too tightly screwed into place, as, during a long ride or lesson, it is sometimes a relief for a lady to be able to turn it slightly. the slipper stirrup is often used for children and beginners, and has the advantage of being warm in winter, but the disadvantage that a habit of pushing the foot too far home is easily acquired, and not so easily got rid of when the victoria, or, better still, a plain, open stirrup, is used later. the material and workmanship of a saddle should be of the best quality, and the less stitching and ornamentation the better. style on horseback depends on simplicity. girths seem to hold better if crossed--that is to say, if the girth which is buckled to the forward strap on the right side of the saddle is fastened to the second strap on the left; and the saddle should be so firm in its place that a lady may hang for a moment by her hands from the first pommel on the right side, or the second on the left, without causing it to shift its position. the stirrup-leather should pass under the horse outside the girths, and be connected with another strap on the right side of the saddle, in order to counterbalance the pressure on the stirrup. i may as well say here that a lady's saddle is well placed when there is a space, of the breadth of four fingers, between the right side and the upper end of the shoulder. i am accustomed to use for my pupils a simple snaffle with double reins and martingale, as by this means beginners do less harm to the mouth; and my own experience, as well as that of many others who have given it a thorough trial, is that this bit is preferable to any other for the riding-school, the road, or perhaps even for hunting, both on account of the simplicity of its effects upon the horse and of its mildness, so much greater than that of the curb, which often irritates and exasperates a spirited animal. no horses are more ready to bolt than the thorough-breds on the race-track, yet jockeys never ride with anything but a snaffle. they allow their horses to gain a pressure on the bit, and, as the jockey pulls, the horse quickens his pace. if you do _not_ permit your horse to bear on the bit, you will gain by its simple means all those "effects of opposition" of which i shall speak later, and which are difficult to master, especially for beginners. i am aware that this opinion is contrary to that usually held both here and in europe, as it certainly is to the teaching of mr. baucher. yet, as it is the final result of many years of experience, i venture to submit it to the public, although i can hardly hope that it will win general assent. it may be necessary to add that success with the snaffle presupposes a fine seat and some experience, as tact and skill must replace the loss of leverage. i consider the "baucher" snaffle the best, as the bars on either side prevent it from slipping into the horse's mouth under a strong lateral pressure. almost all riding-teachers have been educated in the army, where the reins must be held in the left hand, to leave the right free for the saber, and they continue to teach as they were taught, without considering that in civil life the right hand is practically unoccupied. when the horse is moving in a straight line, it is easy to gather the reins into one hand; but when the rider wishes to turn him to the right or left, or make him give to the bit, two hands are just twice as good as one, and i can see no reason for always riding with the reins in one hand. i have been often asked at what age a little girl should begin to ride, and i should suggest eight years as a reasonable time. if a child begins thus early, it is as well that she should take her first half-dozen lessons in her jacket and trousers, as the correct position of the legs is of great importance, and it is, of course, much more difficult for a teacher to judge of this through a skirt. riding lessons are best begun in the autumn, as winter is apt to be cold for beginners, who are not able to keep themselves warm by trotting, and in summer flies often make the horses nervous, which may disturb young or timid pupils. the duration of the first lesson should be from twenty-five to forty-five minutes. the older the pupil is the shorter the lesson ought to be, although this rule is not without exceptions. the usual proportion is: from 8 to 12 years, 45 minutes; from 12 to 20 years, 30 minutes; after 20 years, 25 minutes. after the first five or six lessons they may be gradually lengthened, day by day, until an hour is reached, and one hour in the riding-school under instruction, if the pupil holds herself in the correct position, is sufficient. when the lesson is over, the pupil should rest for a short time before changing her dress, and walk about a little in order to re-establish a free circulation of the blood. it is always wise for a lady to walk her horse for at least ten minutes before she dismounts, both for his sake and her own. the morning after her first lesson the pupil will feel tired and stiff all over, especially in the shoulders, legs, and arms. the second day the stiffness will be worse, and on the third it will be at its height, after which it will gradually wear away--that is to say, if she continues to ride every day; but if she stops between her lessons the stiffness will come back after each one. if a child has any organic weakness, the teacher should, of course, be told of it, in order that he may allow intervals for rest during the lesson; and it is probably needless to add that a child should not be allowed to ride during digestion. here i should like to say a few words to the pupils themselves. never hesitate to ask your teacher to repeat anything you are not certain you understand. teachers often take too much for granted, and in riding all depends on mastering the rudiments. have confidence in your teacher, and do not be disappointed if your progress is not perfectly regular. there are days in which you may seem able to do nothing right, and this is discouraging, and may last for several days at a time; but, on looking back at the end of a week, or, better still, a month, you will see how much ground you have gained. remember that upon your teacher rests a grave responsibility. other instructors are only brought into contact with one will, and that one harmless; while the riding-master has to deal with two: that of the pupil, which is dangerous from inexperience, and that of the horse, which is dangerous from his strength, consequently he is often obliged to speak with energy in order to keep the attention of the horses as well as their riders. to ride well on horseback is to place yourself, or cause yourself to be placed, upon a saddle; to remain there at ease in a position which has been calculated and regulated by certain rules, and to make your horse go when, where, and as you will. you cannot learn to do this if you are impatient of correction or sensitive to criticism, even though sometimes severe. chapter i. mounting--dismounting--the position on horseback--manner of holding the reins. mounting. the custom which prevails in many riding-schools of allowing pupils to mount from steps or platforms seems to me not only unscientific, but irrational, unless, indeed, the pupil is too small, too old, or too stout to be mounted in any other way; unscientific, because there is a correct and prescribed method of mounting from the ground, and irrational, because, if a lady dismounts away from the riding-school, and has not been taught this method, she will be obliged to go to the nearest house in search of a chair or bench, or at least must find a fallen tree-trunk or a big stone before she can mount again. the pupil should advance to the left side of her horse, which is supposed to be standing quietly with a groom at his head, to whom she will hand her whip, taking care not to flourish it in such a manner as to startle the animal. she should then turn and face in the same direction as the horse, let her skirt fall, and put her right hand on the second pommel of her saddle, her left hand on the right shoulder of her assistant, who is stooping in front of her, and her left foot, the knee being bent, into his left hand. she should then count three aloud: at one, she should prepare to spring, by assuring herself that she is standing squarely on her right foot; at two, she should bend her right knee, keeping the body straight; and at three, she should spring strongly from her right leg, straightening also her left as she rises, and steadying herself by a slight pressure on the shoulder of her assistant, who rises as she springs. she must be careful not to push his hand away with her left foot, as this weakens his power to help her, and as she rises she should turn her body slightly to the left, so that she will find herself, if she has calculated her spring rightly, sitting on the saddle sideways, facing to the left. she will then shift her right hand from the second to the first pommel, turn her body from left to right, lift her right leg over the second pommel, and put her left foot into the stirrup. afterward she will arrange her skirt smoothly under her with her left hand. two elastic straps are usually sewn on the inside of a riding-skirt to prevent it from wrinkling. the right foot is intended to be slipped into the upper one, the left into the lower, and, if possible, the pupil should do this just before she mounts, as it will save her and her assistant time and trouble after she is in the saddle. as soon as she can mount with ease, she should also learn to hold her whip in the right hand, which rests on the second pommel. these are trifling details, but they help to render a lady self-reliant, and it may happen to her at some time to ride a horse who will not stand patiently while straps are being arranged and a whip passed from hand to hand. i offer here a few suggestions for the use of any gentleman who may wish to assist a lady to mount. he should stand facing her at the left side of the horse, his right foot slightly in front of his left. he should then stoop and offer his left hand for her foot. unless the lady is an experienced rider, he should place his right hand lightly under her left arm to steady her as she rises. he should count aloud with her, one, two, three, and at three he should straighten himself, giving a strong support for her left foot. there are two other ways of helping a lady to mount: the first consists in offering both hands, with the fingers interlaced, as a support for her foot; and in the second he appears to kneel, almost touching the ground with his left knee, and holding his right leg forward with the knee bent, in order that she may step on it and mount as if from a platform. both these ways seem to me to be dangerous, as, in case the horse moves his hind-quarters suddenly to the right, as the lady rises, which is not uncommon, she will be suspended in space, with nothing to steady her but her hand on the pommel, and may fall under the horse's feet. if a lady wears a spur she should always tell her assistant, who will then be careful that her left heel does not touch the animal's side. i have often been asked if it is possible for a lady to mount alone; and it is certainly possible, although not very convenient. she may either avail herself of a fallen tree, a stump, a fence, or any slight elevation, which is, of course, as if she were to mount from a platform in the school; or she may let down her stirrup as far as she can by means of the strap on the right side of the saddle, take firm hold of the second pommel with her left hand and the back of the saddle with her right, put her left foot into the stirrup, and give a quick spring with her right leg, which, if she is active, will land her in the saddle, after which she can shorten her stirrup-leather. a lady will probably never in her life be called upon to mount alone in a flat country, but she can never have too many resources, and it is easy to make the attempt some time when riding alone in the school. dismounting. the horse having come to a full stop, the pupil may let the reins fall on his neck if he is very docile, slip her left foot out of the stirrup and both feet out of their elastic straps, pass her right leg over the second pommel, and sit sideways on her saddle for an instant; then give her left hand to her assistant, who stands at the side of the horse, and let herself slip to the ground. if she should be very stout, or if her feet are cold, or she is tired, it will be easier for her to drop both reins and to place her hands on the shoulders of her assistant, who can steady her arms with his hands. a lady may, of course, dismount without help by keeping her right hand on the second pommel and slipping down; but she must be careful not to jerk her horse's mouth with the reins, which she should hold in her right hand. i strongly recommend teachers and parents to insist that these exercises of mounting and dismounting be practiced frequently, as their usefulness is great. the position on horseback. it has often surprised me to see the indifference of parents to the manner in which children carry themselves and manage their bodies and limbs, whether standing, walking, or sitting. although they have sometimes more than enough of science, literature, and music, their physical culture has been neglected, so that they are not conscious of the bad habits into which they have fallen, and which become deeply rooted and almost second nature. at last the riding-master is called upon to render graceful the bodies which have been allowed for years to acquire ungraceful tricks. if a lady wishes to ride really well, and to look well on her horse, she must be supple and straight, without stiffness, as rigidity precludes all idea of ease and elegance, to say nothing of the fact that no horse looks at his ease under a stiff rider. during the first lessons a pupil is apt to have a certain unconscious fear, which causes a contraction of the muscles; and it is in order to overcome this fear, and consequent rigidity, that the following gymnastic exercise is recommended: the pupil should be mounted on a very quiet horse and led into the middle of the school, where the teacher, standing on the left side, takes in his left hand her right foot, and draws it very gently, and without any jerk, back toward the left leg; the pupil should then place her left hand in his right, and her right hand on the first pommel, and, thus supported, lean back until her body touches the back of the horse, straightening herself afterward with as little aid from the teacher as possible, and chiefly by the pressure of the right knee on the second pommel. this movement should be repeated, the pupil leaning not only straight back, but to the left and the right, the teacher holding the right foot in place and making the pupil understand that it is to the fixity of contact between her right knee and the pommel that she must look for the firmness and consequent safety of her seat on horseback. when the pupil has acquired some ease in this exercise, the teacher will allow her to practice it without his hold on her right foot, and will afterward withdraw the support of his right hand, until finally she becomes able to execute the movements while the teacher leads the horse at a walk in a circle to the left, his right hand being always ready to replace her foot in position if she should extend it forward. this exercise will indicate at once to the teacher any muscular rigidity on the part of the pupil, which he can therefore correct by the following movements: stiffness of the neck may be removed by flexions to the right, to the left, back and to the right, back and to the left, straight forward, and straight back, always gently and without any abruptness. for stiffness in the spine, the pupil should lean far forward and then backward, bending easily at the waist and keeping the shoulders well down and back. if the shoulders are stiff, the pupil should keep her elbows close to her body, the fore-arm being curved, and the wrists on a level with the elbow; then let her move her shoulders as far forward, backward, up, and down as she can, first separately, then together, and at last in different directions at the same time. very often rigidity in the shoulder comes from stiffness in the arm, when the following flexion will be found useful: the arm should be allowed to fall easily by the side, and afterward lifted until the wrist is on a level with the elbow, the fingers being shut. the elbow should then be moved out from the sides and raised until it is on a level with the shoulder, with the fore-arm horizontal; after which the wrist should be raised in the air, keeping the elbow bent at a right angle, and the fingers in front, the arm being afterward stretched to its full length perpendicularly, and finally returned to its place by the side, after going through the same motions in reversed order. this exercise should be done first with one arm, then the other, then with both together; it is somewhat complicated, but no force of habit can resist its good effect. another simpler flexion consists in first raising and then lowering the arm, stretching it out in front and behind, and at last turning it round and round, the shoulder acting as a pivot. it is impossible to see whether a pupil has too much stiffness in the knees, but she can ascertain for herself by stretching out both her feet in front and then bending them as far back as they will go, and she may also correct the same fault in her ankles by turning her feet from left to right, from right to left, and up and down, without moving the leg. all this gymnastic practice must be done slowly, quietly, and patiently, however tiresome it may seem, as the result in the future will be of the greatest importance, and it must also be done intelligently, for the object is not to learn a certain number of movements, but to gain flexibility and ease throughout the body. parents can help a teacher considerably by making children go through these flexions at home; and it seems scarcely necessary to add that the greatest care and discretion must be used in order not to fatigue pupils, especially young girls. when the teacher is satisfied that his pupil has overcome all nervousness and stiffness, so that she feels at home in the saddle, he should explain to her the details of the position during motion, and should insist that she correct her faults without help from him, in order that she may learn the quicker to take the initiative and be responsible for herself. experience has shown me that it is easier for a pupil to keep her shoulders on the same line, and sit square, if she holds a rein in either hand; therefore i recommend this method. and i have also found that to learn by heart the following rules produces excellent results, especially in cases where ladies really wish to study, and to improve any bad habits into which they may have fallen: =the head straight, easy, turning upon the shoulders in every direction, without involving the body in its movement.= if the head, being at the end of the spinal column, is stiff, this stiffness will be communicated to all the upper part of the body; if it can not turn freely without making the shoulders turn also, the stability of the seat will be impaired each time that the head moves. =the eyes fixed straight to the front, looking between the horse's ears, and always in the direction in which he is going.= if the eyes are dropped, the head will tend to droop forward, and little by little a habit of stooping will be acquired, which will destroy the balance and steadiness of the seat; while, if the rider does not look out ahead, she may not be able to communicate with her horse in time to avoid accidents--as he is not supposed to know where he is going, and the responsibility of guiding him rests with her. =the upper part of the body easy, flexible, and straight.= if the upper part of the body is not easy, its stiffness will extend to other parts which should be free to give to the motion of the horse, and thus avoid any shock; if it is not straight, the effect is lost of the perpendicular line upon the horizontal one of the horse's back, which corrects the displacement of equilibrium when the animal is in motion. =the lower part of the body firm, without stiffness.= if it were not firm, the spine would bend forward or back from the perpendicular, and derange the center of gravity, with dangerous results in case the horse made a sudden bound; but there must be no stiffness, as that detracts from the ease and suppleness indispensable to a good seat. =the shoulders well back, and on the same line.= well back, in order to give the lungs full space to breathe, and to prevent stooping. the most common fault among ladies who ride is, that the right shoulder is held farther forward than the left, which is not only ungraceful, but bad for the horse, as the rider's weight does not come evenly on his back. =the arms falling naturally, the elbows being held close to the body without stiffness.= if the arms are held as if tied to the body, or if the elbows are stuck out, the wrists and hands can not guide the horse with ease. =the fore-arm bent.= forming with the upper arm a right angle, of which the elbow is the apex, in order to give the wrist an intermediate position, whether the hand is held high or low. =the wrists on a level with the elbows.= because, if the wrists are held too low, the rider will get into the habit of resting her hands on her right knee, and will consequently neglect to occupy herself with her horse's mouth. =six inches apart.= in order to give the rider a fixed intermediary position between the movements of the hands forward, to the left, or to the right, by which she governs her horse: if the wrists are held farther apart, the elbows will appear pinioned to the sides; if nearer together, the elbows, on the contrary, will stick out in an angle. =the reins held in each hand.= i attach great importance to this disposition of the reins, as it gives a novice confidence, makes it easier for her to sit square in the saddle, and easier also to manage her horse. =the fingers firmly closed, facing each other, with the thumbs extended on the ends of the reins.= the fingers should face each other, because, if they are turned up or down, the elbows will get out of position; and the reins must be held firmly and kept from slipping by the thumb, as the horse will be quick to take advantage if he feels the reins lengthen whenever he moves his head. =the right foot falling naturally on the panel of the saddle, the point forward and somewhat down, and the right side of the leg held closely to the saddle.= as the firmness of the seat depends greatly upon a close hold of the pommel by the muscles of the right knee, it is important that they should have as free play as possible; and, if the foot is turned outward, not only is the effect ungraceful, but the muscles soon become fatigued and the whole position constrained, even that of the right shoulder, which will be held too far forward. =the left foot in the stirrup, without leaning on it.= if a lady leans her weight on the stirrup, her natural tendency will be to sit over too much to the left, which may cause the saddle to turn, and is very hard on the horse's back; besides, as she is out of equilibrium, any sudden movement will shake her loose in her seat. =the point of the foot turned slightly to the right, and the heel held lower than the rest of the foot.= if the point is turned somewhat in, the whole leg will rest more easily and closely against the saddle; and, if the heel is lower than the ball of the foot, additional contact of the leg will be gained, which is important in managing a horse, and, when a spur is worn, it will not be so apt to touch him at a wrong time. =the part of the right leg between the knee and the hip-joint should be turned on its outer or right side, and should press throughout its length on the saddle; while, on the contrary, the inside of the left leg should be in permanent contact with the saddle. the knees should, in their respective positions, be continually in contact, without any exception. the lower or movable part of the leg plays upon the immovable at the knee-joint, the sole exception being when the rider rises to the trot, at which time the upper part of the leg leaves the saddle.= this position on horseback may be called academic, or classical; and, from the beginning, a lady should endeavor to obtain it, without, of course, becoming discouraged if, for some time, she fails to attain perfection. i have met with excellent results by allowing my pupils to leave this correct position, and then resume it again, at first standing still, then at other gaits progressively. "progression" in horsemanship means the execution of a movement at a trot or gallop after it has been learned and practiced at a walk. in this way pupils soon become conscious both of the right and the wrong seats, and the difference between them, and it is consequently easy to correct any detail in which they may find themselves defective. i have done this in accordance with a principle in which i firmly believe, i. e., that the best teacher is he who soonest makes his pupil understand what is expected of her, and how to accomplish it. the former is theoretical, the latter practical horsemanship, and there is a great difference between them. if the teacher finds it hard to make a pupil understand the foregoing position, he may help her in the following manner: he should take her right foot, as indicated in the flexions, and, going as far back as he can, place his right elbow on the horse's croup, with his fore-arm perpendicular, and his fingers open and bent backward. he will then request the pupil to lean back until she feels the support of the teacher's hand between her shoulders, and to allow her head and shoulders to go back of their own weight, when it will be easy for him, by pressure of his hand, to straighten the body until it is in the correct position. some teachers adopt the hungarian method of passing a round stick through the arms and behind the back; but this is only practicable when a horse is standing still, or at a walk, and even then great care should be used, as the rider is quite helpless. it has also the disadvantage of making tall and slender persons hollow their backs unduly. pupils should be warned to avoid, as much as may be, clasping the pommel too tightly with the right knee, as a constant strain will fatigue them and take away the reserve force which they may need at a given moment; indeed, a rider should be taught from the first to economize his strength as much as possible. as soon as the pupil can sit her horse correctly, at a walk, holding the reins in both hands, she should practice holding them in the left hand only, in case she should wish to use her right hand during the lesson. the english method of holding the reins of a double bridle is, to bring all four up straight through the fingers; for instance, the curb-reins, being outside, go outside the little finger and between the first and second fingers, while those of the snaffle come between the fourth and middle and the middle and first fingers. in france and in this country the reins are crossed, the curb being below, outside the little finger, and between the third and middle fingers, while the snaffle comes between the fourth and middle and the second and first fingers. the latter method seems to me preferable, as it is easier to separate the reins, and also to regulate the amount of tension required on one pair or the other. in either position, the hand is held in front of the body, with the palm and shut fingers toward it, and the reins are held firmly in place by the pressure of the thumb. the teacher should explain that, as the curb is a much more severe bit than the snaffle, its effects must be used with delicacy, and he should give his pupils plenty of practice in taking up, separating, and reuniting the reins, in order that they may learn to handle them quickly and with precision at any gait. chapter ii. exercises of pupils in private lessons--words of command--walking--turning to the right or left--voltes and reversed voltes--trotting. although private lessons can not begin to take the place of exercises in class, it is advisable that the pupil should have some lessons by herself first, in order that she may learn to manage her horse to some extent at the walk, trot, and canter. words of command in the riding-school are of two kinds; the first being preparatory, to enable the pupil to think over quickly the means to be employed in order to obey the second or final order. example: "prepare to go forward"--preparatory. "go forward"--final order, given in a loud voice, with emphasis on each word or syllable. between the two orders, the teacher should at first explain to the pupil what is wanted, and the means of obtaining it, and later should require her to repeat it herself, so that she may learn it by heart. the teacher commands the pupil, the pupil demands obedience from the horse, and the horse executes the movement; but this triple process needs time, all the more because a novice is likely to hesitate, even if she makes no mistake. by giving the pupil time to think, she will gain the habit of making progressive demands on her horse, through means which she has calculated, and she will thus gradually become a true horsewoman, able to make her horse know what she wants him to do; for, in almost every case, obstinacy or resistance on the part of the horse comes from the want of due progression between the demand made of him and its execution. when the teacher is satisfied that the pupil is in a regular and easy position, before allowing her to go forward, he will give her the directions necessary to stop her horse, and will make sure that his explanation has been understood. to stop: the horse being at the walk, to stop him, the pupil should place her leg and whip in contact with his sides, lift her hands and bring them close to the body, and lean her body back, drawing herself up. when the horse has come to a stand-still, she should resume the normal position. to go forward: the whip and leg should be placed in contact, the hands moved forward, and the body inclined also forward. when the pupil has a clear idea of these movements, the teacher will give the orders: 1. _prepare to go forward._--2. _forward._ and, after some steps have been taken, 1. _prepare to stop._--2. _stop._ while making his pupils advance at a walk, the teacher will explain succinctly the mechanism of locomotion. the horse at rest is said to be square on his base when his four legs are perpendicular between two parallels, one being the horizontal line of the ground, the other the corresponding line of his back. if his hind legs are outside of this square, he is said to be "campé," or planted, because he can neither move forward nor back unless he changes this position. if his fore legs are outside this line, he is "campé" in front, as, for instance, when kicking; if, on the contrary, his fore legs are inside his base, he is said to be "under himself" in front; and it is a bad sign when a horse takes this position habitually, as it shows fatigue or weakness in those limbs. the horse goes forward, backward, trots or gallops, by a contraction of the muscles of the hind quarters, the duty of the fore legs being to support his weight and get out of the way of the hind ones; and the whole art of riding consists in a knowledge of the means which give the rider control of these muscular contractions of the hind quarters. the application of the left leg and of the whip on the sides of the horse serve to make him go forward, backward, to the right or left, and the reins serve to guide and support him, and also to indicate the movement required by the whip and leg. 1. _prepare to turn to the right._--2. _turn to the right._ to turn her horse to the right, the pupil should draw her right hand back and to the right, incline her body also to the right, turning her head in the same direction, and use her whip lightly, without stopping the pressure of her left leg. when her horse has turned far enough, she will cease pressure on the right side, and carry her horse straight forward. in the beginning, regularity of movement is not so important as that the pupil should understand the means by which she executes it; that is to say, that she disturbs the equilibrium of her horse by carrying the weight of her body to the right; and, while her hand and whip combine on that side, the left leg prevents him from stopping or straggling over the ground. riders in a school are said to be on the right hand when the right side of the body is toward the middle of the ring; and this is the easier way for inexperienced pupils, because they are less shaken when their horses move to the right, as they sit on the left side of their saddles. it follows, naturally, that to be on the left hand is to have the left side toward the middle; and, when riding on the right hand, all movements are executed to the right, and _vice versâ_. the teacher must watch carefully that pupils do not allow their horses to turn the corners of their own accord, as a regular movement to the right should be executed by the pupil at each corner when riding on the right hand, and to the left when going the other way. if left to guide himself around a school, the horse will describe a sort of oval, rounding the corners, instead of going into them, and thus much valuable practice is lost to the rider. the pupil being at a walk, and on the right hand, the teacher will give the word of command: 1. _prepare to trot._--2. _trot._ to make her horse trot, she must advance her wrists, lean the body forward, and use the leg and whip, resuming the normal position as soon as her horse obeys her. in order not to fatigue the pupil, the teacher will only allow her to trot a short distance, and will remind her to keep her right foot well back and close to the saddle, and to sit close without stiffness. he will also take care that she passes from the walk to the trot gradually, by making her horse walk faster and faster until he breaks into a slow trot. each time that a pupil changes from a slow to a faster gait, she should accelerate the former as much as possible, and begin the latter slowly, increasing the speed gradually up to the desired point; and the same rule holds good, reversing the process, if she wishes to change from a fast to a slower gait. as the pupil gains confidence, and feels at home in the trot, the teacher will let her practice it at shorter intervals, and for a longer time, taking care, however, that she does not attempt to rise to it; if she loses the correct position, she must come to a walk, and, having corrected her fault, resume the trot. in the intervals of rest, in order not to lose time, the pupil should repeat at a walk the movements which she has learned already, the teacher becoming gradually more exacting in regard to the correctness of the positions and effects, adding also the three following movements, which are more complicated, and which complete the series, dealing with changes of direction. the volte is a circular movement, executed by the horse upon a curved line, not less than twelve of his steps in length. the pupil being at a walk, and on the right hand of the school, the teacher will say: 1. _prepare to volte._--2. _volte_, explaining that the pupil should direct her horse to the right, exactly as if she merely meant to turn him in that direction, continuing, however, the same position, and using the same effects, until the twelve paces have been taken, which will bring her to the point of beginning, when she will resume the normal position, and go forward on the same hand. the half-volte, as its name implies, comprises the first part of the movement, the pupil coming back to her place by a diagonal line. 1. _prepare to half-volte._--2. _half-volte._ the pupil uses the same effects as in the volte, but, when she has described half the circle, she returns to her starting-point by a diagonal, using the same effects, but with much less force, since, to regain her place by the diagonal, she will only have one fourth of a turn to the right to make; then, at the end of the diagonal, she must change her effects completely, in order to execute three fourths of a turn to the left, which will bring her back to her track, but on the left hand. 1. _prepare for the reversed half-volte._--2. _reversed half-volte._ to make her horse execute a reversed half-volte, the pupil uses the same means and effects as in the preceding movement, exactly reversing them at the end; that is to say, when on the diagonal, about six paces from her track, she makes a half-circle to the left, following the rules prescribed for the volte. the teacher must be careful to explain that, in the voltes, the pupil does not change the direction in which she is going, because she describes a circle; but in the half-volte, if she is on the right hand at the beginning, she will be on the left at the end. he must also see that her horse executes all these movements at a steady pace; and, if she will practice faithfully these different changes of direction, with the positions and effects which govern them, she will, in time, acquire the habit of guiding her horse promptly and skillfully in any direction. _to go backward._--the pupil, being at a stand-still, the teacher will give the word of command: 1. _prepare to back._--2. _back._ _explanation._--to make her horse go backward, the pupil should draw herself up and lean back very far, using her leg and whip together, in order to bring the horse's legs well under him, and at the same time raise both wrists and bring them near the body. as soon as the horse has taken his first step backward, the pupil should stop the action of her leg, whip, and hands, only to resume them almost immediately to determine the second step; to stop backing, she will stop all effects, and resume the normal positions. after a few steps, the teacher should say: 1. _prepare to stop backing._--2. _stop backing._ the movement is only correct when the horse backs in a straight line, and step by step. if he quickens his movement, he must be at once carried vigorously forward with the leg and whip. when the pupil begins to have a firm seat at the trot, the teacher will gradually let her pass the corners at that gait, and, at his discretion, will also let her execute some of the movements to the right and left. to do this, she will use precisely the same means as at the walk, the only difference being that, as the gait is quicker, the changes of equilibrium are greater for both horse and rider, and the effects should be lighter and more quickly employed and stopped. i have given most of the movements to the right, to avoid useless repetition, but they should be frequently reversed; and care must always be taken to avoid over-fatigue. when the teacher is fully satisfied that his pupil has advanced far enough to profit by it, he may begin to teach her to rise at the trot; but he must not be in too great a hurry to reach this point, and he must make her understand that to rise is the result of a good seat, and that a good seat does _not_ result from rising. for the last fifteen years i have looked in vain, in all the treatises on riding, for the reason of that rising to the action of the horse known as the "english trot," and yet i have seen it practiced among races ignorant of equestrian science, who ride from childhood as a means of getting from one place to another. the arabs, cossacks, turks, mexicans, and apaches, all employ it, in a fashion more or less precise and rhythmical, rising whether their stirrups are short or long, and even if they have none. it is certain that this way of neutralizing the reaction spares and helps the horse; and it was calculated, at the meeting of the "equestrian committee" at paris, in 1872, that each time a rider rises he relieves the horse's back of one third of the weight which must rest on it permanently if he sits fast; and since that time rising at the trot has been practiced in all the cavalry of europe. after the siege of paris, in 1871, i was obliged to undertake the training of the horses of my regiment, which was then stationed at massy. these horses were all young and unbroken; and, as a result of their youth and the fatigues they had undergone, they were in poor condition, and nearly all had sore backs. i directed all the teachers who were under me, and the men who rode the horses during their training, to rise at the trot; and, three months later, the young horses were in perfect health, while their riders, who had been exhausted by a severe campaign, had gained on an average seven pounds in weight; and it was this experiment which was submitted by me to the "equestrian committee." i was tempted to make this digression, which i hope will be forgiven me, because i have heard in this country a great deal of adverse and, in my opinion, unjust criticism of the english trot, which i ascribe to the neglect of teachers, and the indifference of ladies brought up in the old school of riding to prefer horses which cantered all the time, or were broken to artificial gaits, like racking and pacing. the rider who wishes to rise to the trot should be careful that the stirrup is not so short as to keep her left leg in constant contact with the third pommel, or leaping-horn, as, unless there is the space of three or four fingers between the pommel and the leg, the latter may be bruised, and the rider forced down too soon. in order to explain this movement, the teacher may proceed as follows: placing himself at the left side of the horse, he will ask the pupil to take the reins in her left hand and put her right hand on the first pommel, with the thumb inside and the palm of the hand on the pommel; he will then take her left foot in his left hand, in order to prevent her from pushing it forward, explaining that, by pressing on the stirrup, she will develop the obtuse angle formed by her leg, of which the knee is the apex; whereas, if she pushes her foot forward, the angle will cease to exist, and she can not lift herself. with his right hand placed under her left arm, he will help her to lift herself perpendicularly; while she is in the air he will count one, will let her pause there for a short space of time, and will then help her to let herself slowly down, continuing the pressure on the stirrup, and, when she has regained her saddle, he will count two; then he will recommence the movement of rising, and will count three while she is in the air, and four when she is again seated; and this may be continued until he sees that she is beginning to be tired. the foot must only be one third of its length in the stirrup; for, if it is pushed home, she will lose the play of the ankle, which will tend to stiffen the knee and hip. when the pupil begins to understand, the teacher will let her go through the movement rather more quickly, still counting one, two, three, four; then he will allow her to practice it without his help: all this preparatory work being done while the horse is standing still. it is important that she should not drop into her saddle, but let herself down by pressing on the stirrup; and on no account should the right knee cease to be in contact with the second pommel, as this is the sole case in which the lower part of this leg is motionless while the upper part moves. as soon as the pupil can rise without too much effort, and tolerably quickly, she may practice it at the walk, and then at the trot, counting for herself, one, two, three, four; and she must put a certain amount of energy into it, for all the theory in the world will not teach her to rise in time with the horse unless she also helps herself. the theory of the rhythmical cadence is easy enough to give: the rider rises when the horse takes one step, and sinks back at the second, to rise again at the third; but the cadence itself is not so easy to find; and to rise at the wrong step is like beginning on the wrong beat of a waltz. many young persons get into the bad habit of lowering the right knee when they rise, and lifting it when they regain their seat; but this is a mistake, as the right knee should be immovable, and in constant contact with the second pommel. as soon as the pupil has struck the cadence (and, once found, it comes easily afterward), she should discontinue the use of her right hand on the pommel, and the teacher may be more exacting as to the regularity of her position than is necessary in her first efforts. during rising to the trot, the upper part of the body should be very slightly bent forward; and, if the teacher notices that the pupil is rising from right to left, or left to right, instead of perpendicularly, he should make her put the fingers of her right hand on the top of her saddle behind, and thus give herself a little help in rising, until she gets used to it. each time that the rider wishes to make her horse trot, she should sit close while he changes from a walk to a trot, and until he is trotting as fast as is necessary, because he does not arrive at that speed instantly, but by hurrying his steps, so that there is no regular cadence of the trot to which she can rise; and she should follow the same rule when she makes him slacken his pace before coming to a walk. the teacher must be careful to see that the hands do not follow the movements of the body, as they must keep quite still, the arms moving at the elbow. there is not, nor can there be, any approximate calculation of the height to rise, as that depends entirely upon the gait of the horse. if he takes short steps, the rider must rise oftener, and consequently not so high; but, if he is long-gaited, she must rise high, in order not to get back into the saddle before he is ready to take his second step. chapter iii. classes--successive and individual movements--the gallop--leaping--suggestions for riding on the road. when the pupil has taken from ten to fifteen lessons, she ought to be able to execute the movements she has studied with a certain degree of correctness, and to remain a full hour on horseback without fatigue; and she should then, if possible, be placed in a class composed of not less than twelve nor more than twenty-four members. children in a class should be of the same sex, and, as near as may be, of the same age and equestrian experience. it is not necessary that the class should meet every day; it may come together one, two, or three times a week, under the guidance of the same teacher, and this need not prevent a pupil who is in it from coming to the school at other times to practice the various movements by herself. all concerned should do their best to have all the members of the class present, and the school should be kept clear of other riders during such classes. the presence of spectators is objectionable, particularly where there is a class of young girls. granted that they are the parents, for instance, of one or two of the pupils: to the rest they are strangers, who cause constraint, as the teacher is obliged to criticise, correct, and, in a word, instruct, in a loud voice, so that the observation made to one may serve as a suggestion to all. the difference of progress between classes and individual pupils is so great that one may calculate that, after one hundred private lessons, a pupil will not ride so well as if she had taken fifty lessons in class. in a class she is obliged to keep her horse at a certain distance from the others, and in his own place, and, in her turn, go through exercises directed by a will other than her own, while the constant repetition of principles by the teacher fixes them in her memory. on the other hand, the private pupil takes her time to make her horse go through a movement; and, that movement once understood, there is no reason for the repetition of the explanations which can alone make the theory and principle of riding familiar. i am certainly not an advocate for theory without practice; but i insist that a rider must know what she ought to do before she can do it really well, as all good results in riding are obtained by long practice, based on a rational theory. the teacher should choose out of his class the four most skillful pupils, whose horses are free and regular in their gaits, to serve as leaders, one at the head and one at the end of the two columns, which should be drawn up on the long sides of the school, each rider having a space of at least three feet between the head of her horse and the tail of the one in front of her, the heads of the leaders' horses being about six feet from the corner of the school. while the columns are standing still, the teacher should explain distinctly the difference between distance and interval, and he had better be on foot at the end of the school, facing the columns. by "distance" is meant the space between the tail of one horse and the head of the next in the column. "interval" is the space between two horses who are standing or going forward on parallel lines. all movements are executed singly or in file: in the first case each pupil goes through the movement, without regard to the others; in the second, the pupils execute the movement in turn after the leaders of the column. a movement in file, once known, may be repeated individually, but only at a walk in the beginning, in order to insure attention. the columns should both be on the right hand; consequently the head of one will be opposite the end of the other as they are drawn up on their respective sides. first order: 1. _prepare to go forward._--2. _go forward._ when the final word of command is given, the pupils will advance simultaneously, each one using the same effects as if she were alone, and being careful to preserve the correct distance. the two leaders should so regulate the gait of their horses as to pass the opposite corners of the school at the same moment, and this gait should be uniform. if a pupil loses her distance, she should regain it by making her horse walk faster; but she should try to keep her place, as the whole column must quicken its pace when she does, and all suffer from the carelessness of one. when the columns are on the short sides of the school, the teacher should give the order: 1. _prepare to halt_; and when they are on the long side, 2. _halt._ when they are again going forward, always on the right hand, the order should be given: 1. _prepare to turn to the right._--2. _turn to the right._ at the final order each pupil will turn to the right on her own account, and according to the rules already prescribed; at the end of this movement all will find themselves on parallel lines, and about twelve feet apart; they should then turn the head somewhat to the right, in order to see that they are on the same line, and cross the width of the school in such a way that the columns will meet and pass each other in the middle. when they have reached the opposite side, they will turn to the right without further order, the leaders at the end of the column being now at its head. this movement should _never_ be executed except at a walk. to replace the columns in their accustomed order, the teacher should have this movement executed a second time. when the columns are going forward on the right hand, the order will be given: 1. _prepare to volte in file._ in this movement the same principles and the same means are used as in a private lesson; the leaders, however, describe a larger circle proportionate to the length of their columns, and at the end their horses' heads should be about three feet behind the tails of the last horses in their respective columns. the other pupils then, in turn, execute the movement upon the same ground as the leader. the leaders having moved two thirds down one of the long sides, the teacher will order: 2. _volte in file_; and, when the columns are again going forward on the right hand, 1. _prepare to half-volte in file._ the leaders turn to the right, describe their half-circle, and go forward on a diagonal line ending just behind the last rider in the column; once there, they turn to the left and fall into line, being duly followed by each pupil over the same ground. when the leaders are about eighteen feet from the corner of the school, the teacher will order: 2. _half-volte in file._ the next order should be: 1. _prepare for the reversed half-volte in file._ the leaders must execute diagonals proportional to the lengths of their respective columns, in such a manner as will enable them to begin their half-circles when about thirty feet down the long sides, and thirty-five or forty feet before the turn or corner, followed in turn by the other pupils, as in the foregoing movements. as soon as the leaders are on the long sides, having passed the second corners, the teacher will order: 2. _reversed half-volte in file._ the columns being on the long sides, and on the right hand, the next order should be: 1. _prepare to back._--2. _back._ and, to execute this movement correctly, each pupil will make her horse back as she would in a private lesson, being careful to keep in a line with her companions. when the class can execute these movements correctly at a walk, the teacher will allow them to be practiced at a trot, insisting, however, that the pupils shall stop rising as soon as the preparatory order is given, not to begin again until they have returned to the side of the school at the end of the movement. when there is a full class, it is better not to allow turns to the right or left to be attempted at a trot, as the riders may strike one another's knees in crossing. when these movements in file, at the walk and the trot, have given the pupils the habit of controlling their horses with decision and regularity, the teacher should explain to them the difference between these and individual movements. the column being at a walk, and on the right hand, the teacher will say: 1. _prepare to volte singly._ each pupil leaves the line at the same moment as the others, executes a circular line of twelve steps as in a private lesson, and takes her place in the line again. 2. _volte singly._ next in order comes: 1. _prepare to half-volte singly._ this is done exactly as in a private lesson, the pupils taking care to do it in time with one another, in order to reach their places at the same moment. 2. _half-volte singly._ 1. _prepare for the reversed half-volte singly._ the pupils leave their places simultaneously by a diagonal line, and return to the same track; but, on the other hand, by a circular line of six steps. 2. _reversed half-volte singly._ these movements are here given on the right hand; but they may, of course, be done equally well on the left hand by reversing the terms. i recommend teachers not to keep their pupils too long on the left hand, but to seize that opportunity to rectify any incorrect positions of the feet. when the class can execute the foregoing movements correctly at the walk and the trot, the teacher may explain to them the canter or gallop. a horse is said to "lead" at a canter with his right foot when the lateral movement of his right foot is more marked than that of his left. this causes a reaction from left to right, which makes this lead easier for a lady, who sits on the left side, than that of the left foot, where the reaction is from right to left. when a horse who is leading with his right foot turns to the left, he must change his lead, and _vice versâ_. to make her horse lead at a canter with his right foot, the rider must put her left leg very far back to act in opposition with her whip, which should make very light attacks, incline the upper part of her body forward, and lift her hands, without, however, drawing them nearer her body. when the horse has obeyed, she will resume the normal position for hands and body, renewing the pressure of her whip and leg from time to time to keep the gait regular. during the canter or gallop the right foot should be held well back, close to the saddle, without rigidity, and the rider should sit firm in her saddle, while allowing the upper part of her body to give freely to the motion of the horse, in order to neutralize any shock. to change his lead from right to left at a gallop, the horse pauses for an imperceptible space of time, immediately puts his left hind leg in front of his right, and, by the contraction of the muscles of his left leg, projects his body forward to the left, his equilibrium being again disturbed, but in a new direction; to compensate which, his left fore leg comes at the first step to support the weight by putting itself before the right, which, until then, has been carrying it all. it requires a great deal of tact, the result of long practice, to make a horse change his feet when he is galloping in a straight line, and i therefore recommend teachers to proceed with their classes in the following manner: the column being at a gallop, each pupil should execute a half-volte in file, turning at the gallop, coming down to a trot on the diagonal, and resuming the gallop when she is on the opposite track and on the other hand. as the horse is galloping with his right foot, the rider will calculate the movement of his right shoulder by watching it without lowering her head, and, when she sees that shoulder move to put down the right leg, she must instantly change her effects of leg and whip, and lift her hands, the right rather more than the left, to support the horse while he pauses with his right shoulder, while an energetic action of her leg will make him bring his left hind leg under him and put it in front of the right; and, if she holds her left hand low, the left fore leg will be free to take its place in front of the right. care must be taken not to throw a horse while he is changing his feet, that is to say, he must not be turned suddenly to the right in order to be jerked suddenly to the left; and, during the short time which it takes him to change his feet, the rider should sit close in order not to disturb him by a shifting weight. when the pupils can make their horses change their feet by changing their gait, they should be made to execute half-voltes and reversed half-voltes in file, at a gallop, without changing to a trot; and, when they can do this, they may execute them individually, according to the rules already prescribed. i must again recommend great prudence, that accidents may be avoided, and plenty of pauses for rest, that the horses may not become discouraged. a lady's equestrian education can not be considered complete until she can make her horse leap any obstacle which is reasonable, considering her age and experience and the capacity of her horse. when her seat has become flexible and firm at the walk, trot, and gallop, when she is mistress of her horse in changes of direction, of gait, and of feet, the teacher should allow her to leap a hurdle not less than two nor more than three feet high. the class being formed into a single column, close together, each rider should make an individual turn to the right on the long side of the school opposite where the hurdle is to be placed, as she can thus see for herself any faults which may be committed by her companions. leaping should be practiced by the pupils one at a time, at a walk, a trot, and, finally, a gallop. the class being drawn up in line, the teacher will proceed to explain to them the animal mechanism of the leap. if a horse is at a walk, and wishes to jump over an obstacle, he draws his hind legs under him to support his weight, pauses for an instant, then lifts his fore legs from the ground, thus throwing all his weight upon his hind legs; whereupon, by a powerful contraction of the muscles, these latter project his body forward and upward, and it describes a curve through the air, alighting on the fore legs, braced to receive the shock, the hind legs dropping on the ground in their turn, only to contract again sufficiently to form a forward motion. the pause before a leap is more noticeable at a walk than at a trot, and least of all at a gallop. the most favorable gait for leaping is what is known as a hand-gallop, which is an intermediate pace between a riding-school canter and the full gallop of the race-track, as, while he is at this gait, the horse is impelled forward with his hind legs constantly under him. in order to aid and support her horse at a leap, the rider should bring him straight up to the obstacle at a slow and regular gait, and should put her own right foot very far back, that she may make her seat as firm as possible; at the moment when he pauses she should lean back and lift both of her hands a little, in order to enter into the slight approach to rearing, without encouraging it too much; then, as soon as she feels the horse project himself forward, she must give her hand, straighten herself, and lean back as the horse goes over, lifting her wrists with energy as soon as he touches the ground. when he has begun the motion of rearing, a simultaneous action of the whip and leg will help to determine his leap. it may be noticed that i use the words "aid" and "support" instead of "_make_," and also that i indicate first the positions of the body, next of the hands, and last the effects of the leg and whip, to the end that the pupil may not be confused as to the very short time in which these latter may be rightly used. before leaping, the teacher may allow the pupils to practice their positions in the following manner: he should make them count one, leaning the body and drawing the wrists backward; two, the body and wrists forward; three, the body and wrists backward again. this series, slow in the beginning, may be quickened little by little until it is as near as may be to the speed necessary in these movements during the short duration of a leap. when the pupils have gone through these motions intelligently, the teacher will take his place in front and to the right of the hurdle, facing the wall. the hurdle should always be placed in the middle of one of the long sides; and ladies prefer to jump on the left hand, in order to avoid touching the wall with their legs if the horse should go too near it. notwithstanding this, if the horses are free jumpers, and the school well arranged, i prefer the right hand, because a fall to the right is then clear of the wall. this is a case in which an instructor must depend upon his own judgment. the teacher stands as i have indicated above, holding a whip with a long lash, not to strike the horses, but to prevent refusals. one after another the pupils should leave the line, and advance at a walk, until they get on the side of the school where the hurdle has been placed, when they will canter, but without any excitement; and they will find it useful to count one, two, three, until the three movements of the body have become mechanical from practice. during the course of the more advanced lessons, it will still be useful to practice some flexions, in order to be sure that pupils keep supple. they should also learn to take the foot out of the stirrup at any gait, and replace it without stopping, and to rise at the trot, the foot being out of the stirrup, which is not so difficult as it appears. they should also be drilled to walk, trot, or gallop by twos and threes, to learn to accommodate their horses' gait to that of a companion. the teacher should be sure that, at the end of their lessons, the pupils can trot or gallop for at least a mile without stopping; and, to gain this result, he must proceed by degrees, with the object of developing the lungs and giving a freer respiration. nothing is more ridiculous than to see a rider, who has proposed a trot or canter to her companion, obliged to pull up after a few steps, puffing and panting for breath. she is apt to ruin her own horse; and gentlemen who have spirited animals are likely to avoid riding with her. except in the prescribed effects of the whip and leg, there is no definite position in which a lady is obliged to hold her whip, and she should learn to carry it as suits her best. she should be able to arrange her skirt while at a walk, without assistance, and also to shorten or lengthen her stirrup by the strap on the right side of the saddle, without taking her foot out. from the very beginning of the lessons the teacher should suppress all the little chirpings and clackings of the tongue, which, however useful they may be to a coachman or a horse-trainer, are out of place in the mouth of a lady. i was once invited to accompany a lady in central park, in new york; and, as i had been told that she rode very well, i did not hesitate to ride général, a noble animal, whose education in the _haute école_ i was just finishing. we started. she managed her horse with her tongue as an effect on the right side, instead of using her whip. the consequence was, that my horse, hearing these appeals, and not knowing whether they were meant for him or not, remained at the _passage_ all the way from the gate to the reservoir, where i took it upon myself to beg her to do as she chose with her own horse, but to allow mine to be under my own control. i recommend not giving dainties to horses before mounting, unless they are allowed time to eat them. if a horse has a piece of sugar or apple in his mouth, the bit will be worse than useless; it will irritate him, as he can not open his mouth without dropping the delicacy, and he can not swallow it if he gives his head properly. i have noticed that most gentlemen riding with ladies place themselves on the right side; but this seems to me a mistake, where the rule of the road is to pass to the right, because it is the lady who protects her companion, and not he who shields her. besides, he takes the place where his horse is most likely to be quiet, as no one has the right to pass inside him. still further, should the lady's horse become frightened, he will be seriously embarrassed on the right side, with the reins in his left hand; and, if she should fall, what can he do? he can only transfer his reins to the right hand, and endeavor to push her into her saddle with his left; and, if they are going fast, this will not be easy. i may say here, that in ninety-five cases out of a hundred the lady falls to the right. if the gentleman is riding on her left, he gives up to her the best place, and protects her legs; she can use her whip more freely; he has the use of his right hand to stop or quiet her horse; he can arrange her skirt, should she need his help; if she falls, he has but to seize her left arm, and draw her toward him, calculating the strength which he employs, and he may even lift her from the saddle. chapter iv. resistances of the horse. in all the best riding-schools of europe two posts are firmly fixed into the ground, parallel with and about twenty paces from one of the short sides of the school. these are called pillars, and between them is fastened a horse who is trained to rear or to kick at command, in order that the teacher may explain to his pupils what they must do when they encounter one or other of these resistances. these pillars are almost unknown in riding-schools in this country, and the reason of their absence may be found, i think, in the moral qualities of the american horse, which are really astonishing when looked at from the point of view of animal character. a teacher should, however, give his pupils some instructions about the most common tricks or vices of the horse, which are usually only defensive action on his part. before any active form of resistance, the horse always makes a well-marked pause; for instance, in order to rear, he stops his motion forward, draws his hind legs under him, throws his weight on them, and lifts his fore legs from the ground, holding his head high. when he is almost upright on his hind legs, he stands for a longer or shorter time, moving his fore feet as if beating the air, and then either comes down to earth again or falls backward, which is acknowledged to be the most dangerous thing which can happen on horseback. if the rider feels that her horse is on the point of going over with her, she must instantly slip her foot out of the stirrup, loosen the hold of her leg on the pommel, and lean as far to the right as she can, turning her body to the left in order to fall on the right of the horse, who almost always falls to the left, and, as soon as she is on the ground, she must scramble away from her horse as quickly as possible. the best way of preventing a horse from rearing is not allowing him to stop; and, if it should be too late or too difficult to manage this, all effects of the hands should stop at once, and the rider should attack his right flank with her whip vigorously. if a horse rears habitually, he should be got rid of. in order to kick, on the contrary, the horse braces himself with his fore legs, lifting his hind quarters by a contraction of his hind legs; and, when his croup is in the air, he kicks as hard as he can with his hind legs, and brings them suddenly to the ground again, holding his head low and sticking out his neck meanwhile. an inexperienced rider may be frightened by the shock of this movement, which is very disagreeable, besides being dangerous to people behind; but, with calm presence of mind and a little energy, this trick may be fought without too much annoyance. in this case also the great thing is to hinder the horse from stopping, by keeping his head up; and, if, in spite of the rider, he gets it down and his legs braced in front of him, she should lean very far back and strike one or two vigorous blows with her whip on the lower part of the neck where it joins the chest, trying at the same time to lift the head with the reins. some teachers recommend using the whip on the flank, as in rearing, and i usually do this myself; but i have always noticed that the horse kicks again at least once while going forward; so i do not recommend this for a lady. in bucking, the horse puts his head down, stiffens his fore legs, draws his hind legs somewhat under him, and jumps forward, coming down on all four feet at once, and jumping again almost immediately. without being particularly dangerous, this vice is very unpleasant, as it jars the rider terribly. to neutralize the shock, therefore, as much as she can, she must sit very far back, lean her body back, lift her hands vigorously, and try to make her horse go forward and slightly to the right. when a horse refuses to slacken his pace, or to stop when his rider wishes it, he is running away with her, and he does this progressively--that is, if he is at a walk he will not stop when he feels the bit, but shakes his head, quickens his pace to a trot, throws his head into the air, or holds it down, bearing against the bit, breaks into a gallop, and goes faster and faster until he is at full speed; and, once arrived at this point, he is quite capable of running straight into a wall or jumping over a precipice. some high authorities maintain that this state of the horse is one of temporary insanity; and this theory is admissible in certain cases where, when the animal is stopped, the nostrils are found to be very red and the eyes bloodshot; but, in most cases, horses run away through sudden fright, or from fear of punishment, or because they are in pain from one cause or another. when a horse is subject to this fault, his rider should give him to a man, either a skilled amateur or a professional rider, as i have seen very few ladies who could undertake the proper treatment without danger. such a horse being put into my hands for training, i take him to some place where the footing is good and where he can have plenty of space, which means plenty of time for me; and, once there, i provoke him to run away, in order that i may find out why he does so. if he fights against my hand, shuts his mouth, or throws his head in the air, as soon as he has stopped i carefully examine his mouth, his throat, his breathing, his sight, his loins, and his houghs. sometimes the mouth is without saliva, the lips are rough and irritated, the bars are dry, bruised, and even cut; and in that case i try to see whether the bad habit does not come from severe bitting, or too tight a curb-chain, or perhaps the teeth may be in bad order. a few flexions of the jaw and neck will tell me at once if the mouth is the cause of the trouble; but i must make sure that this bad state of the mouth is the cause, and not the consequence. the sight of a horse is often defective; the sun in his eyes dazzles and frightens him; or else a defective lens makes objects appear larger to him than they really are; or he may be near-sighted, and consequently nervous about what he can not see; and a moving bird, or a bit of floating paper, is enough to make him bolt. sometimes the throat is sore inside, and then the horse suffers from the effect of the bit on the extremity of his neck when he gives his head. bolting is often caused by suffering in some internal organ; and in that case the breathing is apt to be oppressed. but in seven cases out of ten the cause of a horse's running away is to be found in his hind quarters. the loins are too long, weak, and ill-attached, so that when he carries a heavy weight the spinal column feels an insupportable pain. what man would not become mad if he were forced to walk, trot, and gallop, carrying a weight which caused him frightful suffering? the remembrance of an old wound made by the saddle is sometimes enough to cause a nervous and sensitive animal to bolt. the legs are sometimes beginning to throw out curbs or spavins, or they may be too straight and narrow, lacking the strength necessary to carry the horse at a regular gait; so he suffers, loses his head, and runs away. we will suppose the horse to be well-proportioned, with his sight and organs in a normal condition, his mouth only being hurt as a consequence, not as a cause. i change the bit, and substitute an easier one, treating the mouth meanwhile with salt, or alum, or marsh-mallow; and yet my horse still runs away. in that case it is from one of two reasons: either it is from memory and as a habit, or else it is the result of ill-temper. if the former, i take him to some spot where i can have plenty of space and time, preferably a sea-beach with soft sand, or a large ploughed field; and there i let him go, stopping when he stops, and then making him go on again, and in this way he soon learns that submission is the easiest way for him. if he should be really ill-tempered, i would mount him in the same place with sharp spurs and a good whip, and before long his moral condition would be much more satisfactory. but often a horse takes fright and runs away when one least expects it. allow me to say that nothing which a horse can do should ever be unexpected. on horseback one should be ready for emergencies; and the best way to avoid them is to prevent the horse from a dangerous initiative. besides, the horse does not get to his full speed at once; and, if the rider keeps calm, she will probably be able to master him before he reaches it. but, if, in spite of herself, her horse is running at a frightful pace, what should be done? in the first place, she must try to see that he does not slip and fall; and, in any case, she should take her foot out of the stirrup, let her whip drop if necessary, choose at once a straight line, if that be possible, and give to her horse with hands and leg, calming him with the voice, and speaking loud, in order that it may reach his ear. she should endeavor to remain calm, and to take long breaths; then, when his first rush is over, she should lift her wrists, holding the reins short, lean very far back, and saw his mouth vigorously with the bridle, two reins being in either hand. "sawing" is the successive action of the two hands acting separately on the mouth of the horse, and, by pulling his head from side to side, it throws him out of his stride and checks his speed. i can not say too often that it is easier to prevent a horse from running away than it is to stop him when he is once fairly off. it would be very difficult to foresee all the possible defensive actions of the horse and the means of counteracting them; but, as the rider gains experience, she will get to recognize these actions from the outset, and counteract them so naturally that she will scarcely think about it. to a good rider there is no such thing as a restive horse. the animal either knows what to do, or he does not. if he knows, the rider, by the power of her effects, forces the horse to obey; if he does not know, the rider trains him. if a horse resists, there is always a cause; and that cause should be sought and destroyed, after which the horse will ask no better than to behave himself. if a horse fidgets and frets to get back to the stable (which is a common and annoying trick), he should be turned round and walked for a moment or two in an opposite direction, away from home, and in a fortnight he will have lost the bad habit. horses often have a trick of fighting the hand by running out their heads and trying to pull the reins through the fingers of their riders. this comes from stiffness in the hind quarters, and will stop as soon as the horse has been taught, by progressive flexions, to keep his hind legs under him. a timid horse may always be reassured and quieted by a persevering rider, provided his sight is not bad; and he should never be punished for shying, as that comes from fright; he should be allowed time to get used to the sight or sound of a terrifying object, and, when he is convinced that it will not hurt him, he will disregard it in future, as, although timid, he is not a coward. for instance: if a horse shies at a gnarled stump in a country lane, his rider should stop and let him come slowly up to it, which he will do with every appearance of fear. she should cheer him with her voice, and caress him with her hand; and, when once he has come near enough to smell the dreaded shape, he will give a contemptuous sniff, and never notice it after. if a horse should fall with his rider, she should at once slip her foot out of the stirrup, lift her right leg over the pommel, and turn her body quickly to the left. if the horse falls to the right, she will fall on him, which will deaden the shock, and, as his legs will be on the left, she can get away from his feet easily; if he falls to the left, she must try to let her head fall to the right, and, if she has time, she will attempt to fall to the left, on her knees, and must get away from the horse on her hands and knees with all speed. if she should be thrown from her saddle, she must not stiffen herself, and must keep her head as high as possible. conclusion. before closing this slight treatise, i would most respectfully say a parting word to the ladies for whose use i have prepared it. the principle of the proper control of a horse by a lady may be thus roughly summed up: keep him well under your control, but also keep him going forward; _carry_ him forward with the pressure of your left leg and with the whip, which must take the place of the right leg. never let a horse take a step at his own will; and, as soon as he shows the first sign of resistance, try to counteract it. great care and tact must be used to avoid sudden changes of gait, which irritate a horse by throwing him off his balance and measure; and he should never be teased with the whip and spur in order that he may prance and fidget, for such foolishness on horseback proves nothing, and is only fit to amuse ignorant spectators. be prudent; accidents always happen too soon. be calm, if you wish your horse to be so. be just, and he will submit to your will. remember that, in riding, the greatest beauty consists in being simple in your means of control; do not appear to be always occupied with your horse, for you and he should seem to have the same will. do not read or study one method only; there is good to be found in all. the end. hygiene for girls. by irenæus p. davis, m. d. _18mo. cloth, $1.25._ "many a woman whose childhood was bright with promise endures an after-life of misery because, through a false delicacy, she remained ignorant of her physical nature and requirements, although on all other subjects she may be well-informed; and so at length she goes to her grave mourning the hard fate that has made existence a burden, and perhaps wondering to what end she was born, when a little knowledge at the proper time would have shown her how to easily avoid those evils that have made her life a wretched failure."--_from introduction._ "a very useful book for parents who have daughters is 'hygiene for girls,' by irenæus p. davis, m. d., published by d. appleton & co. and it is just the book for an intelligent, well-instructed girl to read with care. it is not a text-book, nor does it bristle with technical terms. but it tells in simple language just what girls should do and not to do to preserve the health and strength, to realize the joys, and prepare for the duties of a woman's lot. it is written with a delicacy, too, which a mother could hardly surpass in talking with her daughter."--_christian at work._ "if the reader is a father, and has a daughter of suitable age, let him place this volume in her hands with an earnest and affectionate charge to read it through deliberately, with much thought and self-examination; if a mother, let her sit down with her daughter and read together with her these chapters, with such comments and direct application of its teachings, and such instructions and tender entreaties coming of personal experience and observation, as are befitting only the sacred confidences of mother and daughter. it is the most sensible book on the subject treated we have ever read--simple and intelligible, the language always fitting and delicate in treating subjects requiring judgment and discretion, and pervaded with such a parental and solicitous kindness that it can not fail to win the attention and confidence of every young woman." _for sale by all booksellers; or sent by mail, post-paid, on receipt of price._ new york: d. appleton & co., 1, 3, & 5 bond street. "_we can not too highly commend this latest scheme for presenting good literature in comely and convenient shape, at extremely low prices._"--new york evening post. appletons' new handy-volume series. brilliant novelettes; romance, adventure, travel, humor; historic, literary, and society monographs. 1. jet: her face or her fortune? a story. by mrs. annie edwardes. paper, 30 cts. 2. a struggle. a story. by barnet phillips. paper, 25 cts. 3. misericordia. a story. by ethel lynn linton. paper, 20 cts. 4. gordon baldwin, and the philosopher's pendulum. by rudolph lindau. paper, 25 cts. 5. the fisherman of auge. a story. by katharine s. macquoid. paper, 20 cts. 6. the essays of elia. first series. by charles lamb. paper, 30 cts; cloth, 60 cts. 7. the bird of passage. by j. sheridan le fanu. paper, 25 cts. 8. the house of the two barbels. by andré theuriet. paper, 20 cts. 9. lights of the old english stage. paper, 30 cts. 10. impressions of america. by r. w. dale. paper, 30 cts. 11. the goldsmith's wife. a story. by madame charles reybaud. paper, 25 cts. 12. a summer idyl. a story. by christian reid. paper, 30 cts.; cloth, 60 cts. 13. the arab wife. a romance of the polynesian seas. paper, 25 cts. 14. mrs. gainsborough's diamonds. a story. by julian hawthorne. paper, 20 cts. 15. liquidated, and the seer. by rudolph lindau. paper, 25 cts. 16. the great german composers. paper, 30 cts.; cloth, 60 cts. 17. antoinette. a story. by andré theuriet. paper, 20 cts. 18. john-a-dreams. a tale. paper, 30 cts. 19. mrs. jack. a story. by frances eleanor trollope. paper, 20 cts. 20. english literature. by t. arnold. from the _encyclopædia britannica_. paper, 25 cts. 21. raymonde. a tale. by andré theuriet. paper, 30 cts. 22. beaconsfield. by george makepeace towle. paper 25 cts.; cloth, 60 cts. 23. the multitudinous seas. by s. g. w. benjamin. paper, 25 cts. 24. the disturbing element. by charlotte m. yonge. paper, 30 cts. 25. fairy tales: their origin and meaning. by john thackray bunce. paper, 25 cts. 26. thomas carlyle: his life--his books--his theories. by alfred h. guernsey. paper, 30 cts.; cloth, 60 cts. 27. a thorough bohemienne. a tale. by madame charles reybaud. paper, 30 cts. 28. the great italian and french composers. by george t. ferris. paper, 30 cts.; cloth, 60 cts. 29. ruskin on painting. with a biographical sketch. paper, 30 cts.; cloth, 60 cts. 30. an accomplished gentleman. by julian sturgis, author of "john-a-dreams." paper, 30 cts.; cloth, 60 cts. 31. an attic philosopher in paris; or, a peep at the world from a garret. being the journal of a happy man. from the french of emile souvestre. paper, 30 cts.; cloth, 60 cts. 32. a rogue's life: from his birth to his marriage. by wilkie collins. paper, 25 cts.; cloth, 60 cts. 33. geier-wally: a tale of the tyrol. from the german of wilhelmine von hillern. paper, 30 cts.; cloth, 60 cts. 34. the last essays of elia. by charles lamb. paper, 30 cts.; cloth, 60 cts. 35. the yellow mask. by wilkie collins. paper, 25 cts.; cloth, 60 cts. 36. a-saddle in the wild west. a glimpse of travel. by william h. rideing. paper, 25 cts.; cloth, 60 cts. 37. money. a tale. by jules tardieu. paper, 25 cts. 38. peg woffington. by charles reade. paper, 30 cts,; cloth, 60 cts. 39. 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[illustration: geoffery gambado] table of contents preface. 3 the frontispiece. 8 chapter i. 11 chapter ii. 21 chapter iii. 30 chapter iv. 34 chapter v. 40 chapter vi. 51 chapter vii. 56 chapter viii. 60 chapter ix. 62 chapter x. 66 chapter xi. 70 chapter xii. 72 chapter xiii. 79 chapter xiv. 88 chapter xv. 108 preface. some years ago, sixteen original sketches by henry bunbury, esq. were given to the author of this book. this celebrated sketcher and caricaturist was a gentleman well known in the county of suffolk for his public and private virtues, as well as for his superior talents. he was a lineal descendant of the rev. sir william bunbury, whose baronetcy was created in 1681. of a cheerful and lively temper, he sought to infuse the same spirit through all ranks of society. if we mistake not, his son became sir henry bunbury, and represented the county of suffolk, as his uncle, sir thomas charles bunbury, had done before him. his descendants still occupy the mansion and estates in suffolk, where they have been, and are still, the great benefactors to the poor, and the parish of great barton near bury st. edmund's. but we have to speak more particularly of henry bunbury, esq. and his talents. to this day, his accurate delineations of the political and social customs of the age he lived in, and of the characters who came under his observation, are remarkable for their truthful force. it is very seldom that men of high life and good education, possess the artistic power of graphic delineation: at least, we have but few amateur delineators who can stand the test of the invidious sneers and jeers of those empty possessors of wealth and station, who consider themselves degraded even by the acquaintance of an artist, a poet, or a literary character. now, if a man is not a degraded man, but lives himself after the law of god, he need never mind the scoffs or ridicule of any man; but may say, as henry bunbury did to those who ridiculed him,--"evil be to him who evil thinks." in the sketches contained in this work, the difficulty was to make out what kind of story they told; for though some persons might see in them nothing more than ridicule upon the _annals of complete horsemanship_, yet those who knew the man, and knew the disposition he always entertained, namely, a desire to do evil to no man, but good to all, thought that his intention was to cure some over-sensitive minds of morbid and melancholy feelings, which ought not, unreasonably and unseasonably, to overwhelm them, and destroy their energies. it was not that he ridiculed real affliction, or ever, in any one of his drawings, sought to give a pang to the real mourner; but he really loved a cheerful disposition; and could not bear that man should be afflicting himself with imaginary diseases, when a little self-exertion, or diversion, would restore his right tone of bodily health, and be the means of doing him good. we have adopted these views of our celebrated talented suffolk gentleman, and have endeavoured to turn his pictures to this profitable account. they represent horses, and costume of fashion or fiction, long since exploded; but they represented real persons, whom he knew, and many were reckoned inimitable likenesses. caricature is itself a species of broad, or excessive resemblance of fact; let it be represented by shakspeare's falstaff,--hogarth's marriage a la mode,--dickens' pickwick papers,--macaulay's stories of historical persons, (introduced into his popular history of england),--or of punch,--or of that greatest of all powerful pencil delineators of character, george cruikshank. we leave out the popular novelists, or poets, who have written funny as well as serious things;--all, more or less, have taken advantage of caricature skill, to prove their acquaintance with the ridiculous. cowper is generally looked upon as a serious poet, yet he wrote "johnny gilpin." but we will make no more excuses for our present work. we will only add that it was originally conceived for a charitable purpose, and is now made use of as such. the author of the illustrations has long since departed this mortal life; and the author of the narrative, not seeking the reputation of his own name, does not give it to the world; but, apologizing for his interpretation of the sketches, desires only to do good. if any should be entertained, and will kindly send any mark of their favour to the publisher, for the author, the word of a gentleman is given, that, whatever it may be, it shall be strictly devoted to public good. the frontispiece. "reader! did you ever see an angel on horseback?" "no!" no more did i, that i know of! we read of one in (ii. maccabeus, c. 3); but then he was clad in armour of gold, and rode a most powerful animal, who smote with his forelegs the avaricious heliodorus. but here we see a very different representation, both as to horse and rider, and engaged in trumpeting forth the praises of the celebrated doctor gambado. "gambado! sempre viva! encora! encora!" in fact, it is termed "the apotheosis of geoffery gambado, esq. m.d. f.r.s." now this angel might be a daughter of doctor gambado's, or she might be his scullery-maid. she is represented on a horse, which, instead of being a winged pegasus, stands well upon his pegs, and seems to have lent his wings to the damsel herself, to bear both himself and her "in nubibus." she holds a medallion of the doctor, a striking portrait, in her right hand; and in her left, the celebrated brazen trumpet of fame; and, no doubt, whether his angelic daughter or his faithful domestic, she was one who knew so well the admirable worth of the good physician, that she simply means to say,--"may the cheerful spirit of such good men as doctor gambado live for ever, and drive out of all splenetic patients, the tormenting stings of the blue devils." [illustration: the apotheosis of geoffery gambado, md] if he can do this, his canonization will indeed be immortal, though it be trumpeted forth by so humble an instrument as the angel we here see represented on a wooden horse. reader, the humblest instrument in the world may, in the hand of wisdom, be used as an angel for your own good. the poor fellow who lifts you up from the ground, should you happen to fall, may be the helping hand provided you. the messenger who finds you in suffering, and sends the doctor to your relief, may be the unknown angel for your deliverance. a poor boy, or a poor girl, who snatches you, in your infant days, from the peril of a pond, may be used as an angel for your welfare. do not always expect to see angels in golden armour for your deliverance; though the generous and charitably-good samaritan, the friend in need, may be the friend indeed at the hour you most require him,--only be humble, only be thankful, and even this poor picture may be a message of comfort to your spirit; for "reproof is better than a great man's gold; and he is good who loves a thing well told: then 'evil be to him who thinks the same,' and would destroy gambado's honest fame." [illustration] chapter i. _gambado himself seeing the world in a six miles' tour._ it is time we should speak something of this celebrated person, and account for his present position and appearance. he is very unlike any modern physician. a hundred years ago, however, we have no doubt that such was a fac-simile of this noble specimen of an equestrian medical proficient. it is a hundred years ago since the original sketch of him was made, which we have endeavoured to copy. we have to account for finding him in such a position. first, who was he? what was he? where did he live? what did he do? and how came he into notice at all? most men are born somewhere! and except they become noted for something they have done, it is very seldom that any inquiry is made about them at all. neither the place of their birth, nor the locale of their fame, or name, or habitation, of their death, or marriage, is made of any moment whatsoever. alas! those who are most ambitious of fame, seldom get it whilst they live; and very few, ever, as literary men, are exalted to a title, like lord macaulay; whilst those often feel they are praised for what they own they do not deserve, are more humbled by their reputation, than they are exalted. it was said to gambado, in the day of his greatest reputation, "we will certainly have you in westminster abbey?" "thank you, my dear fellow," was his reply; "i would rather eat a mutton chop with you at the mermaid tavern, in the street i was born in, than lie along with john milton, (who was born in the next street to mine), or with any of those worthies, shakspeare, raleigh, or ben jonson; who can no longer eat a mutton chop with us at their old tavern: "'i seek no fame, i want no name, my bread in bread-street is: gambado has sufficient fame; this is sufficient bliss!'" he was born in bread-street, in cheapside: and in the first year of the reign of george the third, a.d. 1760, he was in full practice and celebrity, and could not be less than forty years of age. as to whom he married, and what became of his wife and one lovely daughter, we know not. they appear conspicuously only in the last pages of this narrative, and were evidently in the enjoyment of all their great master's reputation, as well as in the keeping up with him in partaking of his own favourite panacea for all complaints, viz.--the riding on horseback. but how came he to take up this exercise? to stick to it? and to recommend it as he did upon every occasion? simply, as he told every one, because he found in it a sure and certain remedy for that dreadful nervous disease, commonly known by the name of the "blue devils." few things gave greater offence in that day to the faculty, than dr. gambado's system of practice. he prescribed very little, if any, medicine: he certainly gave none to those whom he considered did not require it. he knew the power of a strong mind over a weak body, and what too great fatigue of either would produce. he knew well, moreover, the danger of entertaining too much imagination upon any complaint. he was acknowledged by all to be well versed in the physical construction of the human frame; and especially of that most complicated portion, the nervous system, to which he had paid such scientific attention that his _vocabulary of nervous constitutions_ was his great work, that won for him much scientific fame, and got him the honour of being elected f.r.s. before he attained such practical success as made his fortune. he did make a great fortune; and he was honest enough to confess that he owed the enjoyment of it, if not the possession of it, entirely to a horse-dealer. he was, himself, at one period of his life, so completely prostrated in his own nervous system, that, from the crown of his head to the sole of his feet, he was completely unstrung. he was constantly in the habit of going to church with his wife and daughter, at st. stephen's, walbrook, one of sir christopher wren's most beautiful specimens of architecture; but in his depression he shunned the company of those he loved best on earth, and almost forsook his god and his duty, imagining himself totally forsaken of him and every friend. he had no pleasure in any thing. his very profession was a burthen to him, and night and day he did nothing but mope. what would have become of him, his wife and daughter, his practice, his home, and his society, had he not, as he used to say, met with an angel, in the shape of a horse-dealer? he was strolling, one evening, in a very melancholy mood, down friday-street, not far from his own home, as he passed by the livery stables of john _tattsall_, as the name was then spelt. john knew the doctor, and capped him with "a beautiful evening, sir." the doctor stopped, and looking very woefully in his face, said, "yes, john, very beautiful to those who are well." "yes sir, and to those who are sick, too; and i wish they could enjoy it." "john, i am very ill myself, and have been so for some time. i shall not write many more prescriptions!" "i hope you won't, sir; i hope you won't." "why so, john? why so?" "because you gentlemen prescribe so much advice, and so seldom follow any good advice yourselves, that you are sure to die sooner than any other men. you all know too much about other people, and very little about yourselves." "you are a blunt fellow, john; but i do not like you the less for that. you once consulted me, did you not?" "yes, sir, and you told me the truth; and i liked you all the better for it. you told me plainly there was nothing the matter with me. 'go home,' you said, 'drink a glass of cold water just before you get into bed; and if that do not do you more good than any medicine i can give you, then come to me again, bring me another guinea, and i will give you the same advice.' i did as you advised, and it was the best cold water cure that ever was effected: i have never been ill since. but, doctor, i have heard that you are out of sorts. one good turn deserves another, and if you will follow my advice, only for one week, you shall be a different man to what you now are. you shall soon earn your hundreds; and only give me one guinea in the hundred, and you will make my fortune and your own too." "what is your advice? i will agree to the terms." "well, doctor, let me tell you the truth. you have done too much,--studied too much,--wrote too much,--thought too much,--and have overdone everything, and now find you can do nothing. you are fast sinking into that lapsed condition in which you will soon become an inmate of bedlam, if you go on as you have done of late. you grow enormously fat, and are getting like the pig in my stye, and will soon be snoring, snoring, snoring, all day long, a plague to yourself and everyone else. if you do not follow my advice, you will be a dead man before you ever eat another christmas turkey." "what is it, john?" "ride out six miles on horseback, every morning at six o'clock,--and six miles back again,--and that for six days; and if, at the end of that time, your lethargic state is not improved, then say, john tattsall is a good-for-nothing humbug, and deserves to be well horsewhipped." "but, john, i never rode on horseback in my life: never was in the habit of it. i do not think i ever could." "_master, you must try, if you would not die._" now the doctor did not like the thought of dying, though he had seen so much of it when it touched others. a strange kind of nervous sensation ran through him,--not through his veins, for he was one who wrote against "vasicular nerves,"--but it ran through his system, as he thought of john's words, "_master, you must try, if you would not die._" "well john,--i will try,--but you must teach me!" "come, master, that's right; nothing like trying to amend our ways before it's too late, as good doctor cassock said. so a good beginning, well followed up, and, barring accident, i see no reason, doctor, why you should not live for forty years longer. you know well, that a man overworked, like any other animal, is soon worn out; and a man who does no work, very soon dies. just come and look at a nice little norway cob i have in my stable; quiet and gentle as a lamb. a very few turns down my ride, will give you a seat in the saddle, and you shall be again a happy man." the doctor got into the saddle that very evening; and nobody saw him, but john; and if the stable boys peeped out and smiled, they got a little back-handed tip with their master's whip, and were glad to hide their diminished heads in the straw. he went home a little more cheerful; played a game of backgammon with his wife, and kissed the cheek of his only child kate, and seemed a little better. to the surprise of his family, he ordered hot water into his dressing-room, at half-past five in the morning; and, of course, it was thought he was going to take a journey. he did so; but when he went out, he said, "i shall breakfast at half-past eight o'clock." so the doctor took a six miles' tour every morning, for six days. he improved daily; and though he rode very awkwardly at first, holding on by the reins, and keeping his brow bent and his eye intent upon the norway cob's ears, his daily exercise did him a world of good; and before the week was out, he began to find himself a different creature. at the end of the week, he gave john tattsall fifty guineas for the cob; and a friendship, founded upon mutual accommodation, subsisted between them, to the day of their deaths. so was a horse-dealer made an angel or messenger of health to the mournful spirit or unstrung nerves of doctor geoffery gambado. he had the honesty to own it. the doctor perfectly recovered his right mind and bodily health; and, like a wise man, who well knows that the same thing which does him good may do others the same, he took more patients to john tattsall's livery stables than he ever sent to the sea side, to madeira, to buxton, or to margate, ramsgate, or any other gate whatsoever. john kept horses to suit all comers and all customers, and found doctor gambado the most grateful of all, because he always owned that, beneath a good providence, he did him great good. the doctor's fame rapidly increased with the increase of his health. he soon became the very first physician in nervous complaints. he knew the cause of nervous degeneracy,--no man better. he recommended tattsall to all such patients as he found likely to be benefitted by him; and they were not a few. his letters, if they could be collected, would be found as direct to the point as the wellington despatches. "john,--i want just such a horse as cured me, to cure an old fool like myself. yours, &c.--gambado." john, like a well-tutored chemist, understood the peculiar character of the doctor's prescriptions, which, unlike a quack's, were generally written in a plain, legible hand, without any _ad captandum_ humbug. john had horses from twenty-five to five-hundred guineas each. but as the doctor's fame increased, so, it might be truly said, the follies of "hypochondriacism" began to be exposed. people, and especially those of the great faculty, were jealous of the doctor's reputation. it is always a sign of a little mind to be envious, or jealous of another man's celebrity. take it for granted, when you hear a man speak slightingly of another, set that man down, whoever he is, for a conceited ass himself, or an ambitious, if not an envious and wretched man. better speak nothing, than speak evil of another; better correct an evil thought, than have to repent of an evil act. some called the doctor a mere visionary practitioner, or a mere veterinary surgeon, or a quack, or anything else. but he kept on his course. we have selected a few of the strange cases that came before him a hundred years ago. what changes in a hundred years! what fashions, and what dress! what troubles, woes, and bloody tears, the world must now confess! avoid them all,--seek peace and love,- be humble and be wise; may this poor book some comfort prove to friends, and enemies. [illustration] chapter ii. _a brother patient.--how to make the least use of a horse._ it was not long before the doctor received a visit from an old friend; one, who had, in younger days, been a student in the same school, and entered into practice about the same time. the servant introduced doctor bull,--yes, doctor john bull, or, more properly styled, john bull, esq. m.d.--but not f.r.s. no, doctor bull had been more ambitious of practising, than of obtaining an empty name. he was a steady, well-to-do little man, and never lost a patient from any want of good manners or attention. he had certainly given much thought to the subject of _hydrophobia_, and was considered no mean authority in the treatment of cases pronounced very malignant; but he by no means confined his abilities to that one branch of human misfortune. he advised well with the surgeons, and, generally, approved their treatment; but suggested frequently that judicious change which the nature of the case required. this he did in so gentlemanly and considerate a manner, that he was sure to be consulted by the very next patient of the same surgeon. in this way, he made many friends, lost very few, and found himself in the most affluent circumstances from very extensive practice. but, somehow, he overworked himself, and got into a very irritable, and at the same time desponding, tone. prosperity tries men very often more severely than adversity. the doctor, as long as he had his way to make in the world, was more attentive to others, and thought less about his own ails than he did about others. now that he had accumulated money, he began to think of investments, and how he should place to the best account his accumulations. he also thought a little more of style, equipage, choice society, and innumerable things, to which his life had been hitherto a stranger. he began to think and to care more about himself, than he did about any body else. he became of some consequence in his neighbourhood, and expected every one to bow to him, and to treat him as a _monied man_. in short, from a pure philanthropist, he became almost a misanthrope. he began to torment himself about every thing and every body. nothing pleased him,--his wife and children disturbed him,--he was downright cross to them. and the same man, who once never came into his house without a cheerful smile for every one in it, now took no notice of anyone, except it were to find fault, and to let out words which in his sober senses he would be shocked to hear any other person make use of. "my dear, i am sure you are not well," said mrs. bull, to him one day, "i am sure you are not well." "i could have told you that," was the reply. "do take a little change." "pish! change! what change? i am changing, and shall soon make some great change, if things go on as they do in this house." "is anything wrong, my dear?" "yes, everything is wrong,--nothing is right,--all things are out of order,--and everything wants a change." "well, my dear, i think, if we took a house for three months at brighton, it would do us all good." "what good, madam? and who is to pay for it? what will become of my patients? and how am i to support my family? brighton indeed! no, no! if i cannot be better without going to brighton, i had better decline at home! who is to look after my patients?" "why, there is doctor goodfellow, who i am sure you admire. he will attend any of your patients for you. do, my dear, have a little compassion upon yourself." "and, i suppose, upon you too; upon kitty as well; upon mary, patty, and little johnny; servants and all,--heigh!" "if you please, my dear, even so, for you have not had much compassion upon any of us lately; and a change towards us all would be very agreeable." a good wife has nothing to fear, and especially when she knows that she so loves her husband as to desire his health above all things else, whether of body, mind, or spirit. if a wife may not expostulate with her husband, who may? and notwithstanding all his perverseness, she had her own way with him, because she felt it was right. to brighton they all went; but the fancy had taken too strong hold upon doctor bull, to let him rest. he worried himself because he was away from london,--he worried himself about the state of his patients,--the price of stocks,--the state of his own pulse, tongue, eyes, and lungs,--till he could endure himself no longer. "i must go and see my old friend gambado; i know he is a clever man, and has paid great attention to the nervous system, i must go and see him. he ordered his chariot, and drove to bread-street; sent in his card, and was very soon shaking hands with his quondam friend doctor gambado. "bull, i am glad to see you! you are not come to consult me professionally about yourself, i hope?" "i am, though, and about nobody else." "then what's the matter with you?" "dispeptic." "is that all?" "no! choleric?" "is that all?" "no." "what is the matter? out with it." "to tell you the truth, geoffery, i hardly know how to describe myself to you. you never were afflicted in the same way." "how do you know that?" "i am sure of it. you never were tormented morning, noon, and night. you never hated your profession, as i do mine. you never felt that you killed a great many more than you cured! you never loathed the sight of your wife and children, your house, servants, food, bed, board and lodging. in short, i am a regular monster to myself, and shall soon be good for nothing! did you ever feel so, my friend?" "yes, and ten thousand times worse than all you have described." "my dear friend, it is impossible." "you may think it so,--and i certainly thought, once, exactly as you do now,--i can therefore make allowances for you. i tell you, no one ever appears so bad to any man, as the afflicted man does to himself. he would soon be better if he could once see others worse than himself, or as bad as himself, and wish, heartily wish, to see them cured. i tell you, such was my case--even worse than yours,--and i can cure you." "will you, my dear friend? will you?" "yes, will i; and as we never take fees of the faculty, therefore, i will cure you for nothing. i do not say, with nothing.--no. will you follow my advice?" "yes, assuredly. what is it?" "ride on horseback." "i never did so since i was a boy." "nor did i, till i tried." "but did that cure you?" "yes, it did; and will cure you also." "how long did you ride before you felt better?" "not an hour." "how long before you were well again?" "six days; six miles out, every day; six miles home; and in six days all those morbid secretions went away from my brain, and i became as i am, a cheerful and happy man." "but how shall i manage? i must begin _de novo_. i must learn, and i must get a horse that will just move as i want him, slow and sure; either a walk, or a gentle canter; one that does not mind the whip; and i dare not ride one with a spur." "my dear fellow, i have a friend who served me with a horse just as i wanted it; and i have no doubt he can serve you just as well. i will write him a note, and you shall take it to him yourself." accordingly, the doctor wrote him one of his laconic epistles. "dear tatt.--mount my brother doctor; give him a stiff-one, and one that will require a little exercise of the _deltoides_ of the right arm. he can pay. suit him well. yours, faithfully,--geoffery gambado." "mr. john tattsall." now the celebrated doctor bull had as good a pair of carriage horses as any squire bull in england. tatt. certainly mounted him on one "that he could not" _make the least of_. he was quiet enough, stiff enough, slow enough, steady enough; he did not mind the whip, for the doctor might cut him over the head, neck, ears, and under the flank, and anywhere, and everywhere else; but the beast had no animation. the more he punished him, he only went the surest way to show to the world, _how to make the least of a horse_. a few days after his _horse exercise_, he called on his friend doctor gambado, and said, "doctor, i am certainly better; but i believe i should have been quite as well, if i had mounted a saddler's wooden horse, and tried to make him go, as i am in trying to make your friend tattsall's horse go. i could not have believed it possible that any beast could bear without motion such a dose of whip-cord as i have administered to him." "you asked for one that would bear the whip: did you not?" "yes, and one that was steady, did not shy, and would go very gently even a slow pace; but this horse has no pace at all." "well, my good old friend, i am glad you are better; that's a great point. i have no doubt, none in the world, that if you could mount master johnny's rocking-horse, and would do so, and have a good game of romps with your boy, it would do you as much good as showing to the world _how to make the least of a horse_, by kicking, flogging, checking his rein, and trying to persuade him to go on. "but if you will only walk down with me to john tattsall's stables, i have no doubt you will quickly learn a lesson of equestrian management that shall soon set you right with the public, and most especially with yourself. you have learnt nothing but how to make the least of a horse. let my servant take your horse back; and if john tattsall do not soon show you _how to make the most of a horse_, then do not pay him either for his horse or for his pains; but set all down to my account. be seated, my dear fellow, whilst i send your horse back with a note. the doctor wrote- "dear john,--my brother bull wants to learn how to make the most of a horse. we will be with you in the course of an hour. ever yours,--geoffery gambado." "mr. john tattsall." the brothers m.d. sat down to an hour's chat upon politics, stocks, dividends, and philosophy; and at the end of one hour were seen wending their way arm-in-arm to the celebrated _livery stables_ of john tattsall, whither we will follow them, just to see if we can behold a contrast. far we need not go, to see what makes a contrariety. chapter iii. _how to make the most of a horse._ arrived at the stables, it was not long before doctor gambado introduced his brother and friend doctor bull to the noted personage of his day, john tattsall. is the name of tattsall, as it used to be called, corrupted, from a hundred years ago, now to that of tattersall? we do not know the gentleman's dealer, auctioner, or horse agent of the latter name; but if he be the descendant of the great john tattsall, we only hope he is as good a man as his ancestor. a better in his line could never be. it requires a knowledge of a man's craft, to say whether he is a good or bad workmen at it. we have very little knowledge of horse-dealers' craft, but their profits must be very great,--when the licence is set so high as five and twenty pounds, before they can practise the economy of horse-dealing. a hundred years ago, and the tax was not so high. [illustration] "this, john, is my friend, doctor bull, whom i recommended to your notice to find him a horse in every respect quiet, without vice, and gentle,--one who would bear the whip and not kick." "can the gentleman say i have not suited him?" "i do not say i am not suited, but i had almost as soon be nonsuited in a case of law, as be suited with so inactive a beast to ride." "ah! sir, you speak like a tyro concerning the law. if you were once _nonsuited_, and had all the costs to pay in an action-at-law, believe me, sir, the being _non suited_ in a horse which had no action, would be greatly preferable to all the success of a case-at-law, though you were told at the time that you got off cheap, after paying â£150. look, sir, at that cheque: "please to pay to messrs. runner and co. the sum of three hundred pounds, on account of transfer of property, to the account of yours, faithfully, curry and powder." how would you like that?" "i should not like it at all; but there are many things in law and horse-dealing, which the least said about them the soonest ended." "and also in other things as well. but bring out the gentleman's chestnut horse, sam." this was spoken to the groom, who knew his master's voice, and presently brought forth the very self-same horse, sent back to the stables one hour previously, as inactive: now behold him as lively as a lark. what had been done to him, those acquainted with the art of renovation could alone tell; but here was a contrariety without going far to find it. the legs had been trimmed, the tail set up; and when the said john tattsall mounted him, the man and horse seemed to become each other. john was a true specimen of an upright horse-dealer, a hundred years ago. coat was buttoned up, hat almost as conspicuous as the field marshal's on the day of a grand review. stick under his arm, easy seat in his saddle, long spurs, short breeches, brown periwig, and such a contour of character, that when he touched him with the spur, the fiery-eyed charger set off at a hyde park canter, to the delight of his learned spectators. no one could be more pleased than doctor bull. "aye! that is the way to make the most of a horse. could i but make as much of him as that, he would be, of all creatures, the very one to set me up again? that will do, mr. tattsall, that will do. you have given me a good lesson how to make the most of a horse." "then, sir, you must let me make the most of him alone. one hundred guineas, is his price; and this is my advice to you, never take this horse out of his stable without giving him a good brush-up first. and never get on to his back, without a pair of spurs on your feet; and you will find him as pleasant a little park horse as any gentleman could ever wish to ride." the money was paid, and _john tattsall made the most of him_. but doctor bull made all that he expected out of him; namely, a restoration from a fit of hypochondriacism into which he never after relapsed; but owed his cure to the honest advice of geoffery gambado, esq. m.d. f.r.s. "the simplest remedy, is mostly sure; 'twill never kill; but almost always cure." chapter iv. _love and wind._ the doctor sat in his easy chair reading, as was his custom, the morning star. that paper was then, what the times is now. the star had the ascendant, but the times outshone the star. there is a season for every thing under the sun; and two more variable things under the sun can scarcely be mentioned, than the two at the head of this chapter. no two, however, will, with all their variations of calm and storm, be more lasting than these will be found to be, to the end of time. the times, and all connected therewith, will have an end. love knows no end. the times may change as often as the winds, but it will be an ill wind indeed that blows nobody any good. but the doctor was interrupted in his perusal of his paper by the entrance of his factotum of a servant man, samuel footman. sam was steward and porter, and waiting man and butler, and a very worthy fellow too, for in every thing he was trustworthy, the best quality any man on earth, or woman either, can possess. sam presented a card, saying the gentleman's carriage was at the door, and he wanted to know if you were at home. the doctor looked at it. "show sir nicholas skinner up, sam." [illustration] there entered into the doctor's presence the most melancholy half-starved spectacle of humanity that he had ever seen; almost a walking skeleton,--tall, thin, gaunt, and cadaverous,--melancholy in the extreme, eyes sunken, lips drawn down so as almost to form a semi-circular mouth; long, lank, thin light hair; a rough frill of the most delicate white round his neck. his coat was buttoned round a waist as thin as any woman's could be, and his eyes were sharp, black, piercing, and poetical. "pray, sir nicholas, be seated," said the good doctor, "you seem fatigued." "i am so indeed! i have travelled all night, with post horses, all the way from salisbury, on purpose to consult you, doctor; for i have heard that you are famous in the cure of all nervous debility, and i verily believe every nerve in my frame is shattered. how i have sustained the journey and its fatigue i can scarcely tell; but i suppose it was the hope of living for another, that gave me support." here the gentleman gave so long and so deep a drawn sigh, that it convinced the doctor at once, that this was one of those cases of hopeless malady, _disappointed love_; which nothing but one thing could either kill or cure, namely _matrimony_. the doctor very seldom ventured to recommend this universal specific for one thing or the other. it was not exactly in his line. "let me feel your pulse." this he did; he also sounded his lungs, looked into his eyes, and listened to the pulsation of his heart. "ah!" he said, "there is a little irregularity there. all is not exactly right in the region of the heart. it appears to me to be slightly disorganized." "not slightly, i assure you, doctor; not slightly; i am afraid, severely!" and this was spoken so very solemnly, that the doctor, though he felt disposed to smile, could not find it in his heart to treat the case slightingly. "have you had any advice at salisbury? have you been under any medical treatment?" "o yes; yes, sir; doctor crosse has attended me for the last twelve months. he treats my case as one of decline, or consumption. i was once as robust as you are, doctor; but i have wasted away to a shadow within the space of one year." "pray, sir, are you a married man?" "no-o-o! no-o-o! not exactly that, but i am an engaged man. they do tell me, i must be in better health before i marry; and that makes me very, very anxious to get better. they will scarcely allow the slightest breath of wind to blow upon me; no air, no exercise, no window down, no curtain undrawn, one even temperature,--and nothing must disturb me. oh! doctor, i fear i never shall marry. my intended is very careful over me. she has come up, all the way to town with me, as my nurse; and is now in my carriage at your door." "dear me, sir! why did you not tell me this before? it is actually necessary that i should see your good nurse, and have a few minutes' conversation with her. i am so glad you have brought her; it gives me the greatest hope that i may be able to effect a cure." the doctor rang the bell. "samuel, request the lady in the carriage to step into the house. show her into the drawing-room. with your permission, sir nicholas, i will speak to her myself concerning your treatment?" the doctor was expecting to see an elegant, lady-like woman, something slender, and answering to the attenuated gentility of the being in whom "hope deferred, evidently made the heart sick." what was his astonishment when he beheld a blooming, buxom, short, fat, merry-looking lass! with a face that sorrow seemed never to have smitten. she wore a large hat and feathers; such a profusion of rich brown hair, sweeping down her back, as would have made the lord chancellor the finest wig in the land. it is needless to relate the conversation. the doctor soon found that she was desirous of becoming lady nicholas skinner, and very soon settled the matter with great adroitness. "_he must ride on horseback!_ you must make him do so. there is nothing the matter with him, but over anxiety to be better; and it is all in your hands. you, and you only, have the power of making him better." "but about the wind?--state of the weather? what is your advice? east, west, north, or south,--which is best?" "no matter; the more wind the better gallop! show him the way over salisbury plains; and make him follow you. take no notice whatever of his feelings; but tell him, if he feels for you, he must keep pace with you. he will soon be better!" "but, about horses? there are no good riding horses in salisbury." "we will arrange that for you. sir nicholas may leave that to me. only assure him that he must persevere;--and let me know how he is, this day month." at the end of the month, the doctor received the following epistles in one cover; evidently meant to be a mutual acknowledgment. salisbury, august 1st, 1774. "dear doctor gambado,--love and wind have triumphed. the horses suited admirably; though i fear the one sir nicholas rides is rather short-winded, as he comes to a stand still before we have had half a gallop. still, i thank you, he is greatly improved. it was hard work, and seemed very cruel at first, but he himself will tell you the news. "i remain, dear doctor gambado, your's, gratefully, clarissa doubleday." salisbury, august 1st, 1774. "dear doctor,--i enclose a cheque for â£300 upon my banker in town; â£200 for the horses, which are delightful creatures, and i thank you for obtaining them for us; and â£100 for the last fee to doctors!--by far the best; for i hope to be married in september. it is an ill wind that blows nobody good. "but in love, and wind, i remain, dear doctor, your's obliged,--nicholas skinner." "doctor gambado, bread street, cheapside, london." love blows a blast, to conquer every man, let him resist it,--long he never can; 'twill conquer all, and in the end bring peace, hurrah for love! true love can never cease! chapter v. _how to ride a horse on three legs._ fame never permits her votaries to rest, and once a man has gained a certain reputation for any thing, he is wise who can be the humblest under it, because he is conscious only of demerit. should fame desert him, he will never sink under it. he will say, "i had a great deal more than i deserved; let me be content." wise man indeed! doctor gambado, however, found that fame did not desert him nor his practice. he was the more sought after, the more personally-retired he would become. bread-street is not now celebrated for the worthies it was an hundred years ago; but there are worthy men in it, and perhaps worthier than those an hundred years ago, though not so celebrated for _eccentricities_. man's nature alters very materially under the impression of time. men inveigh against fashion; but the most convenient fashion is that which is the simplest after all. clerical habits alter; externally they go for a class, a profession, or degree. we hope that external feature will never be mistaken for internal; or the clergy would be black indeed. quakerism used to be a badge of simplicity in dress and manners, till the self-possession of prosperity destroyed the equanimity of judgment; and men set them down for exactly their worth. but gently, my steed, gently; too long soliloquies generally make a man yawn. [illustration] doctor gambado had to go from london to york, and to visit no less a person than one of the greatest ecclesiastical dignitaries of the land, as the following letter will show. "precincts, york, october 10th, 1774. "sir,--doctor greathead is desirous of consulting you, as speedily as possible; and if you have an eminent veterinary surgeon, who can accompany you, the doctor will pay all expenses, as he has a favourite horse very ill. travel post, if you please. i am sir, your humble servant, george gotobed, hon. sec. &c. &c." characteristic of simplicity was the doctor's letter, that very instant, to john tattsall, written on a scrap and sent by his own servant. "john,--will you be ready to start for york in an hour? "your's,--gambado." john's reply was more laconic. "yes. "your's,--j. t." in one hour see this loving couple off for york. each confiding in the other's integrity, they each took plenty of money with them. at that time, travelling by post or by coach was no joke. in a general way, from london to york was a four days' journey; but now, four hours will do great things. we are not going to bother our readers with a description of all the adventures of these worthies on their way. how many times they were upset. how many times the post boy's horse fell down. how many spokes, fellies, or hobs, were splintered. let it suffice that, with two such resolute men inside, who were never at a loss for contrivances under the very worst circumstances, they were sure to get safely through the journey. had the reader seen the blunderbuss,--yes, the bell-mouthed brass blunderbuss,--with a strange springing bayonet at the muzzle, the moment it was discharged, and this placed in the fore front of the carriage, directly opposite the sword case behind, he would indeed have said the doctor was well provided against any robbers of the yorkshire ridings. john, too, had a brace of pistols under his belt. they had no occasion, however to use them. they were conspicuous enough to every post-boy, waiter, and stable-keeper. whether that kept them from an attack, we know not; but they were not attacked, and arrived safely at the then celebrated precincts, close to the cathedral. they found the great doctor greathead, seated in an invalid chair, about four o'clock in the afternoon. his first words of salutation were those of hospitality. "gentlemen, have you had any refreshment after your journey?" doctor gambado declared they had only just stept out of the carriage. "before i converse with the gentlemen, show them into the refectory. i will be prepared, half an hour hence, for our consultation." glad was doctor gambado, to refresh his stomach after travel, and not less glad john tattsall to partake of the great divine's hospitality. they did ample justice to the good things set before them; and as neither of them had any favour to ask of this great man, but both had something to confer, they were in no fear of taking too much or too little. the butler was very attentive, and asked if they had had any adventures upon the road. of course he received a courteous reply. the doctor inquired if there was any thing new in york. new york was then unknown; but _york new theatre_ was then the go all over the north. it was just finished in most exquisite style, and was in fact the lion of the north. "you will have plenty to see, sir," said the butler, "if you never were at york before. our minster is the wonder of the world." "but your master, he must be a wonder?" very few masters are wonders in their butler's eyes, though many a butler becomes a wonder in the service of his master. "there is nothing very wonderful about my master, except his present indisposition; and i most sincerely hope that your visit may do him good." the butler had great respect for doctors, and for doctors that had before them the title of right reverend, or his grace, or my lord, or the venerable; and these or some of these, he was accustomed to see every day; but an m.d. f.r.s. was not often in his view. he had noted these letters upon doctor gambado's card. the other gentleman had no card, and, therefore, he concluded that he was the greater man. the footman came in to announce that his master was ready to receive doctor gambado and his friend. there was something formidable in entering the presence of so great a divine as doctor greathead; but they were not going in for an examination of themselves, but to examine. "now, my friends, i can talk to you. i did not like talking to starving men, lest they should be ready to eat me up; and you will say, they would have enough to do to do that. but there are no cannibals at york, or i might have been eaten up long ago. still, i regret to say that i have a disease preying upon my vitals; and except you can prescribe a cure, doctor, i am afraid it is all up with me." "we can prescribe no cure, without understanding the nature of the complaint." "but it is that which puzzles the faculty in york. they say i have no bodily complaint; that it is all upon the _nerves_; and therefore it is, that in applying to my friend, doctor turnbull, to know if he knew any physician in london celebrated for his knowledge of the treatment of nervous cases, he mentioned you as the author of a book upon the nervous system; and i desired my secretary to write to you. you have well done to come to us, and we hope to receive benefit from your advice." "i am obliged to doctor turnbull, for the mention of my name; but i must make some inquiries about your bodily health?" "how is your appetite?" "good." "how is your sleep?" "good." "how is your sight?" "good." "how is your pulse?" "try it." "what do you say yourself?" "it is good." "have you any fever?" "none." "have you any particular pain?" "no." "do you walk much?" "no." "do you ride much?" "i can ride no longer; and i fear this is one of the painful causes of my strange distemper." "are you accustomed to horseback exercise?" "constant: i used to ride on the carlisle road every day, till about a month since, and now i never ride." "why not?" "i have lost the fancy or taste for it, and somehow i care no longer about it." "ah! that's bad! that's bad of itself. you met with no accident, to give your nervous system a shock, did you?" "none whatever, except that my favourite old horse could go no longer, and i no longer felt inclined to go." "but there are other horses that might be had equally as good." "none, sir, none! i do not believe there is another horse in england that could carry me, like my old gray." "if yorkshire cannot suit you, i know no other county in the kingdom likely to do so. surely, doctor greathead, you must be deceived in this respect?" "deceived or not, doctor gambado, i am not deceived in saying this, that i will ride no other horse; and, in fact, i would rather ride that horse on three legs, if he could be made to go upon them, then any other horse upon four." great men as well as little men have singular crotchets in their heads sometimes; and if these crotchets cannot be altered, they will go on in such a monotonous tone that they never get out of it. the doctor was a learned scholar, and a very good divine; but his favourite horse was as dear to him as a lady's favourite cat or cap could be to her. he had rode the same horse ten years, and had got so attached to him, that when that horse was seized with a lameness in the off hind leg, and could no longer stand or go upon it, the doctor's sympathies increased with his favourite, though he was no longer any use to him. like his master, the animal fed well, and could sleep well, but he could not go. "have you seen my horse?" "i came to see yourself first, doctor, and i can have no objection to go and see your horse, in company with my friend mr. john tattsall, who i should say knows more of a horse than any man living; and can make a horse go, i verily believe, on three legs." the very idea gave animation to doctor greathead's features. "i will walk with you to the stables." he rang the bell, ordered his hat, gloves, and even his riding whip, so precocious was the idea that the doctor had conceived of being able to mount once more his favourite gray. the horse was led out, and came out upon three legs; the other evidently of no use to him. in fact he could not put it to the ground. john examined the sturdy old fellow, who had a small head and stout legs; he pronounced him to be afflicted with an incurable disease in the coffin-bone, and said he never could go upon that leg. he looked at all the other limbs, and pronounced them _all right_. "a fine old horse, your reverence; a fine old horse, fit to carry your worship's weight; but he never will go again upon all fours." "can he ever be made to go upon three?" "i see no reason to doubt it. the disabled limb is only such from the fetlock to the hoof; if the joint could be supported from the hock to the fetlock, and pressure be produced so as to keep that leg up to his body, without any weight falling upon the tendons of the foot, i see no reason why the horse should not canter upon three legs,--i do not say with the same ease as he would upon four sound ones; but certainly easier far than he could upon the four as they now are." "you are a sensible man, sir, and what you say seems feasible. what would you suggest?" "let one of your grooms go and get a yorkshire weaver's strap that will go once round the animal's body, and at the same time catch up the animal's leg,--and fasten it with a stout birmingham buckle, so that the power shall be exerted in the leg bone without the fetlock or the foot; and i think your reverence will be able to show to all the world _how to ride a horse on three legs_." "good! good! let it be done immediately: i verily believe it can be done." it literally was done, and in one hour doctor greathead showed that he himself was alive again. he mounted his favourite gray; and though the animal laid its ears, and lifted up its hind quarters, rather higher than usual, it went; and did perform what the doctor never expected it to do again--namely, carried him a mile on the carlisle road, and that without a fall. it did the doctor good whenever he did ride it. how often that was, we have no record to tell us. he paid the doctor of medicine and his friend john tattsall more than would have purchased three fine yorkshire horses. in fact he paid for his whim. he was cured of his whim. and doctor gambado and his friend john returned to town satisfied. if men have fancies, bugbears of the mind, and money, too, to pay for what they want; why should they not, like doctor greathead, find their fancies made to profit more than cant? we all have fancies! what more should we say, than if we would indulge them, we must pay? [illustration] chapter vi. _tricks upon travellers._ the descent from the sublime to the ridiculous is a very easy transition in this mortal life. even in the moments of utmost seriousness, we have seen something flit across the vision of the brain, or eye, or the spirit, that for a moment diverts the current of thought from the simplicity of the most devout and earnest christian. every moment we learn a new lesson of life and thought, from nature or from grace. thoughts are continually arising as to the probability of doing anyone any good, in these narratives. they form a diversion of thought, and much must depend upon the disposition of the mind of the reader. a good man will make some good out of every thing, and a bad man will find nothing good in anything. to look simply at the picture, and to laugh at it, is easy; but to say, that they who played tricks upon others deserved to be whipped out of them, might be easier said than done. among the doctor's patients was a singular mean old gentleman, sir abraham crusty, who was recommended by the doctor to ride out hunting, or to give the hounds a look, by way of diversion to his usual nothingness in his country-box. sir abraham had retired from city friends, city business, city thoughts,--to enjoy, as he hoped, the breezes and the green fields, and rural occupation at his country seat in surrey; but being very hypochondriacal and very mean as well, he was desirous of being as economical as possible, and not desirous of being considered a regular fox-hunter. he could look on, enjoy the variety, and not be expected to pay anything towards the support of the hounds. hence he would drop in upon them, look at them, ride a little way with them, and then return quietly to his own mansion. he would not keep a hunting stud, nor any man-servant to ride out with him. he was old enough to take care of himself, wise to do his own will, and mean enough to think about nobody else but himself. when he consulted the doctor, and was told what to do, he asked him if he could tell him the best way to do it. "go to john tattsall's, buy a steady hunter with good strong limbs, and one that will make no mistake." he did so: but john mistook him for an old farmer, and, consequently, gave him a good old hunter for a very little money. any body might take sir abraham crusty for what they pleased, so long as they did not take too much of his money; and that he took care not to throw away upon even saddle, bridle, or riding whip, for he rode on an old saddle covered with a thick cloth, and had a drover's cart whip for his hunting whip; and few would imagine sir abraham was going out to follow the hounds. he used to go himself overnight to the king charles in the oak, sleep there, and, as if he were merely a travelling man of business, who came for lodging for man and beast, he paid packman's fare for supper at night, and breakfasted upon eggs and bacon in the morning; and started off quietly for the covert's side, without any intention of being considered a hunter. he went, however, one day with a very bitter complaint to doctor gambado, saying, he thought his horse would be the death of him, for that he never started from the royal oak without such a violent fit of kicking, that he was afraid of a fall; and that made him so nervous, he thought the doctor ought to return him his fee, and mr. tattsall take the horse back and allow him something handsome for his keep of it. "and so i will," replied the doctor, "if john tattsall do not cure him, or at least account for his kicking." "where do you say he exhibits these tricks?" said john. "at the royal oak, norwood." john was there the next easter hunt day. so was sir abraham. john saw him start, and saw that two urchins, viz. the post boy and the boots, stuck a stick under his tail, which seldom fell off until the old gentleman had had quite enough of the kicking. but once the stick dropped, the old horse went quiet enough. when sir abraham was gone, john came from his dormitory, and soon put this question to the lads: "why do you treat that old gentleman in this shabby way?" "vy, sar, because he is a shabby, crusty old fellow, and treats all the sarvents of the hestablishment in the shabbiest vay. he pays for his bed, and for his 'orse's bed,--for his board, and his 'orse's board,--but he never gives sal anything, vat beds him up at night, nor bill anything, vat beds his 'orse up,--nor me anything, vat cleans his old boots for him; so ve just shows him vun of our tricks upon travellers: that's all, and sarves him right." this was told to the doctor, who, the next time he saw sir abraham, said to him: "sir abraham, you will forgive my honesty; but, if you wish to cure your horse of kicking at the royal oak, you must know how to be penny wise, and pay the chambermaid, the hostler, and the boots. i am sure you will never be pound foolish." sir abraham took the hint, and the horse never kicked again at the king charles in the oak. to all their dues, let no man flinch to pay, if he would prosper in an honest way; customs are good, if carried not too far, and a good custom, oft prevents a jar; sir abraham's horse no more gave out his kicks, nor john nor bill on travellers played tricks. chapter vii. _how to prevent a horse slipping his girth._ "my dear gambado," said lord rosier to the doctor, "i know not how i shall ever repay you for your good advice. i am your debtor, for two things; first for inducing me to take up horseback exercise again, and then for recommending me to your friend john tattsall, who has furnished me with a most excellent trotter, and one that does one good to ride it." "i am glad to hear it, my lord: but to what purpose is your visit to me this morning? you look the picture of health; i hope nothing is the matter." "oh! dear no! nothing is the matter with me; but, i thought i might, without any intentional offence, just call and speak to you about the horse. i hope i do not offend." "by no means, my lord; pray go on. your lordship will not impute to me any thing wrong in the character of the horse?" [illustration] "by no means, doctor; by no means. i only sought your advice, because i thought you so skillful that you could get me into the right method of treating a horse." "humph!" this was the first direct slap at the doctor's _veterinary powers_. he had a request from york to bring with him a _veterinary surgeon_; but he was now consulted by a british nobleman about the treatment of a horse. well, thought the doctor, let us hear the complaint; for after all it may be the fault of the rider more than of the beast. "what is the matter, my lord?" "it is simply this,--the creature, though in every other respect a suitable one, has a strange propensity or habit of slipping his girths; so that when i have rode out a mile or two, i find myself upon his rump; and once, indeed, i happened to let go the reins, and the saddle came over his tail, and i slipped off behind. he then quietly walked out of his saddle and went away, leaving me to carry my own saddle to the nearest hostelry, and to have a walk home, instead of a ride." "my lord, you acknowledge that it was your own fault for letting go the reins. never, under any circumstances, let the reins go out of your own hands; if you do, you are sure to have a fall. the same, my lord, with all who hold the reins of government; a tight rein can always be sufficiently slackened, when an improvement is required in the pace; but once let them entirely go, and you have no longer any power to guide. your horse must run away, and you must have a fall." "but what is a man to do, when he finds that the animal he rides gets the bit into his mouth, and bores so strongly upon his arms that it gives him the cramp in his muscles to hold the reins in his hands?" "there you puzzle me. i confess, i should very soon give up riding such a horse altogether. but," said the doctor, looking at his watch, "if you do not mind walking with me as far as tattsall's, i think john could give you better advice upon this head than i can. come, it is worth the trouble." "with all my heart: i esteem it a favour. my groom shall lead the horse to his stables, and we will walk on after him." the doctor and his noble patient were soon in john tattsall's yard. "john, i have brought lord rosier to you, to learn a lesson. he is in a fix about a horse he bought of you, which he approves in every other respect but that of slipping his girth; can you tell the gentleman how to prevent it?" "to be sure i can, doctor, if the gentleman will only condescend to give me a little attention. i will mount the horse myself, and show him how i prevent the horse from slipping his girths." he did so; and when he gave up the horse, he said, "there, sir, observe what i have done. "stick your feet, my lord, home in the stirrups, press all your weight thereupon, and so push the saddle forward. if the horse bores upon your arms, bore him well with your legs the moment he lifts his head; the saddle, if it has slipped, will immediately regain its position. and when he bores his head down again, you have nothing to do but to repeat the boring him in his sides; and as the horse suits your lordship so well, this will only form a little agreeable variety of exercise for the benefit of your lordship's health; which i am heartily glad to find so greatly improved." "thank you, john; thank you, it will do, it will do!" 'tis a bore, a horse to ride, slipping girths from side to side; 'tis a bore with many pains, for a man to lose the reins. keep your seat, and keep command, and hold your bridle well in hand: fast and firm the steed will go. and slips and slides you'll never know. chapter viii. _how to ride without a bridle._ "doctor, what am i to do?" said mr. broadcloth, the wealthy tailor of bond-street. "here am i, just fifty years of age, now in the prime of life, and cannot enjoy a moment's content. i have forty-nine hands at work for me, in my shop every day, beside piece-work out-doors. i have six runners of errands; four porters, to carry out my goods, and to bring me home work. beside all this, i have such incessant customers to be measured, and coats to make, that from morning to night i hear nothing but snip go, snip go, snip go! and although i work like a journeyman, i half wish i was one of my own porters, and could go from house to house for fresh air and exercise." "oh, my dear sir!" said the doctor, "you must ride on horseback,--you must indeed! you must be a journey-man yourself,--carry out your clothes to clapham, and find yourself all the better in health and spirits." [illustration] "doctor, i have heard that all who can do as you bid them, are sure to recover." "the first of all blessings is health,--for without it men may think there's enjoyment in life,--but i doubt it." "then recover yourself, and you will own my advice to be good." "what shall i do for a horse?" "do as everybody else does,--go to john tattsall's, and get the horse that will suit you. i shall be glad to see you on one." the tailor was soon mounted;--but it is one thing to be mounted,--another to be seated. he soon complained to mr. tattsall, that the horse he had bought of him would not mind the bridle. "then," says john, "ride him without one. in fact, your horse did belong to a lame letter-carrier, and he never rode him with a bridle. you may have one round his neck by way of a check rein; but this horse, you will find, will never deceive you. "you have nothing to do but to mount, and say, 'go on:' he will be off in a gentle canter along the gutter, keeping close to the pavement, avoiding the lamp posts, oyster stalls, orange tables, trucks, and barrows; and whenever you say 'wo-ho,' he will make a dead stop. you may get off, and wait an hour, if you like, he will never stir, but will know how to take care of himself; only give him a bit of carrot or an apple, just to let him know you are his master, as the poor old lame duck did,--and you may mount and say 'go on,' and 'wo-ho,' twenty times in a day,--and he will obey you. you will not need a bridle or a rein." mr. broadcloth did so,--and never complained of his horse after,--and quite recovered of his complaint. go on!--wo-ho! good words will all command, and gentle treatment bring the steed to hand. [illustration] chapter ix. _how to make a mare go._ "money makes the mare to go," is a very old proverb. very few men have read the original poem upon this subject, except they have met with a very old volume of crashaw's poems. "will thou lend me thy mare to go a mile? no, she is lame, leaping over a stile. but if thou wilt her to me spare, i'll give thee money for thy mare. ho! ho! say ye so? money makes the mare to go." but one of the doctor's patients was an old active fishmonger, of the name of sturgeon; one well to do indeed in his line, a hundred years ago. there are a great many who now supply the london market, without any of that hard road work from greenwich to billingsgate. now trains run to and fro, and fish are alive in london from the smacks. but it was smack and go, then, with carts every morning, one after the other in succession, loaded almost top heavy. then there was unpacking, packing and off for the coaches, times, phenomena, telegraph, exeter mail, yorkshire old blue, and a host of others, to supply provincial fishmongers, &c. and great houses in the country. but mr. sturgeon had, by command of his surgeon, to drive no longer. but doctor gambado insisted upon it, that he must ride on horseback. now mr. sturgeon had a very favourite mare, which could trot well in harness; but could not be persuaded into any but a slow pace, if any one rode on her back. "what would i not give," he said to the doctor, "if she could be made to go." "well," said the doctor, "money makes the mare to go; and i have no doubt old john tattsall, who was never yet at a loss what to do with horseflesh, would soon put you into the way of making your mare to go." "what! with me on her back?" "oh, yes! and another besides, if wanted." john was duly consulted. "well, mr. sturgeon, i see no difficulty in the matter. it requires only a little courage on your part, and i am sure you will find it answer you purpose well. you have nothing to do, but exercise a little ingenuity in your own line. when you are next at greenwich, just take a good strong lobster, with a pair of tremendous claws; fasten him by the tail to the inside of your fishmonger's coat, and let his head and clinchers hang out against the mare's flank. sit you firm in the saddle, with your feet well out of the black pincher's way. one gripe, and the mare will go like a shot; nor will she stop to let you pick up your hat and wig; but wherever her stable is in town, you will see she will never stop till she reaches it." the trial was made, and away went sturgeon, like a shot,- away, away! the mare could trot; and so she did,--nor did she pause.- john tattsall gained the world's applause; for one sharp bite upon the side, and such a gripe of hair and hide, the monster held within his claw, that sturgeon scarce could hold her jaw. with head uplift, and leg up high, the mare, like swallow, seemed to fly, and soon, from sturgeon's round bald pate, the wig and hat flew o'er the gate; but on rode sturgeon, made to know how well to make a mare to go. chapter x. _the tumbler, or its affinities._ we cannot narrate all the varieties of patients the doctor had to deal with. we leave the ladies' cases out of the question, though he strongly recommended to them his great receipt--a ride on horseback. of all the difficult cases the doctor had to deal with, was that of a little stingy, dyspeptic, middle aged pin-man, retired from business, and resident in pimlico. he was never satisfied. no one could convince him that he was not a good rider, though he had caused more broken-kneed horses in one month, than any other rider had made in twelve months. he literally went by the name of tumble-down-pincushion. it was no use furnishing him with a good horse; down it would come before long, and the little man would roll over like a pincushion; pick himself up, and declare it was the fault of the horse. [illustration] he would exasperate his doctor, and his doctor's friend, by pretending to show them how a man ought to sit on horseback; and truly, if ever there was a contrast visible, it was in the upright figure of john tattsall on horseback, and mr. jeremiah hinchman, the retired pin-man of pimlico. john always knew how to make the most of a horse. mr. hinchman never did make any thing but the least of himself and of his horse also. there was a strange affinity between his horse and himself,--at least, between him and one, a favourite rat-tailed sorrel gray. if it tumbled down, it was never disturbed: it was so accustomed to the affinity with the ground, that its knees became hardened with a species of horney excrescence, that seldom showed any thing but dirt, if it did tumble. nor did the little man either, for having a remarkably light weight in the saddle, and a prominent disposition to bend over his horse's neck, he generally cast a very light summersault in his exit from the seat to the ground. "i wish," he said one day to mr. tattsall, in no very amiable mood, "i wish you would put me in some way of not falling off the tumble-down-horses which you sent me." "sir," said tattsall, "i would not let you ride a horse of mine, till you had paid for it as your own, or paid me the price of it, by way of insurance against the surety of his being a tumbler in your hands. you say you are suited with a very quiet tumbler, and one that takes it easy when he is down. you want yourself to be made to take it as easy as your horse; and, now, sir, to prove my readiness to serve you as a customer, and to serve you well too, i will put you into a way of having such affinity with your horse, that you shall tumble off no more." "if you do," said mr. hinchman, "i will forgive you for having sent me twenty horses, not one of which could keep its legs, or keep me on his back." john was not easily puzzled. "sir," said he, "you must manage the thing your own self. only just hear my proposed plan. let an incision be made in two places upon each flap of the saddle; let a thong pass under the saddle-flap, and tie it yourself over your knee. you will then never fall off; but be enabled to keep your seat until your horse shall rise again with ease, and you thus prove the truth of the motto the tumbler, or its affinities. affinity is defined by johnson, to be relation by marriage, as opposed to consanguinity,--by others, as relation or agreeableness between things. no one could think of mr. hinchman being of the same consanguinity as his horse tumbler, but as a relation of agreeableness between two things, in this latter, the tumbler had his affinity with his master. thus they kept the road together, whether fine or foul the weather; and when they tumbled, both went down; and when they rose, they both went on. so on they went, and all men's eyes saw tumblers with affinities. chapter xi. _how to do things by halves._ there is an old saying, and generally considered a good one: "never do things by halves." but there are exceptions to every rule, and the sending a banknote by halves, is one of them; and a very good exception too. we wish anyone who reads this, would only be induced to send to the publisher half a bank of england note, and get it acknowledged by the author, for the good work he has in hand, even in this publication; and he will be sure to be rejoiced to receive the other half as well, and acknowledge that things done by halves, may answer a better purpose than the being done all at once. meet an old friend half way, and i'll warrant you they will go together the other half ten thousand times more pleasantly than if they had both met only at the journey's end. still, in a general way, things done by halves do not always fit, so as to make the whole agreeable. they may become so conjoint as to be agreeable to each other; but who does not like to see a good house built all at once, rather than patched from time to time? who likes to see a church half restored, and half a ruin? so, who likes to have half the heart of his sweetheart, and never to have the whole. let him learn to have a whole heart himself, first, and he will be sure to possess the whole heart of another, and fulfil the whole law. [illustration] alderman goodbeheard, who had been one of doctor gambado's patients, delighted, when in the country, to see the hounds; but being a very portly person, and not one of the highflyers in the field, he told john tattsall, that he wanted a horse that would get over gates and styles, without taking a flying leap. he must have one that could creep over them, by putting first his forelegs on, and then his hind, so as to give him time to lean forward and to lean backward, without those sudden jerks, which he had seen some gentlemen get in the saddle. he did not mind his horse breaking a bar or so, provided he did no mischief to himself or to his rider; for, as the alderman generally rode along convenient roads and footpaths, he wished to do so with comfort to himself and convenience to his creature. "i see, sir," said john; "you want a creeper, that will do things by halves." "exactly so, sir! exactly so, sir!" "i can suit your worship well, only you must keep a whip, constantly to ride behind you, just to teach the animal to do as he was taught, to do things by halves." "if you can find me a lad to do this, i should be glad to have him in my service." "i have a groom in my service, who would just suit your purpose. he has, in fact, been the trainer of the animal to do just that kind of thing." "capital! capital! i will furnish him with scarlet coat and cap, boots and spurs, whip and saddle, and pay him â£2 2s. per week, until the end of the hunting season, when you may have him again to train other horses how to do things by halves." so paid the alderman his groom, and found in hunting he had lost his gloom; for though, by halves, the hunter's work was done, the master and his man both shared the fun. [illustration] chapter xii. _doctor cassock, f.r.s. i.p.q._ doctor cassock was, in his day, a most extraordinary man: he was a double-first at oxford, a scholar, and a gentleman. he was a most benevolent little man, and doctor gambado's friend and pastor, both well read and well bred. but he was ever cultivating his inventive faculty to do good. in his visits to the poor, he invented new bed-rests, new cradles, new spring beds, new comforts of every kind. he was a great inventor of puzzle locks,--puzzle keys,--puzzle cupboards, doors, window frames, and fire-guards. in short there was, as he used to say, no device in the grave; therefore, he was ever starting something new. many a mechanic was indebted to him, and many a printer,--for in his church of st. mildred's, in the poultry, he was the first to put aside the old english black-letter character of the bible and prayer-book, and to assume the type, which holds fast in all good printing-offices to the present day. his sermons were always new, and were the only things in which he might be said to puzzle nobody; for they were plain, simple sermons of solid truth and practical utility. he loved every soul, and being an acknowledged well-read scholar, he was more popular among his people than anyone who tried to gain popularity. his inventive faculty, had it been in the present age, instead of one hundred years ago, might have procured him the celebrity of a brunel, and a fortune; but his scheming being always for others, he at last puzzled or puddled his own affairs so as to involve himself and his means in difficulties; and becoming very low spirited, the friend of others had to go and consult doctor gambado, and to tell him at once that he came to be a charity patient, for he had not a guinea in the world to give him. "my dear, cassock," said the doctor, "in carrying out your various projects, you have forgotten that learning and wisdom should be joint companions; that they are of little worth when separate, but of inestimable value when united." "you speak truth, my dear gambado; and i find, by experience, that a word of wisdom will often go further than a purse full of guineas. quite right. but you have known me long enough to observe, that i have ever thought the practical part of my profession superior to all the learned part." "that may be true. but, doctor, you have not confined either your teaching or your practice to the duties of your profession. i deny not that you have done good to many. you have done me a great deal of good; for, to a certainty, i never knew you preach one thing and practice another. yet, sometimes, i have known you interest yourself so deeply in imaginary inventions, as to persuade yourself that you were doing good, when you were entirely mistaken." the doctor sighed, and simply said, "gambado, we can never all think alike, any more than we can all be alike. you have done right and made your fortune; while my coat is threadbare, and i begin to want." "all, believe me, doctor, is as it should be. you want my advice gratis. i always have had yours gratis, and profitted by it, and loved it. now, if you will take my advice, i will take yours, and so we shall find mutual accommodation." "what is your advice?" "ride on horseback." "how can i do so? one hundred pounds in debt, and only one hundred pounds per annum. i cannot starve a year, and ride on horseback too. you give advice i cannot follow." "i should be sorry to do so. i will write you a prescription, but you must take it yourself to be made up in lombard-street; and i will write you a note, which you must take to mr. john tattsall. "just read that paper, while i write the prescription, doctor cassock." "messrs gold, silver, and company, bankers, lombard-street. pay the bearer â£100 on account of, "your's, faithfully, â£100. geoffery gambado" "dear john,--give my old friend, doctor cassock, just such a nag as the first i had of you for â£50, and i will pay you for it,--for its keep, and for its stable room,--groom and all,--so that the doctor may always find it saddled and bridled, and have nothing to pay; but set all down to the account of, "your's at command, geoffery gambado." "mr. john tattsall." a tear rose to the eye of doctor cassock, as his friend handed to him both the notes; and he felt that species of choaking sensation, which a good man feels at the unexpected generosity of a real friend. "oh, gambado! what advice can i ever have given to you, worthy such generosity as this?" "my dear old friend, i will tell you at once that i only follow out the text upon which you preached yesterday: "'whatsoever ye would that men should do unto you, even so do unto them: for this is the law, and the prophets.' i have only done as i would be done by." the doctor could only say, "god bless you." he was soon after enabled to repay the doctor; for a distant relation left him an independence, a few weeks after; and he became the merriest, if not the wisest, old gentleman of his day. he could not, even then, leave off the faculty of invention; for he became the noted inventor of a noble puzzle, for tumble-down horses. he was actually induced to take out a patent for it. he never found any body but himself to use it. he did use it, though in his case it never was wanted, for his horse never tumbled down with him; and he put everyone who saw him riding with it, in such a merry mood, that it was difficult to say which laughed the heartiest, the doctor himself, or those who beheld him. a friend in need is a friend indeed; if you find him, own his worth; he has never a word, but 'tis always god speed, from the east to west, from south to north; do good to all, and do evil to none, and do to others,--what should be done. [illustration] chapter xiii. _a daisy cutter, with his varieties._ in the month of july, 1780, doctor geoffery gambado was visited, from birmingham, by the celebrated cutler, mr. john green, a gentleman who had become uncommonly dyspeptic from a great excrescence, wart, or wen, that grew out of his right temple, almost covering his ear. it gave him no particular pain, except when he chanced to recline upon that part of his head; yet, as every body looked at it, who came into his shop, and when he appeared at church, or in any public place, he grew uncommonly irritable and nervous. the faculty pronounced it too large to be cut out; and, if the truth be told, mr. green himself had such a horror of cutting, that, though a dealer in cutlery and in the very first steel articles, he had an unconquerable distaste to the knife being used upon his own person. like many other good kind of men, he dealt in articles that others might use; but he himself had no wish to use them. those who use the sinews of men, that is, of other men, for their own speculative purposes, and actually abhor the use of the very things they sell, should be careful of the exciting, inciting, or foolish words they utter, lest their language should superinduce others to use those articles in which their traffic is, to their own destruction. mr. burton, the great quaker, was a dealer in burton ale to a great extent, though he was himself a rigidly abstemious man; yet, as his trade was a good one, and paid well both in the north and south, he could afford to give considerable sums to temperance, or even total abstinence societies, without feeling any loss in his trade. the fact is, until the bright men of traffic shall find out that the ruling principle of their souls is coveteousness, they will never reform the world by a spurious profusion of words and calculations, which have only that one principle to appeal to as their own support. mr. green dealt in swords, and knives and forks, in guns and pistols, in lancets and razors; but he would not suffer the lancet or the knife to touch his own flesh. he was a dealer in weapons, not in blows. a man of peace, yet, like many a man styling himself a friend to humanity, and assuming apostolic liberty, he could find fault with every thing and every body; yet, for trade's sake, he had no objection to the demand for swords, guns, or pistols. he could supply the government with any quantity from his stores in birmingham. it must be confessed, that his nervous affection, and melancholy disposition arose more from the wart upon his brow, and all its external irritations, than from any qualms of conscience, arising from any kind of self examination, self accusation, or self condemnation. few men's consciences so trouble them in the day of their prosperity. he was recommended to consult the great nervous doctor of the age, doctor gambado. so he went to town, had an interview with the doctor, described all his agitating ails, and received this advice: "ride on horseback." "but do you think that will do me any good?" "i am quite sure it will do you some good,--to what extent it is impossible to say,--that must depend upon your patience and perseverance. one thing you can always do, namely, wear a hat that will cover the appearance of the excrescence, and i should not be surprised at its being the means of reducing its size considerably." little did the doctor himself imagine how a cure, by his advice, was completely effected. "oh, doctor!" exclaimed mr. green, "what would i not give could it be entirely eradicated by such gentle means as horseback exercise. i am no great rider, but i would ride any distance, and almost any horse, to get rid of this awkward protuberance." "well, my dear sir, we will try. nothing like trying." "i have heard, doctor, that you have large stables, and keep horses of all kinds." the doctor could not help smiling when he thought of his own fame, as a horse keeper, horse doctor, and horse furnisher. "i have large stables at the back of my house, and i have three horses of my own; but i never kept one for sale, or sold one myself. i let off my stables to a livery-keeper, who has ten or a dozen horses here, namely to mr. john tattsall, who has the credit of being able to suit everyone, only each must pay well to be suited." "i should not mind what i had to pay, if i could be suited to my mind." "let us go and give him a look. if you can at all describe to him the sort of horse you want, i think he will soon be able to accommodate you. you may be sure, if the horse can be had, he will get it for you, if it is not at this time in his stable." the doctor's fee was cheerfully paid, â£10 10s. neatly wrapt up in tissue paper. he had been told nothing less could be expected from a master cutler. mr. green put on his large slouchy broad-brimmed hat that covered half his face; and the doctor and his patient were soon in the presence of the great mr. tattsall. "john, this gentleman wants a horse." "glad of it, sir. pray what sort of horse do you want, sir?" "a good one." "every body wants that, and i have a great many good 'uns;' but i like to know the sort of good 'un that a gentleman requires. one man likes a bay, another a gray, another a roan, another a chestnut; but the colour is not always the description. one likes a high action, another a gentle goer, another a thunderer, another a prime bang up; one likes a thorough-bred, another a hunter; some require cobs, others carriage horses, others ladies' horses, others park horses; but if you can describe the sort of animal you want, i can soon tell you if i can suit you." "i did once see a horse," said mr. green, evidently calling up to his recollection days long gone by; "i did once see a horse that made me say to myself, 'there! if ever i ride on horseback, i should like to get just such a horse as that.' it was gentleness and elegance personified. it was a beautiful creature. it turned out its toes, just lifted one foot above the other, with a kind of quick cross action, and then set it down with such elegance and ease, that it seemed to trip along over the ground, exactly like a dancing master. proud was its bearing, head up, and tail high," and mr. green most poetically described it in these words: "it brushed the morning dew, and o'er the carpet flew, with all becoming grace. so gentle, and so nobly bred, give it alone its upshot head, 'twould go at any pace." "sir, i perceive you are a poet." "not a bit of it. i only cut them out of the poet's corner, in the star, and i think the author's name was 'anon;' but it mattered not as to who was the author, it described the very horse; and i thought then, and i think so still, that by a very short transposition it would suit my wife, and perhaps many others. what think you, sir?" "she brushed the evening dew, and o'er the carpet flew, with all becoming grace. so gentle, and so nobly bred, give her alone her upshot head, she'd go at any pace." the doctor and the dealer could not help laughing. "i perceive, sir, you are a wag; if you are not a poet. i congratulate you upon having so charming a creature for your wife; and i only wish i may be able to suit you with as good a horse." "have you a horse of this description?" "i have a mare exactly of that kind, and we call her the daisy cutter." "pray, let me see her." "shall i ride her, to show you her qualities?" "if you please." "bring out the daisy cutter." she was brought forth, and john soon set her off to advantage. "just the very thing! just the very thing! will you send her down to birmingham? i am not exactly in riding trim, or i would ride her down myself." the animal was paid for, sent home, and proved to be the very creature suited to mr. green's case. he rode his celebrated rosenante every evening, and greatly improved in bodily health. he actually became cheerful, and his wife blessed the good doctor gambado for having restored her husband to himself again. alas! for human infirmities, or for human vagaries! one of the most wonderful complaints of nervous hypochondriacism, was actually cured, together with its cause, by a momentary spree. one beautiful evening, the little man was riding in the gaiety of his heart toward aston hall, visions of future greatness passing before his eyes, when, just upon the greensward in front of the park gates, there lay in his way a great black hog, on the very edge of the road. he thought within himself, that he should like to take a leap smack over the animal's back; and just looking round to see that no eye should behold his spree, he gave his "rosenante" an unwonted kick with his heels. she was certainly surprised at her master's unwonted action, and in the spurt of the moment, cocked her tail, lifted her head, and quickened her pace;--but whether she did not see the hog, or could not leap over it if she did, she ran directly over the animal, and fell over it, awaking it in a horrible fright to scamper grunting away;--but, alas! she pitched her own head, and her master's head also, without his hat, upon the hard road. they both went the whole hog. mr. green lay senseless on the road, in a pool of blood, arising from the severity of the blow, which tore away the whole scalp of the forehead, together with the entire wart or excrescence which grew thereupon. his rosenante affrighted, returned to birmingham,--was soon recognized,--and mr. green was soon carried insensible to the hospital. he remained there some days, recovering himself and his senses. thus the daisy cutter and his vagaries became a proverb in birmingham. and that which skill could not, or rather through nervous apprehension was not, permitted to try, a black hog, one of the most unlikely things in the world, was instrumental in effecting. when spirits mount in cheerful glee, beware of leaping for a spree; for sprees create a fall: and when you leap alone in-cog, beware of going the whole hog; better not go at all. yet sometimes good from ill may spring,- one spree may prove satiety: if daisy cutters wisdom bring, rejoice in the variety. chapter xiv. _a horse with a nose._ did any one ever see a horse without a nose? it cannot, therefore, be meant, at the heading of this chapter, to draw any distinction between a horse with a nose, and a horse without one. we say of a dog, he has got a good nose; that is, if, as hound, pointer, or retriever, he can scent or find his game _well_. a man we have seen without a nose, and a very painful sight it is to see any feature of the human face in any way distorted; but that such a man can "smell a rat," denotes not that he has a peculiar quality of scent, but that he is a cunning fellow, and can look a little deeper into the artifices of men and their motives than others are aware of. some men have indeed the smoothest faces, and the simplest manners, and yet retain the utmost cunning, or, if men like it better, wisdom in the world. they can smell a rat,--they can discover a flaw in the indictment,--they can see how an adversary may be overthrown, and can quietly stir up strife and pick the pocket of friend or foe, without of course doing any thing wrong; defrauding any one, or in any way letting the sufferer himself suppose that he is the victim or tool, or goose to be plucked by the cunning craft and subtlety of the deceiver. [illustration] if men will ruin themselves, whose fault is it? but, if they do so, there are plenty to rise upon their ruin, and to laugh at their folly. conscience, they say, makes cowards of all men; but that conscience must be founded, not upon any man's judgement, but their own. there never was any man who did no wrong that could be afflicted by his own conscience; but there never was a man, who by his own unaided judgment, ever did right so perfectly, that his conscience could entirely acquit him of every base and sordid motive. many may be very highly honourable and upright men, and yet have a great many rogues to deal with, and scarcely know how to deal with them. the best way is to say nothing, but avoid them. doctor gambado had a patient come to him of this kind, and he was a lawyer who stood _very, very_ high in his station one hundred years ago. he was provokingly ill,--ill in his body,--ill in his mind,--ill at ease with himself,--and dreadfully afflicted with such disturbed thoughts at night, that his sleep went from him, and his conscience had no rest. it is very provoking to have a troublesome conscience; but it is more provoking still, not to be able to quiet that conscience by any common or uncommon means. simon deuce, esq. who actually attained the eminence of high authority, not in the court of conscience, or in the court of equity, but in chancery, had retired from business and left his son-in-law, sir charles dubious, his house in billiter-square. he himself took a mansion on blackheath, and there he sought in vain for that enjoyment of rest and contentment, which good men only inherit in their latter end. physic was in vain,--advice, such as most men give, produced no cessation of anxiety. he became moody, sullen, morose, irritable, dogmatic, and all but absolutely irrational. his faculties were piercingly sound, his memory most acute, his legal knowledge clear, and his discovery of transgressions of law were every day displayed before his eyes, from those who rode in a coronetted barouche, to those who rode in a donkey cart. he loved, actually loved to make complaints, and to see the law carried out; and in petty acts of tyranny he was so absolute a persecutor, that he was a terror to all who lived around him. generosity was never in his nature, neither did he ever pretend to teach it, or observe its laws. in fact, every one was considered by him as a weak fool, who did either a kind or generous act, beyond the positive obligation of the law. what happiness could such a man have in his retirement? his great happiness was the accumulation of money in the funds, and these occasioned him a momentary excitement. his friend, samuel ryecross, of ryecross-house, blackheath, advised him to consult doctor gambado. "do you mean gambado, the horse dealer?" "he is not a horse dealer." "i say he is a horse dealer, and ought to take out a licence for horse dealing. he does not do so, and i have half a mind to have him up, and bring him into court for cheating, defrauding, and robbing the government." "i think you must have been misinformed. i believe he is really a very clever, honest man, and gives good sound practical advice to all his patients." "yes, so i have heard; and all of it is 'ride on horseback.' if i went to consult him, i should only get that advice. i know it before hand, and have no inclination to throw away a guinea for it." "but is it bad advice in your case? would it not do you good to try it? why, if you know his remedy, do you not pursue it?" "because i do not think it would do me any good." "well, you have tried a great many doctors. let me drive you in my phaeton to bread-street, and let us hear what the doctor says." "will you pay the doctor?" "yes, if you will follow his advice." "done, we will go." they did go. the doctor knew the man he had to deal with, and yet he had confidence in the horseback exercise as the best cure for him, and he told him so. "have you got a horse that would suit me?" "there is a fine strong horse in my stables, that i think would suit you." "may we go and look at him?" "i will go with you." samuel ryecross was rather surprised; but simon deuce gave him a look, as much as to say, '_i told you he was a horse dealer_.' when they went to the stables, john tattsall was there himself, and not being known to either of the gentlemen, they both supposed him to be the groom in the employ of doctor gambado. "john, i have brought a customer to look at the great brown horse. is he at home?" "he is, sir; i will lead him out." he led him out,--rode him,--and mr. deuce asked the doctor what his price was. the doctor said, "john, what did you say the horse was worth?" "ninety guineas, sir, and not a farthing less. i would not let the gentleman have him for one guinea less." "will you order him to be sent to my house on blackheath?" "shall i ride him there now, and bring back your cheque?" said john tattsall. "you may, if you please, my man." john bowed, and after ascertaining the name of the abode, billiter house, blackheath, he rode off. "in what name, doctor, shall i write the cheque?" for, presuming that the doctor was not professionally a horse dealer, though he considered that he had bought the horse of him, he had a mind to see if he shrunk at all from the responsibility. the doctor replied, "in the name of the very man who delivers him, john tattsall; and i hope the horse will suit you, sir, and do you good." "there," said mr. deuce to his friend ryecross, "what say you now to the doctor dealer? hey! is not my deal with him this day sufficient to convict him before any bench of magistrates in all the counties of england. if i do not take the shine out of this doctor gambado, then say that simon deuce knows nothing of the law." when they got home, the horse had arrived. the cheque was written: "pay john tattsall," &c. &c. john touched his hat, walked off with his money, took a cab to lombard-street, got the cheque cashed; and called and thanked the doctor for his recommendation. the very next day, the doctor received a summons to answer the charge of being a horse dealer without a licence for that purpose. the suit was preferred in the name of deuce _v._ gambado. of course, all these things are put into regular process of law, with which we shall not entertain the public. in due time, the case came on in the proper court, and mr. deuce swore that he bought such a horse of doctor gambado, and that the doctor's servant, john tattsall, delivered the horse at billiter-house, blackheath. samuel ryecross was witness to the transaction. the cheque was produced in court, and mr. deuce was lauded very highly for his sense of justice in not allowing the government to be defrauded, and more in not allowing that highly respectable profession of m.d. f.r.s. to be a covering to the tricks and degradation of a horse dealer without a licence. never, however, was deuce more confounded in all his life, than by the cross examination of serjeant sharp. "pray, sir, may i ask--did you go to consult doctor gambado for any complaint?" "i went purposely, by the advice of my friend, samuel ryecross." "for what purpose, mr. deuce?" "to consult him." "were you ill at that time?" "decidedly not well." "may i ask the nature of the complaint for which you consulted so eminent a physician as doctor gambado?" mr. deuce hesitated. "i have no desire to know more of the complaint than you may think right to tell us; but all who have heard of doctor gambado's patients, know well that they are mostly afflicted with nervous depression. may i ask if such was your case?" "yes, it was." "you were deranged, sir; were you not?" mr. deuce, with great vehemence, "no more deranged, sir, than you are." "do not be angry, sir, when i used the term _deranged_. i meant that your system was a little deranged, disorganized, or so out of sorts, as to produce a kind of physical disarrangement of the organs leading to the brain, so as to create unpleasant sensations, dyspeptic habits, sleepless nights, and a little of that irritability which we have just seen, so as to render you a little impulsive, and not unlikely to be mistaken." deuce did not like this at all, but he could not help saying "it might be so." "oh! it might be so! now, mr. deuce, i must put rather a strong question to you: "did you ever accuse doctor gambado of being a horse dealer?" "not that i am aware of." "not that you are aware of! now, sir, i must get you to tax your memory, and i ask you plainly, did you not go on purpose to trap doctor gambado into the selling you a horse, that you might bring him into a court of justice?" mr. deuce paused. he did not reply. he seemed nervous. "pray, sir, take your time. you are a member of the law, you know the law, and the usages of a court of justice; and i am sure you will give us a plain, straightforward answer." "i did not go exactly with that intention. my friend, mr. ryecross, persuaded me to consult him about myself." "now, sir, i shall cross-examine your friend, mr. ryecross. did you or did you not, at the very time that you went to consult this eminent physician, say to your friend, that he, meaning doctor gambado, was a horse dealer, and not a physician?" "i might have so said." "pray, sir, do you understand the law of libel? i shall strongly recommend my client, let the result of this action be what it may, to bring an action against you, sir, for one of the grossest acts of libellous intention this court has ever heard of; and, if i mistake not the judgement this day will decide, whether a gentleman like yourself is to utter a libel of a ruinous tendency to so high a professional man, with impunity. "then you did say he was a horse dealer?" "yes, i did." "pray, sir, had you any previous acquaintance with doctor gambado?" "none whatever." "then, i presume you acted in this manner entirely upon hearsay evidence?" "i certainly did." "you had no quarrel with doctor gambado?" "none whatever." "was it a sense of justice to your country, that entirely induced you to try and _smell a rat_ in this gentleman's character?" "it was." "and on that account you laid this information against him?" "i did." "it was not from any morbid indulgence of any splenetic humour with which you were at that time afflicted, that induced you to bring this action?" "oh, dear, no!" "i may say then, sir, you considered it entirely pro bono publico?" "quite so." "you have told the court, sir, that you purchased the horse of doctor gambado?" "i did so certainly." "you are sure he sold it to you?" "i am quite sure." "pray, sir, did you ask him, if the horse was his that you bought?" "i asked him if he had any horse that would suit me." "what was his reply?" "to the best of my knowledge, it was that he had one in his stables that would suit me." "now, sir, did he say, that _he had a horse_ in his stables that would suit you?" "i understood him so." "pray, mr. deuce, be sure; because i should be sorry to convict you of a wilful and direct falsehood. i pray you to be sure. did he say _he had a horse that would suit you_? or did he say, _there was a horse in his stables that would suit you_?" "it never struck me before,--he might certainly say, _there was a horse_; but i took him to mean, that _he had one_ that he could sell me." "come, sir, i am very glad to find that you have a disposition to correct the evidence you have given for the prosecution. you have sufficient legal acumen to distinguish between a man saying, _there is such a horse_, and _i have such a horse_; the latter sentence would go to identify the ownership of the horse, or a declaration to that effect." "he might then say, _there was a horse in his stable_?" "well, i think he did say so." "and you did not ask whether the horse was his or not?" "i did not." let mr. samuel ryecross be called. "you are the friend of the last witness,--are you not?" "i am." "you have known him for some years?" "i have." "did you persuade him to consult doctor gambado?" "i did." "upon what grounds?" "because of his dyspeptic habits." "did they not almost amount to monomania?" "i considered that at times they did." "was he not very splenetic?" "very." "i ask you, if he has not, in the neighbourhood of blackheath, the character of being very litigious?" "he is very unpopular." "he quarrels with everybody?" "he makes himself conspicuous for finding fault with all transgressors of the law." "is he not very angry?" "he is very easily provoked." "now, sir, i think, when you proposed to consult doctor gambado, that he objected?" "he did so." "upon what grounds?" "upon grounds that would, if true, disqualify any medical man, for professional consistency." "what were these grounds?" "he said he was a mere horse dealer,--that he would give him advice to ride on horseback, and would sell him a horse to do so." "did you believe his assertion?" "no. i not only doubted it; but stoutly contradicted it." "you had a better opinion of doctor gambado?" "i had." "now, sir, did not your friend actually say to you, that he would have the fellow up, meaning doctor gambado, for being a horse dealer without a licence?" "he did." "did he not go to the doctor with that intent?" "i verily believe he did; but i certainly did not accompany him with any such intent." "you recommended him purely for his health?" "i did; and, moreover, i paid the doctor's fee, upon the promise that he would follow the doctor's advice." "are mr. deuce's habits penurious?" "extremely so." "then how comes he to be so litigious?" "he finds that costs him very little, if any thing in the end." "he considers, then, in this case, that my client will be mulcted in costs?" "i have no doubt he does." "were you present when he consulted doctor gambado?" "i was." "what was his advice?" "ride on horseback." "did you consider that good advice?" "i did." "what question did your friend put to the doctor about the horse?" "he asked him, '_have you got a horse that will suit me?_'" "what was his reply?" "there is a fine strong horse in my stables, that i think would suit you." "are you sure that was his reply?" "quite sure." "did you consider that reply as affixing the ownership of the horse to himself?" "i confess that i did so." "did you see any triumphant glance, or recognition of mr. deuce's sagacity, at having fulfilled the declaration of the accuser, that he was a horse dealer?" "yes, i did." "did you think the horse was the doctor's own?" "i own, i did." "did you ask him if the horse was his?" "no, i did not. i concluded it was so." "did you see the horse sold?" "i did." "who do you consider sold the horse? "i considered, to my great surprise, that doctor gambado sold the horse." "then you altered your opinion of the doctor." "i did so, considerably." "was your friend very warm upon the subject of the doctor's horse dealing?" "very." "did you know of his resolution to bring this action?" "i fully considered he would do so." mr. john tattsall was then called. "you are a horse dealer?" "i am." "you know both the plantiff and defendant?" "i know the former, from having sold him a horse, have known the latter many years." "pray, sir, do you hire doctor gambado's stables?" "i hire stables of doctor gambado." "how far from your own stables?" "the back premises of each join." "how long have you hired the doctor's stables?" "fifteen years." "how many horses do you generally keep there?" "ten, twelve, fourteen, and sometimes sixteen horses." "pray, are you in partnership with doctor gambado?" "no, i am not." "has he any share in your business?" "none whatsoever." "has he any horses?" "three of his own." "in a separate stable?" "in a stable adjoining to those i hire of him." "to your knowledge, did the doctor ever sell a horse?" "never." "has he any horses to sell?" "none." "you positively affirm upon oath that the doctor is not a horse dealer?" "i swear it." "did he ever sell a horse for you?" "never." "did you ever authorize him to sell a horse for you?" "never." "pray was the horse that the plantiff, mr. deuce, bought, your property or the doctor's?" "mine." "did the doctor give the price of the horse to the gentleman, or did you?" "i did,--the doctor asked me what i had said was the price of the horse, and i told him,--and i told the gentleman i would not take one guinea less for him than ninety guineas." "then, really and truly, you took the money for your own horse, kept it, and did not give the doctor a farthing?" "i gave him nothing but 'thank you, doctor, for introducing to me a customer.'" "had the doctor seen the horse before?" "frequently, and admired him for the strength of his limbs, and for his proportions." "do you remember what he said, when he brought the gentleman into your or his yard?" "yes. 'john, i've brought a customer.'" "you knew what that meant?" "of course i did, and i led out the brown horse myself, and paced him, sold him, took the money; the cheque is, i suppose, in court: it was written for me, and i had no idea the horse was sold by anybody but me, to whom it belonged." at this stage of the proceedings the solicitor for the prosecution intimated that his client wished to withdraw his case. serjeant sharpe said, "he hoped his honour would direct a verdict for the defendant, his client; and that the world would see what a shameful action it had been. he told the solicitor for the prosecution that he was glad that his client felt ashamed of himself. he could never make him amends for what he had done; that it was disgraceful in the extreme to seek the advice of so good a man, and to treat him in the way he had done. he was quite sure that he would shortly have an increase of his malady, and that even his friend, mr. ryecross, would no longer pity him." the judge dismissed the case, with a high compliment to doctor gambado, and with full costs to be paid into court by mr. deuce. this action had some good effect upon this unhappy man, though it did not cure him of hypochondriacism. he rode out on horseback--on his new horse;--but whenever that horse came to the sign of the red cross, on blackheath, directly opposite the four cross ways, he would lift up his nose, stand stockstill, and as if he would have his rider see the cross, and think upon it, he would not be persuaded to move. in vain did the lawyer tug at him, chuck his bridle, kick his sides, and use the most violent gesticulations to get him on. whether he had a _nose_ for the stables, or had been accustomed to blackheath red cross on former days, he certainly had a nose, and until some one gently led him from the spot he would never be compelled to leave it. so he went by the name of _old deuce's horse_, or, _the horse with a nose_. hast thou a nose to smell a rat? beware thou get not tit for tat. 'tis better far to keep thy nose, than have it split by angry foes. avoiding strife, go, follow good, no harm will reach thee in such mood. chapter xv. _me, my wife, and daughter._ who can look upon the comfortable enjoyment of good and happy people, in their latter days, and not delight to see them? such a picture as this, drawn originally by henry bunbury, esq. and meant to convey a picture of domestic felicity in his day, would probably produce excessive ridicule if seen in these fast days. if, now, such a sight were seen in rotten-row, however pleasing to the philanthropist, it would be called an affectation of absurdity. yet doctor gambado, to the last year of his life, rode in such felicity that he was the only man in his profession that exactly practised the advice he gave. a contrast to everything in the present day,--we say to everything like modern enjoyment. one hundred years ago, there were no puffing steam engines, drawing thousands, with the rapidity of lightning, to brighton, ramsgate, margate, and folkestone. men all tell us, that domestic felicity is the same. we do not doubt it; but we find very few, very few, indeed, so blest with content, and so happy in their mutual society, as our respected friend, when, with his wife and daughter by his side, he rode a jog trot at the seaside, or the hillside, or along the fashionable road of life. [illustration] the doctor had toiled through good report and evil report, and, like a prudent wise man, provided the best he could for his own. he kept up his house in bread-street, though he declined practice altogether, that is, for _pecuniary profit_. i question whether the society for the prevention of cruelty to animals would not have considered this an overloaded beast; but there was no such society in existence then. the weary camel, toiling over the waste, might be overloaded; but he would let his driver know how much he would carry. john tattsall furnished his good friend, the doctor, with elephantine horses, stout, stiff, strong, bony and sinewy; he was, without the aid of doctor cassock, the inventor of a wicker pannier of such ample dimensions, as to afford the most easy and convenient chair for each of the ladies, without exposing feet or ancles, or incommoding boots or dress. now, indeed, ladies who travel in first-class carriages by rail, find the seats too narrow and almost destructive to their crinoline. hurrah for good people! hurrah for happy people, wherever we can find them! hurrah for the man who never allows his domestic felicity to be disturbed by any outward circumstances,--let his condition of life be among the highest or the lowest in the land! hurrah for him who has the least ambition to gratify, except that of doing good to his neighbour! hurrah for a grateful heart wherever it can be found! but whilst we thus laud the domestic comfort of real good people, let us not forget that they must have passed through many troubles and trials to gain that peace and serenity of mind, which our happy trio, geoffery gambado, his wife, and daughter, enjoyed. they had no affected display of superior accomplishments to delight society, and had no flattering encomiums passed upon them for their gentility. they were gentle, well informed, quiet, loveable people. they spoke that which they considered right, and always did the right thing as it ought to be done. the law which their good and excellent pastor taught them, they never departed from, viz. "that of doing to others, as they would others should do to them." they kept the holiest law of true goodness, _love one another_, in its perfect sense. doctor gambado well knew who gave him a wife; and when he married, he resolved to perform the solemn vow he then made, and he kept his vow,--so did his wife hers,--and they were as happy a couple as could well be seen or known upon the face of the earth. in his time, god's blessing was sought to enable him to keep his vow. there was no law then permitting men to go and be married without any asking of god's blessing upon such a step. marriage was not then degraded into the unholy thing it is now, and conscience merely made to answer to a legal contract, which difference of opinion, or quarrels, or contrariety of disposition, may get dissolved in a divorce court. "for better for worse, for richer for poorer, till death us do part," is no longer the sole and solemn bond of matrimony. but the doctor was a christian in the noblest sense, and in domestic life his religion was his conscience, his wisdom, and his happiness. as little parade as man could make of outward profession was his study, but his heart was in the right place. where that is the case, ignorance and presumption, imposition and folly, are unknown. men may ridicule simplicity of life and manners; but there is an honesty of heart superior to all affectation, which need never be afraid. the troubles of life are always borne well by those who observe the law of god; and those who do not, never get any real release from them. they may get riches; they may hide the blush of coveteousness; but they have very little real comfort within themselves, because of the very changes which they themselves and all things around them undergo. doctor gambado enjoyed every change of life, and lost no good condition either. he could look upon the calm sea with delight, and with the serenity of one who had not lived in vain. he always entertained the kindliest feelings of a brother for his sincere friend, doctor cassock, who used to drop in with any new number of the spectator, and enjoy it. the domestic evenings spent in classical friendship are among the purest scholastic as well as domestic enjoyments. envy he had none, and therefore was most to be envied of those who, like mr. deuce, or anyone else, never enjoyed the happiness of another. promote the welfare of another, and you will find your own comfort increased. detract from another, and nothing but envy will be your increase. the object with which this book was begun, and is finished, is to let you see, reader, how to make something out of that which might to many appear worse than nothing. suppose that sixteen drawings of this character were given you, with nothing but the heading of each chapter written under them,--would you have made out a more comprehensive description of the probability of their truth? there is some profit in the labour, if your heart is in any way cheered by beholding the ingenuity of man. works of art, or works of great expense, or great works of any kind, the author makes no kind of pretence to perform; yet, if you are pleased with his ingenuity, grudge not a helping hand at any time to reward industry. ah! little thought gambado, in his day, as on he passed through life's uneven way, how many toils and troubles he would scan, before he reached the common age of man! yet on he went; and as his years declined, and quietude and peace becalmed his mind, he felt and owned, no greater bliss could be than resignation for eternity. "ah!" he would say, "behold, dear wife, yon sea, each wave seems striving for celebrity! it rolls along until it reach the shore, then bursts in froth,--and then is seen no more! still, on and on succeeding waves advance, and thus perpetual motion would enhance. 'tis so with mortals striving on and on, they reach the shore,--and all their toil is gone. how oft yon waves, by angry tempests tost, like human passions, are in fury lost; dash'd on the rocks, their crested pride, in foam sprays into atoms ere it finds a home." so mighty strugglers after this world's fame, find all their fury perish with their name. 'tis seldom known that speculators thrive, or long their great inventions may outlive. others come on,--no end of new things known, one age will praise,--the next, the praise disown. feathers you wear,--but feathers blown away, will be succeeded by some new display. we ride on horseback, and survey the tide,- the age will come, that horses none will ride; the age will be that coaches will no more be seen with horses, two, or three, or four; but on will pass, and leave no other trace, than iron's friction from a rapid pace. what would gambado think, if he could see his own predictions made a verity? who can predict one single year's advance? truth is so strange it seems a day's romance. things that last year were mighty,--are all gone; works of great hope,--are perished and undone. iron is moulded by the human hand; and wooden walls no more the seas command. all would be great, be rich, and all invent, but few there are, who are at all content. with lightning speed intelligence conveyed from land to land, the iron rails are laid,- and 'neath the ocean's deep united cords, convey the merchant's or the prince's words. but mostly all, by sea, or land, or train, is that the traffickers may get their gain. the greatest gain, that ever man could get, is sweet contentment after every fret. when projects are completed, all is vain, for other projects follow in their train; old age comes on,--all projects quickly cease,- happy are they who live and die in peace. gambado did so: reader, may thy fame rest with content on one blest, holy name! the end. [illustration] transcriber's notes: the original publication did not contain a table of contents. this has been provided for the reader's convenience. there were a few printer's errors which have been corrected. for example, chapter xiii was entitled "a daisey cutter, with his varieties" whereas the name was spelt daisy in the text. riding for ladies. by w. a. kerr, v.c., formerly second in command of the 2nd regiment southern maharatta horse. _illustrated._ new york: frederick a. stokes company, mdcccxci. preface. this work should be taken as following on, and in conjunction with, its predecessor on "riding." in that publication will be found various chapters on action, the aids, bits and bitting, leaping, vice, and on other cognate subjects which, without undue repetition, cannot be reintroduced here. these subjects are of importance to and should be studied by all, of either sex, who aim at perfection in the accomplishment of equitation, and who seek to control and manage the saddle-horse. w. a. k. contents. chapter page i. introductory 1 ii. the lady's horse 6 iii. practical hints: how to mount, 14--the seat, 22--the walk, 27--the trot, 33--the canter, 39--the hand-gallop and gallop, 44--leaping, 46--dismounting, 51 iv. the side saddle 52 v. hints upon costume 63 vi. à la cavalière 73 vii. appendix i.--the training of ponies for children 81 appendix ii.--extension and balance motions 89 list of illustrations. page preparing to mount 17 mounting--second position 19 mounted--near side 22 right and wrong elbow action 26 right and wrong mount 28 turning in the walk--right and wrong way 31 right and wrong rising 34 the trot 38 free but not easy 43 the leap 48 the side saddle, old style 53 the safety saddle 54 saddles 55-62 the "zenith" habit--jacket body 65 costumes 78 riding for ladies. chapter i. introductory. what i have said on the excellence of horse-exercise for boys and men, applies equally to girls and women, if, indeed, it does not recommend itself more especially in the case of the latter. for the most part the pursuits of women are so quiet and sedentary that the body is rarely called into that complete activity of all the muscles which is essential to their perfect development, and which produces the strength and freedom of movement so indispensable to perfect grace of carriage. the woman who has been early accustomed to horse-exercise gains a courage and nerve which it would be difficult to acquire in a more pleasant and healthful manner. she also gains morally in learning to feel a sympathy with the noble animal to whom she is indebted for so much enjoyment, and whose strength and endurance are too often cruelly abused by man. numerous instances have occurred in my experience of the singular influence obtained by ladies over their horses by simple kindness, and i am tempted to introduce here an account of what gentle treatment can effect with the arab. the lady who told the tale did not lay claim to being a first-rate horsewoman. her veracity was undoubted, for her whole life was that of a ministering angel. she wrote thus: "i had a horse provided for me of rare beauty and grace, but a perfect bucephalus in her way. she was only two generations removed from a splendid arabian, given by the good old king to the duke of kent when h.r.h. went out in command to nova scotia. the creature was not three years old, and to all appearance unbroken. her manners were those of a kid rather than of a horse; she was of a lovely dappled gray, with mane and tail of silver, the latter almost sweeping the ground; and in her frolicsome gambols she turned it over her back like a newfoundland dog. her slow step was a bound, her swift motion unlike that of any other animal i ever rode, so fleet, so smooth, so unruffled. i know nothing to which i can compare it. well, i made this lovely creature so fond of me by constant petting, to which, i suppose, her arab character made her peculiarly sensitive, that my voice had equal power over her, as over my faithful docile dog. no other person could in the slightest degree control her. our corps, the 73rd batt. of the 60th rifles, was composed wholly of the _élite_ of napoleon's soldiers, taken in the peninsula, and preferring the british service to a prison. they were, principally, conscripts, and many were evidently of a higher class in society than those usually found in the ranks. among them were several chasseurs and polish lancers, very fine equestrians, and as my husband had a field-officer's command on detachment, and allowances, our horses were well looked after. his groom was a chasseur, mine a pole, but neither could ride "fairy" unless she happened to be in a very gracious mood. lord dalhousie's english coachman afterwards tried his hand at taming her, but all in vain. in an easy quiet manner she either sent her rider over her head or, by a laughable manoeuvre, sitting down like a dog on her haunches, slipped him off the other way. her drollery made the poor men so fond of her that she was rarely chastised, and such a wilful, intractable wild arab it would be hard to find. upon her i was daily mounted. inexperienced in riding, untaught, unassisted, and wholly unable to lay any check upon so powerful an animal, with an awkward country saddle, which, by some fatality, was never well fixed, bit and bridle to match, and the mare's natural fire increased by high feed, behold me bound for the wildest paths in the wildest regions of that wild country. but you must explore the roads about annapolis, and the romantic spot called the "general's bridge," to imagine either the enjoyment or the perils of my happiest hour. reckless to the last degree of desperation, i threw myself entirely on the fond attachment of the noble creature; and when i saw her measuring with her eye some rugged fence or wild chasm, such as it was her common sport to leap over in her play, the soft word of remonstrance that checked her was uttered more from regard to her safety than my own. the least whisper, a pat on the neck, or a stroke down the beautiful face that she used to throw up towards mine, would control her; and never for a moment did she endanger me. this was little short of a daily miracle, when we consider the nature of the country, her character, and my unskilfulness. it can only be accounted for on the ground of that wondrous power which, having willed me to work for a time in the vineyard of the lord, rendered me immortal till the work should be done. rather, i should say, in the words of cooper, which i have ventured to slightly vary- "'tis plain the creature whom he chose to invest with _queen_-ship and dominion o'er the rest, received _her_ nobler nature, and was made fit for the power in which she stands arrayed." strongly as i advocate early tuition, if a girl has not mounted a horse up to her thirteenth year, my advice is to postpone the attempt, unless thoroughly strong, for a couple of years at least. i cannot here enter the reason why, but it is good and sufficient. weakly girls of all ages, especially those who are growing rapidly, are apt to suffer from pain in the spine. "the invigorator" corset i have recommended under the head of "ladies' costume" will, to some extent, counteract this physical weakness; but the only certain cures are either total cessation from horse exercise, or the adoption of the cross, or duchess de berri, seat--in plain words, to ride _à la cavalière_ astride in a man's saddle. in spite of preconceived prejudices, i think that if ladies will kindly peruse my short chapter on this common sense method, they will come to the conclusion that anne of luxembourg, who introduced the side-saddle, did not confer an unmixed benefit on the subjects of richard the second, and that riding astride is no more indelicate than the modern short habit in the hunting field. we are too apt to prostrate ourselves before the juggernaut of fashion, and to hug our own conservative ideas. though the present straight-seat side-saddle, as manufactured by messrs. champion and wilton, modifies, if it does not actually do away with, any fear of curvature of the spine; still, it is of importance that girls should be taught to ride on the off-side as well as the near, and, if possible, on the cross-saddle also. undoubtedly, a growing girl, whose figure and pliant limbs may, like a sapling, be trained in almost any direction, does, by always being seated in one direction, contract a tendency to hang over to one side or the other, and acquire a stiff, crooked, or ungainly seat. perfect ease and squareness are only to be acquired, during tuition and after dismissal from school, by riding one day on the near and the next on the off-side. this change will ease the horse, and, by bringing opposite sets of muscles into play, will impart strength to the rider and keep the shoulders level. whichever side the rider sits, the reins are held, mainly, in the left hand--the left hand is known as the "bridle-hand." attempts have frequently been made to build a saddle with two flaps and movable third pommel, but the result has been far from satisfactory. a glance at a side-saddle tree will at once demonstrate the difficulty the saddler has to meet, add to this a heavy and ungainly appearance. the only way in which the shift can be obtained is by having two saddles. [illustration: naomi (a high-caste arabian mare).] chapter ii. the lady's horse. there is no more difficult animal to find on the face of the earth than a perfect lady's horse. it is not every one that can indulge in the luxury of a two-hundred-and-fifty to three-hundred-guinea hack, and yet looks, action, and manners will always command that figure, and more. some people say, what can carry a man can carry a woman. what says mrs. power o'donoghue to this: "a heavy horse is never in any way suitable to a lady. it _looks_ amiss. the trot is invariably laboured, and if the animal should chance to fall, he gives his rider what we know in the hunting-field as 'a mighty crusher.' it is indeed, a rare thing to meet a perfect 'lady's horse.' in all my wide experience i have met but two. breeding is necessary for stability and speed--two things most essential to a hunter; but good light action is, for a roadster, positively indispensable, and a horse who does not possess it is a burden to his rider, and is, moreover, exceedingly unsafe, as he is apt to stumble at every rut and stone." barry cornwall must have had something akin to perfection in his mind's eye when penning the following lines:- "full of fire, and full of bone, all his line of fathers known; fine his nose, his nostrils thin, but blown abroad by the pride within! his mane a stormy river flowing, and his eyes like embers glowing in the darkness of the night, and his pace as swift as light. look, around his straining throat grace and shifting beauty float! sinewy strength is in his reins, and the red blood gallops through his veins." how often do we hear it remarked of a neat blood-looking nag, "yes, very pretty and blood-like, but there's nothing of him; only fit to carry a woman." no greater mistake can be made, for if we consider the matter in all its bearings, we shall see that the lady should be rather over than under mounted. the average weight of english ladies is said to be nine stone; to that must be added another stone for saddle and bridle (i don't know if the habit and other habiliments be included in the nine stone), and we must give them another stone in hand; or eleven stone in all. a blood, or at furthest, two crosses of blood on a good foundation, horse will carry this weight as well as it can be carried. it is a fault among thoroughbreds that they do not bend the knee sufficiently; but there are exceptions to this rule. i know of two stud book sires, by lowlander, that can trot against the highest stepping hackney or roadster in the kingdom, and, if trained, could put the dust in the eyes of nine out of ten of the much-vaunted standard american trotters. their bold, elegant, and elastic paces come up to the ideal poetry of action, carrying themselves majestically, all their movements like clockwork, for truth and regularity. the award of a first prize as a hunter sire to one of these horses establishes his claim to symmetry, but, being full sixteen hands and built on weight-carrying lines, he is just one or two inches too tall for carrying any _equestrienne_ short of a daughter of anak. though too often faulty in formation of shoulders, thoroughbreds, as their name implies, are generally full of quality and, under good treatment, generous horses. i do not chime in with those who maintain that a horse can do no wrong, but do assert that he comes into the world poisoned by a considerably less dose of original sin than we, who hold dominion over him, are cursed with. two-year-olds that have been tried and found lacking that keen edge of speed so necessary in these degenerate days of "sprinting," many of them cast in "beauty's mould," are turned out of training and are to be picked up at very reasonable prices. never having known a bit more severe than that of the colt-breaker and the snaffle, the bars of their mouths are not yet callous, and being rescued from the clutches of the riding lads of the training-stable, before they are spoiled as to temper, they may, in many instances, under good tuition, be converted into admirable ladies' horses--hacks or hunters. they would not be saleable till four years old, but seven shillings a week would give them a run at grass and a couple of feeds of oats till such time as they be thoroughly taken in hand, conditioned, and taught their business. the margin for profit on well bought animals of this description, and their selling price as perfect lady's horses, are very considerable. in my opinion no horse can be too good or too perfectly trained for a lady. some amazons can ride anything, play cricket, polo, golf, lawn-tennis, fence, scale the alps, etc., and i have known one or two go tiger-shooting. but all are not manly women, despite fashion, trending in that unnatural, unlovable direction. one of their own sex describes them as "gentle, kindly, and _cowardly_." that all are not heroines, i admit, but no one who witnessed or even read of their devoted courage during the dark days of the indian mutiny, can question their ability to face terrible danger with superlative valour. the heroism of mrs. grimwood at manipur is fresh in our memory. what the majority are wanting in is nerve. i have seen a few women go to hounds as well and as straight as the ordinary run of first-flight men. that i do not consider the lady's seat less secure than that of the cross-seated sterner sex, may be inferred from the sketch of the rough-rider in my companion volume for masculine readers, demonstrating "the last resource," and giving practical exemplification of the proverb, "he that can quietly endure overcometh." what women lack, in dealing with an awkward, badly broken, unruly horse, is muscular force, dogged determination, and the ability to struggle and persevere. good nerve and good temper are essentials. having given barry cornwall's poetic ideal of a horse, i now venture on a further rhyming sketch of what may fairly be termed "a good sort":- "with intelligent head, lean, and deep at the jowl, shoulder sloping well back, with a skin like a mole, round-barrelled, broad-loined, and a tail carried free, long and muscular arms, short and flat from the knee, great thighs full of power, hocks both broad and low down, with fetlocks elastic, feet sound and well grown; a horse like unto this, with blood dam and blood sire, to park or for field may to honours aspire; it's the sort i'm in want of--do you know such a thing? 'tis the mount for a sportswoman, and fit for a queen!" my unhesitating advice to ladies is _never buy for yourself_. having described what you want to some well-known judge who is acquainted with your style of riding, and who knows the kind of animal most likely to suit your temperament, tell him to go to a certain price, and, if he be a gentleman you will not be disappointed. you won't get perfection, for that never existed outside the garden of eden, but you will be well carried and get your money's worth. ladies are not fit to cope with dealers, unless the latter be top-sawyers of the trade, have a character to lose, and can be trusted. there has been a certain moral obliquity attached to dealing in horses ever since, and probably before, they of the house of togarmah traded in tyrian fairs with horses, horsemen, and mules. should your friend after all his trouble purchase something that does not to the full realize your fondest expectation, take the will for the deed, and bear in mind "oft expectation fails, and most oft there where most it promises." with nineteen ladies out of every score, the looks of a horse are a matter of paramount importance: he must be "a pretty creature, with beautiful deer-like legs, and a lovely head." their inclinations lead them to admire what is beautiful in preference to what is true of build, useful, and safe. if a lady flattered me with a commission to buy her a horse, having decided upon the colour, i should look out for something after this pattern: one that would prove an invaluable hack, and mayhap carry her safely and well across country. height fifteen two, or fifteen three at the outside; age between six and eight, as thoroughbred as eclipse or nearly so. the courage of the lion yet gentle withal. ears medium size, well set on, alert; the erect and quick "pricking" motion indicates activity and spirit. i would not reject a horse, if otherwise coming up to the mark, for a somewhat large ear or for one slightly inclined to be lopped, for in blood this is a pretty certain indication of the melbourne strain, one to which we are much indebted. the characteristics of the melbournes are, for the most part, desirable ones: docility, good temper, vigorous constitution, plenty of size, with unusually large bone, soundness of joints and abundance of muscle. but these racial peculiarities are recommendations for the coverside rather than for the park. the eye moderately prominent, soft, expressive, "the eye of a listening deer." the ears and the eyes are the interpreters of disposition. forehead broad and flat. a "dish face," that is, slightly concave or indented, is a heir-loom from the desert, and belongs to nejd. the jaws deep, wide apart, with plenty of space for the wind-pipe when the head is reined in to the chest. nostrils long, wide, and elastic, exhibiting a healthy pink membrane. we hear a good deal of large, old-fashioned heads, and see a good many of the fiddle and roman-nosed type, but, in my opinion, these cumbersome heads, unless very thin and fleshless, are indicative of plebeian blood. the setting on of the head is a very important point. the game-cock throttle is the right formation, giving elasticity and the power to bend in obedience to the rider's hand. what the dealers term a _fine topped horse_, generally one with exuberance of carcase and light of limbs, is by no means "the sealed pattern" for a lady; on the contrary, the neck should be light, finely arched--that peculiarly graceful curve imported from the east,--growing into shoulders not conspicuous for too high withers. "long riding shoulders" is an expression in almost every horseman's mouth, but very high and large-shouldered animals are apt to ride heavy in hand and to be high actioned. well-laid-back shoulders, rather low, fine at the points, not set too far apart, and well-muscled will be found to give pace with easy action. he should stand low on the legs, which means depth of fore-rib, so essential in securing the lady's saddle, as well as ensuring the power and endurance to sustain and carry the rider's weight in its proper place. fore-legs set well forward, with long, muscular arms, and room to place the flat of the hand between the elbows and the ribs. the chest can hardly be too deep, but it can be too wide, or have too great breadth between the fore-legs. the back only long enough to find room for the saddle is the rule, though, in case of a lady's horse, a trifle more length unaccompanied by the faintest sign of weakness, will do no harm. for speed, a horse must have length somewhere, and i prefer to see it below, between the point of the elbow and the stifle joint. ormonde, "the horse of the century," was nearly a square, _i.e._ the height from the top of the wither to the ground almost equalled the length of his body from the point of the shoulder to the extremity of the buttock. horses with short backs and short bodies are generally _buck-leapers_, and difficult to sit on when fencing. the couplings or loins cannot be too strong or the ribs too well sprung; the back ribs well hooped. this formation is a sign of a good constitution. the quarters must needs be full, high set on, with straight crupper, well rounded muscular buttocks, a clean channel, with big stifles and thighs to carry them. knees and hocks clean, broad, and large, back sinews and ligaments standing well away from the bone, flat and hard as bands of steel; short well-defined smooth cannons; pasterns nicely sloped, neither too long nor too short, but full of spring; medium sized feet, hard as the nether millstone. if possible, i should select one endowed with the characteristic spring of the arab's tail from the crupper. such a horse would, in the words of kingsley, possess "the beauty of theseus, light but massive, and light, not in spite of its masses, but on account of the perfect disposition of them." there is no need for the judge to run the rule, or the tape either, over the horse. his practised eye, almost in a glance, will take in the general contour of the animal; it will tell him whether the various salient and important points balance, and will instantly detect any serious flaw. when selecting for a lady who, he knows, will appreciate sterling worth rather than mere beauty, he may feel disposed to gloss over a certain decidedness of points and dispense with a trifle of the comely shapeliness of truthfully moulded form. having satisfied myself that the framework is all right, i would order the horse to be sauntered away from me with a loose rein, and, still with his head at perfect liberty, walked back again. i would then see him smartly trotted backwards and forwards. satisfied with his natural dismounted action, i should require to see him ridden in all his paces, and might be disposed to get into the saddle myself. having acquitted himself to my satisfaction, he would then have to exhibit himself in the park or in a field, ridden in the hands of some proficient lady-rider. a few turns under her pilotage would suffice to decide his claims to be what i am looking for. if he came up to my ideas of action, or nearly so, i should not hesitate--subject to veterinary certificate of soundness--to purchase. finally, the gentleman to examine the horse as to his soundness would be one of my own selection. certain of the london dealers insist upon examinations being made by their own "vets," and "there's a method in their madness." when such a stipulation is made, i invariably play the return match by insisting upon having the certificate of the royal college of veterinary surgeons, where the investigation is complete and rigorous. the very name of "the college" is gall and wormwood to many of these "gentlemen concerned about horses." chapter iii. practical hints. how to mount. previous to mounting, the lady should make a practice of critically looking the horse over, in order to satisfy herself that he is properly saddled and bridled. particular attention should be paid to the girthing. though ladies are not supposed to girth their own horses, occasion may arise, in the colonies especially, when they may be called upon to perform that office. information on this essential and too oft-neglected point may not be out of place. odd as it may sound, few grooms know how to girth a horse properly, and to explain myself i must, for a few lines, quit the side-saddle for the cross-saddle. men often wonder how it is that, on mounting, the near stirrup is almost invariably a hole or more the longer of the two. the reason is this: the groom places the saddle right in the centre of the horse's back and then proceeds to tighten the girths from the near or left side. the tension on the girth-holder, all from one side, cants the saddle over to the left, to which it is still further drawn by the weight of the rider in mounting and the strain put upon it by the act of springing into the saddle. this list to port can easily be obviated by the groom placing the heel of his left hand against the near side of the pommel, guiding the first or under-girth with the right hand till the girth-holder passes through the buckle and is moderately tight, then, with both hands, bracing it so that room remains for one finger to be passed between it and the horse. the same must be done in the case of the outer girth. in a modified degree the side-saddle is displaced by the common mode of girthing. the surcingle should lie neatly over the girths, and have an equal bearing with them. when the "fitzwilliam girth" is used--and its general use is to be advocated, not only on account of its safety and the firmness of the broad web, but for its freedom from rubbing the skin behind the elbow--the leather surcingle of the saddle will take the place of the usual leather outside strap supplied with this girth. for inspection the horse should be brought up to the lady, off side on. she should note that the throat-lash falls easily, but not dangling, on the commencement of the curve of the cheek-bone, and that it is not buckled tight round the throttle, like a hangman's "hempen-tow." the bridoon should hang easily in the mouth, clear of the corners or angles, and not wrinkling them; the curb an inch or so above the tusk, or, in the case of a mare, where that tooth might be supposed to be placed. she will see that the curb-chain is not too tight, that the lip-strap is carried through the small ring on the chain, also that the chain lies smooth and even. in fixing the curb, if the chain be turned to the right, the links will unfold themselves. it is taken for granted that by frequent personal visits to the stable, or by trusty deputy, she is satisfied that the horse's back and withers are not galled or wrung. a groom withholding information on this point should, after one warning, get his _congé_. that the bits and stirrup be burnished as bright as a life guardsman's cuirasse, the saddle and bridle perfectly clean, and the horse thoroughly well groomed, goes without saying. all the appointments being found in a condition fit for queen's escort duty, we now proceed to put the lady _in_, not _into_, her saddle. she should approach the horse from the front, and not from behind. after a kind word or two and a little "gentling," she, with her whip, hunting crop, or riding cane in her right hand, picks up the bridoon rein with her left, draws it through the right smoothly and evenly, feeling the horse's mouth very lightly, until it reaches the crutch, which she takes hold of. in passing the rein through the hand, care must be taken that it is not allowed to slacken so that touch of the mouth is lost. attention to this will keep the horse in his position whilst being mounted; for should he move backward or forward or away as the lady is in the act of springing into the saddle, he not only makes the vaulting exceedingly awkward, but dangerous. many horses sidle away as the lady is balanced on one foot and holding on to the pommel with the right hand, in which case she must at once quit her hold or a fall will follow. having adjusted the rein of the bridoon to an equal length, the whip point down with the end of the rein on the off side, she stands looking in the direction the horse is standing--_i.e._, to her proper front, her right shoulder and arm in contact with the flap of the saddle near side. the mounter advances facing her, and, close to the horse's shoulder, can perform his office in three different ways. stooping down, he places his right hand, knuckles downwards, on his right knee, and of it the lady makes a sort of mounting block, whence, springing from the left foot, she reaches her saddle. when she springs she has the aid of her grip on the crutch, supplemented by the raising power of her left hand resting on the man's shoulder. or the groom aids the spring by the uplifting of both the hand and the knee. the third method is, for the mounter--his left arm, as before, touching the horse's shoulder--to stoop down till his left shoulder comes within easy reach of the lady's left hand, which she lays on it. he at the same time advances his left foot till it interposes between her and the horse and makes a cradle of his hands, into which she places her left foot. her grip is still on the crutch, and she still feels the horse's mouth. one, two, three! she springs like feathered mercury, and he, straightening himself, accentuates the light bound, and straightway she finds herself in the saddle. [illustration: preparing to mount.] it is dangerous to face the mounter in such a position that the spring is made with the rider's back to her horse's side, for in the event of his starting suddenly or "taking ground to her right," an awkward full-length back-fall may result. the foot must be placed firmly in the mounter's hand; during the lift it must not be advanced, but kept under her, and he must not attempt to raise her till her right foot be clear of the ground. the best plan that can be adopted with a horse in the habit of moving away to one side is to stand him against a low wall or paling, or alongside another horse. a quiet, well-trained horse may stand as firm as one of the british squares at waterloo, or "the thin red line" at balaclava, for times without number, but from some unforeseen alarm may suddenly start aside. the spring and lift must go together, or the lady may, like mahomet's coffin, find herself hanging midway. practice alone can teach the art of mounting lightly and gracefully, and to an active person there is no difficulty. there is yet another method of mounting which requires considerably more practice--doing away with the services of a mounter,--and that is for the lady to mount herself. in these days, when so many ladies practise gymnastics and athletic exercises generally, there ought to be no difficulty in acquiring this useful habit. the stirrup is let out till it reaches to about a foot from the ground, the pommel is grasped with the right hand, and with a spring the rider is in her seat. the stirrup is then adjusted to its proper length. unless the horse be very quiet the groom must stand at his head during this process of mounting. mounting from a chair or a pair of steps is certainly not an accomplishment i should recommend ladies to indulge in; still, there are occasions when the friendly aid of a low wall, a stile, the bar of a gate, or even a wheelbarrow, comes handy. in such a predicament, take the bridoon across the palm of the left hand, and drawing the bit rein through on each side of the little or third finger till the horse's mouth be felt, place the right foot in the stirrup, grasp the leaping-head with the left and the upright pommel with the right hand, and spring into the saddle, turning round, left about, in so doing. when in the saddle, disengage the right foot from the stirrup and throw the right leg over the upright head. [illustration: mounting--second position.] when the lady is in the saddle, that is, seated on it, not in riding position but before throwing her right leg over the crutch, the groom, without releasing the hold of her foot altogether, adjusts the folds of the habit, care being taken that there is no crease or fold between the right knee and the saddle. this, in the case of a zenith, is a matter speedily arranged, and, the adjustment being to her satisfaction, she at once pivots on the centre, and raises her right leg into its place over the crutch. the foot is then placed in the stirrup. when a good seat has been acquired, and the rider does not encumber herself with needless underclothing, this arrangement of habit had best be deferred till the horse is in motion; she can then raise herself in the saddle by straightening the left knee, and, drawing herself forward by grasping the pommel with the right hand, arrange the folds to her entire satisfaction with the left. attention must be paid to the length of the stirrup, for on it depends greatly the steadiness of the seat. many ladies are seen riding with a short stirrup; but this is an error, for it destroys the balance, without which there can be no elegance, invariably causes actual cramp and gives a cramped appearance, forces the rider out of the centre of the saddle, so that the weight on the horse's back is unevenly distributed, and displays too much daylight when rising in the trot. on the other hand, too long a stirrup is equally objectionable, as it causes the body to lean unduly over to the near side in order to retain hold of it, depresses and throws back the left shoulder, and destroys the squareness of position. the length of stirrup should be just sufficient that the rider, by leaning her right hand on the pommel, can, without any strain on the instep, raise herself clear of the saddle; this implies that the knee will be only bent sufficiently to maintain the upward pressure of the knee against the concave leaping-head. the stirrup is intended as a support to the foot, not as an _appui_ to ride from; it is not intended to sustain the full weight of the body, and when so misapplied is certain to establish a sore back. i am strongly of opinion that to be in all respects perfect in the equestrian art, a lady should learn, in the first instance, to ride without a stirrup, so as, under any circumstances that may arise, to be able to do without this appendage. those who aspire to honours in the hunting-field certainly should accustom themselves to dispense with the stirrup, as by so doing they will acquire a closer and firmer seat; moreover, its absence teaches the beginner, better than any other method, to ride from balance, which is the easiest and best form of equitation for both horse and rider. many horsewomen are under the impression that it is impossible to rise without the aid of the stirrup, but that such is not the case a course of stirrupless training will soon prove. i do not suggest that riding thus should be made a habit, but only strenuously advocate its practice. a very general fault, and an extremely ugly one among lady riders, is the habit of sticking out the right foot in front of the saddle. it is not only unsightly, but loosens the hold, for if the toe be stuck out under the habit like a flying jib-boom, the leg becomes the bowsprit, and it is impossible for a straightened leg to grip the crutch. bend the knee well, keep the toe slightly down, and this ugly habit is beyond the pale of possibility. this ungraceful posture may be caused by the pommels being placed so near together that there is not sufficient room for the leg to lie and bend easily, but this excuse will not hold good in the case of the straight-seat-safety-side-saddle, for it has only one pommel or crutch and one leaping-head. having got the lady into her saddle, we next attempt so to instruct her that it may be remarked- "the rider sat erect and fair."--scott. the seat. hitherto, during the process of mounting and settling herself comfortably, the reins have been in the rider's right hand. now that women can sit square and look straight out and over their horses' ears, much more latitude is permitted in the hold of the reins. it is no longer essential to hold them only in the left hand, for as often as not--always in hunting or at a hand-gallop--both hands are on the bridle. but, as a rule, the left should be the bridle hand, for if the reins be held in the right, and the horse, as horses often will, gets his head down or bores, the right shoulder is drawn forward, and the left knee, as a matter of course, being drawn back from under, loses its upward pressure against the leaping-head, and the safety of the seat is jeopardized. were the rein to give way the rider would probably fall backwards off the horse over his off-quarter. on the other hand, when the reins are all gathered into the left hand, the harder the horse may take the bit in his teeth, and the lower he may carry his head, the firmer must be the grip of the crutch and the greater the pressure against the leaping-head. [illustration: mounted--near side.] as the reins must not be gathered up all in a bunch, i give the following directions for placing them in the hand. if riding with a snaffle, as always should be the case with beginners, the reins ought to be separated, passing into the hands between the third and fourth fingers, and out over the fore or index-finger, where they are held by the thumb. in the case of bit and bridoon (the bridoon rein has generally a buckle where it joins, whereas that of the bit is stitched), take up the bridoon rein across the inside of the hand, and draw the bit rein through the hand on each side of the little or third finger until the mouth of the horse be gently felt; turn the remainder of the rein along the inside of the hand, and let it fall over the forefinger on to the off-side; place the bridoon rein upon those of the bit, and close the thumb upon them all. a second plan equally good is, when the horse is to be ridden mainly on the bridoon: the bridoon rein is taken up by the right hand and drawn flatly through on each side of the second finger of the bridle-hand, till the horse's mouth can be felt, when it is turned over the first joint of the forefinger on to the off-side. the bit rein is next taken up and drawn through on each side of the little finger of the bridle-hand, till there is an equal, or nearly equal, length and feeling with the bridoon, and then laid smoothly over the bridoon rein, with the thumb firmly placed as a stopper upon both, to keep them from slipping. a slight pressure of the little finger will bring the bit into play. thirdly, when the control is to be entirely from the bit or curb; the bit rein is taken up by the stitching by the right hand _within_ the bridoon rein, and drawn through on each side of the little finger of the left or bridle-hand, until there is a light and even feel on the horse's mouth; it is then turned over the first joint of the forefinger on the off-side. the bridoon rein is next taken up by the buckle, under the left hand, and laid smoothly over the left bit rein, leaving it sufficiently loose to hang over each side of the horse's neck. the thumb is then placed firmly on both reins, as above. these different manipulations of the reins may be conveniently practised at home with reins attached to an elastic band, the spring of the band answering to the "feel" on the horse's mouth. but, in addition to these various systems of taking up the reins, much has to be learnt in the direction of separating, shortening, shifting, and so forth. with novices the reins constantly and imperceptibly slip, in which case, the ends of the reins hanging over the forefinger of the bridle-hand are taken altogether into the right, the right hand feels the horse's head, while the loosened fingers of the bridle-hand are run up or down the reins, as required, till they are again adjusted to the proper length, when the fingers once more close on them. in shifting reins to the right hand, to relieve cramp of the fingers, and so forth, the right hand must always pass over the left, and in replacing them the left hand must be placed over the right. in order to shorten any one rein, the right hand is used to pull on that part which hangs beyond the thumb and forefinger. when a horse refuses obedience to the bridle-hand, it must be reinforced by the right. the three first fingers of the right are placed over the bridoon rein, so that the rein passes between the little and third fingers, the end is then turned over the forefinger and, as usual, the thumb is placed upon it. expertness in these "permutations and combinations" is only to be arrived at by constant practice. they must be performed without stopping the horse, altering his pace, or even glancing at the hands. the reins must not be held too loose, but tight enough to keep touch of the horse's mouth; and, on the other hand, there must be no attempt to hold on by the bridle, or what is termed to "ride in the horse's mouth." a short rein is objectionable; there must be no "extension motions," no reaching out for a short hold. the proper position for the bridle-hand is immediately opposite the centre of the waist, and about three or four inches from it, that is, on a level with the elbow, and about three or four inches away from the body. the elbow must neither be squeezed or trussed too tightly to the side, nor thrust out too far, but carried easily, inclining a little from the body. according to strict _manège_ canons, the thumb should be uppermost, and the lower part of the hand nearer the waist than the upper, the wrist a little rounded, and the little finger in a line with the elbow. a wholesome laxity in conforming to these hard-and-fast rules will be found to add to the grace of the rider. _chaque pays chaque guise_, and no two horses are alike in the carriage of the head, the sensitiveness of the mouth, and in action. like ourselves, they all have their own peculiarities. [illustration: the right and wrong elbow action.] the walk. the rider is now seated on what--in the case of a beginner--should be an absolutely quiet, good-tempered, and perfectly trained horse. before schooling her as to seat, we will ask her to move forward at the walk. at first it is better to have the horse led by a leading rein till the _débutante_ is accustomed to the motion and acquires some stock of confidence. she must banish from her mind all thoughts of tumbling off. we do not instruct after this fashion:--lady (after having taken several lessons at two guineas a dozen) _loq._: "well, mr. pummell, have i made any good progress?" "well, i can't say, ma'am," replies the instructor, "as 'ow you rides werry well as yet, but you falls off, ma'am, a deal more gracefuller as wot you did at first." we do not say that falls must not be expected, but in mere hack and park riding they certainly ought to be few and far between. at a steady and even fast walk the merest tyro cannot, unless bent on experiencing the sensation of a tumble, possibly come to the ground. doubtless the motion is passing strange at first, and the beginner may be tempted to clutch nervously at the pommel of her saddle, a very bad and unsightly habit, and one that, if not checked from the very first, grows apace and remains. it is during the walk that the seat is formed, and the rider makes herself practically acquainted with the rules laid down on the handling of the reins. a press of the left leg, a light touch of the whip on the off-side, and a "klk" will promptly put the horse in motion. he may toss his head, and for a pace or two become somewhat unsteady; this is not vice but mere freshness, and he will almost immediately settle down into a quick, sprightly step, measuring each pace exactly, and marking regular cadence, the knee moderately bent, the leg, in the case of what paddy terms "a flippant shtepper," being sharply caught up, appearing suspended in the air for a second, and the foot brought smartly and firmly, without jar, to the ground. this is the perfection of a walking pace. by degrees any nervousness wears off, the rigid trussed appearance gives place to one of pliancy and comparative security, the body loses its constrained stiffness, and begins to conform to and sway with the movements of the horse. the rider, sitting perfectly straight and erect, approaches the correct position, and lays the foundation of that ease and bearing which are absolutely indispensable. [illustration: right mount. wrong mount.] after a lesson or two, if not of the too-timid order, the lady will find herself sitting just so far forward in the saddle as is consistent with perfect ease and comfort, and with the full power to grasp the upright crutch firmly with her right knee; she will be aware of the friendly grip of the leaping-head over her left leg; the weight of her body will fall exactly on the centre of the saddle; her head, though erect, will be perfectly free from constraint, the shoulders well squared, and the hollow of the back gracefully bent in, as in waltzing. this graceful pose of the figure may be readily acquired, throughout the preliminary lessons, and indeed on all occasions when under tuition, by passing the right arm behind the waist, back of the hand to the body, and riding with it in that position. another good plan, which can only be practised in the riding-school or in some out-of-the-way quiet corner, and then only on a very steady horse, is for the beginner, without relaxing her grip on the crutch and the pressure on the leaping-head, as she sits, to lean or recline back so that her two shoulder-blades touch the hip-bones of the horse, recovering herself and regaining her upright position without the aid of the reins. the oftener this gymnastic exercise is performed the better. at intervals during the lessons she should also, having dropped her bridle, assiduously practise the extension motions performed by recruits in our military-riding schools. [_see appendix._] the excellent effects of this physical training will soon be appreciated. but, irrespective of the accuracy of seat, suppleness and strength of limb, confidence and readiness these athletic exercises beget, they may, when least expected, save the rider's life. some of those for whose instruction i have the honour to write, may find themselves placed in a critical situation, when the ability to lie back or "duck" may save them from a fractured skull. inclining the body forward is, from the notion that it tends towards security, a fault very general with timid riders. nothing, however, in the direction of safety, is further from the fact. should the horse, after a visit to the farrier and the usual senseless free use of the smith's drawing and paring-knife, tread upon a rolling stone and "peck," the lady, leaning forward, is suddenly thrown still further forward, her whole weight is cast upon his shoulders, so he "of the tender foot" comes down and sends his rider flying over his head. a stoop in the figure is wanting in smartness, and is unattractive. [illustration: turning in the walk--right and wrong way.] it is no uncommon thing to see ladies sitting on their horses in the form of the letter s, and the effect can hardly be described as charming. this inelegant position, assumed by the lady in the distance, is caused by being placed too much over to the right in the saddle, owing to a too short stirrup. in attempting to preserve the balance, the body from the waist upwards has a strong twisted lean-over to the left, the neck, to counteract this lateral contortion of the spine, being bent over to the right, the whole pose conveying the impression that the rider must be a cripple braced up in surgeon's irons and other appliances. not less hideous, and equally prevalent, is the habit of sitting too much to the left, and leaning over in that direction several degrees out of the perpendicular. a novice is apt to contract this leaning-seat from the apprehension, existing in the mind of timid riders, that they must fall off from the off rather than from the near side, so they incline away from the supposed danger. too long a stirrup is sometimes answerable for this crab-like posture. in both of these awkward postures, the seat becomes insecure, and the due exercise of the "aids" impossible. what is understood by "aids" in the language of the schools are the motions and proper application of the bridle-hand, leg, and heel to control and direct the turnings and paces of the horse. the expression "riding by balance" has been frequently used, and as it is the essence of good horsemanship, i describe it in the words of an expert as consisting in "a foreknowledge of what direction any given motion of the horse would throw the body, and a ready adaptation of the whole frame to the proper position, before the horse has completed his change of attitude or action; it is that disposition of the person, in accordance with the movements of the horse, which preserves it from an improper inclination to one side or the other, which even the ordinary paces of the horse in the trot or gallop will occasion." in brief, it is the automatic inclination of the person of the rider to the body of the horse by which the equilibrium is maintained. the rider having to some extent perfected herself in walking straight forward, inclining and turning to the right and to the right about, and in executing the same movements to the left, on all of which i shall have a few words to say later, and when she can halt, rein back, and is generally handy with her horse at the walk, she may attempt a slow trot, and here her sorrows may be said to begin. the trot. in this useful but trying pace the lady must sit well down on her saddle, rising and falling in unison with the action of the horse, springing lightly but not too highly by the action of the horse coupled with the flexibility of the instep and the knee. as the horse breaks from the walk into the faster pace, it is best not to attempt to rise from the saddle till he has fairly settled down to his trot--better for a few paces to sit back, somewhat loosely, and bump the saddle. the rise from the saddle is to be made as perpendicularly as possible, though a slight forward inclination of the body from the loins, but not with roached-back, may be permitted, and only just so high as to prevent the jar that ensues from the movements of the rider with the horse not being in unison. the return of the body to the saddle must be quiet, light, and unlaboured. here it is that the practice without a stirrup will stand the novice in good stead. this pace is the most difficult of all to ladies, and few there be that attain the art of sitting square and gracefully at this gait, and who rise and fall in the saddle seemingly without an effort and without riding too much in the horse's mouth. most women raise themselves by holding on to the bridle. instead of rising to the right, so that they can glance down the horse's shoulder, and descending to left, and thus regain the centre of the saddle, they persist in rising over the horse's left shoulder, and come back on to the saddle in the direction of his off-quarter. this twist of the body to the left destroys the purchase of the foot and knee, and unsteadies the position and hands. though i have sanctioned a slight leaning forward as the horse breaks into his trot, it must not be overdone, for should he suddenly throw up his head his poll may come in violent contact with the rider's face and forehead, causing a blow that may spoil her beauty, if not knock her senseless. [illustration: right and wrong rising.] till the rider can hit off the secret of rising, she will be severely shaken up--"churned" as a well-known horsewoman describes the jiggiddy-joggoddy motion,--the teeth feel as if they would be shaken out of their sockets, and stitch-in-the-side puts in its unwelcome appearance. certes, the preliminary lessons are very trying ones, the disarrangement of "the get-up" too awful, the fatigue dreadful, the alarm no trifle. nothing seems easier, and yet nothing in the art equestrian is so difficult--not to men with their two stirrups, but to women with one only available. what is more grotesque, ridiculous, and disagreeable than a rider rising and falling in the saddle at a greater and lesser speed than that of her horse? and yet, fair reader, if you will have a little patience, a good deal of perseverance, some determination, and will attend to the hints i give, you shall, in due course, be mistress over the difficulty, and rise and fall with perfect ease and exquisite grace, free from all _embarras_ or undue fatigue. first of all, we must put you on a very smooth, easy, and sedate trotter; by-and-by we may transfer your saddle to something more sharp and lively, perhaps even indulge you with a mount on a regular "bone-setter." to commence with, the lessons, or rather trotting bouts, shall be short, there shall be frequent halts, and during these halts i shall make you drop your reins and put you through extension and balance motions, endeavour to correct your position on the saddle, catechize you closely on the "aids," and introduce as much variety as possible. before urging your steed into his wild six or seven-mile-an-hour career, please bear in mind that you must not rise suddenly, or with a jerk, but quietly and smoothly, letting the impetus come from the motion of the horse. the rise from the saddle must not be initiated by a long pull and strong pull at his mouth, a spasmodic grip of your right leg on the crutch, or a violent attempt to raise yourself in the air from your stirrup. the horse will not accommodate his action to yours, you must "take him on the hop," as the saying is. if horse and rider go disjointly, or you do not harmonize your movements with his, then it is something as unpleasant as dancing a waltz with a partner who won't keep time, or rowing "spoonful about." falling in with the trot of a horse is at first very difficult. in order to facilitate matters as much as possible, you shall, for a few days, substitute the old-fashioned slipper for the stirrup, as then the spring will come from the toes and not from the hollow of the foot; this will lessen the exertion and be easier. if nature has happened to fashion you somewhat short from the hip to the knee, and you will attend to instruction and practice frequently, the chances are strong in your favour of conquering the irksome "cross-jolt." separate your reins, taking one in each hand, feeling the mouth equally with both reins, sit well down on your saddle, keep your left foot pointed straight to the front, don't attempt to move till the horse has steadied into his trot, which, in case of a well trained animal, will be in a stride or two, then endeavour, obeying the impulse of his movement, to time the rise. a really perfectly broken horse, "supplied on both hands," as it is termed, leads, in the trot as in the canter, equally well with either leg, but, in both paces, a very large majority have a favourite leading leg. by glancing over the right shoulder the time for the rise may be taken. do not be disheartened by repeated failures to "catch on;" persevere, and suddenly you will hit it off. when the least fatigued, pull up into a walk, and when rested have another try. at the risk of repetition, i again impress on you the necessity of keeping the toe of the left foot pointed to the front, the foot itself back, and with the heel depressed. your descent into the saddle should be such that any one you may be riding straight at, shall see a part of your right shoulder and hip as they rise and fall, his line of vision being directed along the off-side of the horse's neck. when these two portions of your body are so visible then the weight is in its proper place, and there is no fear of the saddle being dragged over the horse's near shoulder. for a few strides there is no objection to your taking a light hold of the pommel with the right hand, in order to time the rise, but the moment the "cross-jolt" ceases, and you find yourself moving in unison with the horse, the hold must be relaxed. some difficulty will be found in remaining long enough out of the saddle at each rise to avoid descending too soon, and thus receive a double cross-jolt; but this will be overcome after a few attempts. keep the hands well down and the elbows in. [illustration: the trot.] varying the speed in the trot will be found excellent practice for the hands; the faster a horse goes, generally speaking, the easier he goes. he must be kept going "well within himself," that is he must not be urged to trot at a greater speed than he can compass with true and equal action. some very fast trotters, "daisy cutters," go with so little upward jerk that it is almost impossible to rise on them at all. any attempt at half-cantering with his hind legs must be at once checked by pulling him together, and, by slowing him down, getting him back into collected form. should he "break" badly, from being over-paced, into a canter or hard-gallop, then rein him in, pulling up, if need be, into a walk, chiding him at the same time. when he again brings his head in and begins to step clean, light, and evenly, then let him resume his trot. if not going up to his bit and hanging heavy on the hand, move the bit in his mouth, let him feel the leg, and talk to him. like ourselves, horses are not up to the mark every day, and though they do not go to heated theatres and crowded ball-rooms, or indulge as some of their masters and mistresses are said to do, they too often spend twenty hours or more out of the twenty-four in the vitiated atmosphere of a hot, badly ventilated stable, and their insides are converted into apothecaries' shops by ignorant doctoring grooms. when a free horse does not face his bit, he is either fatigued or something is amiss. the canter. properly speaking, this being, _par excellence_, the lady's pace, the instruction should precede that of the trot. the comparative ease of the canter, and the readiness with which the average pupil takes to it, induces the beginner to at once indulge in it. it is, on a thoroughly trained horse, so agreeable that the uninitiated at once acquire confidence on horseback. moreover, it is _the_ pace at which a fine figure and elegant lady-like bearing is most conspicuously displayed, and for this, if for no other reason, the pupil applies herself earnestly--shall i say lovingly?--to perfect herself in this delightful feature of the art. on a light-actioned horse, one moving as it were on springs, going well on his haunches, and well up to this bit, the motion is as easy as that of a rocking-chair. all the rider has to do is to sit back, keep the body quite flexible and in the centre of the saddle, preserve the balance, and, with pressure from the left leg and heel, and a touch of the whip, keep him up to his bit. she will imperceptibly leave the saddle at every stride, which, in a slow measured canter, will be reduced to a sort of rubbing motion, just sufficient to ease the slight jolt caused by the action of the haunches and hind legs. many park-horses and ladies' hacks are trained to spring at once, without breaking into a run or trot, into the canter. all the rider has to do is to raise the hand ever so little, press him with the leg, touch him with the whip, and give him the unspellable signal "klk." the movement or sway of the body should follow that of the horse. as soon as he is in his stride, the rider throws back her body a little, and places her hand in a suitable position. if the horse carries his head well, the hand ought to be about three inches from the pommel, and at an equal distance from the body. for "star-gazers" it should be lower; and for borers it should be raised higher. once properly under way the lady will study that almost imperceptible willow-like bend of the back, her shoulders will be thrown back gracefully, the mere suspicion of a swing accommodating itself to the motion of the horse will come from the pliant waist, and she will yield herself just a little to the opposite side from that the horse's leading leg is on. if he leads with the off-foot, he inclines a trifle to the left, and the rider's body and hands must turn but a little to the left also, and _vice versâ_. it is the rider's province to direct which foot the horse shall lead with. to canter with the left fore leg leading, the extra bearing will be upon the left rein, the little finger turned up towards the right shoulder, the hint from the whip--a mere touch should suffice--being on the right shoulder or flank. it is essential that the bearing upon the mouth, a light playing touch, should be preserved throughout the whole pace. if the horse should, within a short distance--say a mile or so,--flag, then he must be reminded by gentle application of the whip. he cannot canter truly and bear himself handsomely unless going up to his bit. the rider must feel the cadence of every pace, and be able to extend or shorten the stride at will. it is an excellent plan to change the leading leg frequently, so that upon any disturbance of pace, going "false," or change of direction, the rider may be equal to the occasion. the lady must be careful that the bridle-arm does not acquire the ugly habit of leaving the body and the elbow of being stuck out of it akimbo. all the movements of the hand should proceed from the wrist, the bearings and play on the horse's mouth being kept up by the little finger. ladies will find that most horses are trained to lead entirely with the off leg, and that when, from any disturbance of pace, they are forced to "change step" and lead with the near leg, their action becomes very awkward and uneven. hence they are prone to regard cantering with the near leg as disagreeable. but when they come to use their own horses, they will find it good economy to teach them to change the leading leg constantly, both during the canter and at the commencement of the pace. to make a horse change foot in his canter, if he cannot be got readily to do so by hand, leg, and heel, turn him to the right, as if to circle, and he will lead with the off foreleg, and by repeating the same make-believe manoeuvre to the left, the near fore will be in front. the beginner, however, had better pull up into the walk before attempting this change. when pulling up from the canter, it is best and safest to let the horse drop into a trot for a few paces and so resume the walk. there is no better course of tuition by which to acquire balance than the various inclinations to the right and left, the turns to the right and left and to the right and left-about at the canter, all of which, with the exception of the full turns, should be performed on the move without halting. in the turn-about, it is necessary to bring the horse to a momentary halt before the turn be commenced, and so soon as he has gone about and the turn is fully completed, a lift of the hand and a touch of the leg and heel should instanter compel him to move forward at the canter in the opposite direction; he must no sooner be round than off. when no riding-school is available, one constructed of hurdles closely laced with gorse, on the sheep-lambing principle, will answer all purposes. should the horse be at all awkward or unsteady, the hurdles, placed one on the top of the other and tied to uprights driven into the ground, closely interlaced with the gorse so that he cannot see through or over the barrier, will form a perfect, retired exercise ground. a plentiful surface dressing of golden-peat-moss-litter will save his legs and feet. in a quiet open impromptu school of this description, away from "the madding crowd," i have schooled young horses so that they would canter almost on their own ground, circling round a bamboo lance shaft, the point in the ground and the butt in my right hand, without changing legs or altering pace, and they would describe the figure eight with almost mathematical precision, changing leg at every turn without any "aid" from me, a mere inclination of the body bringing them round the curves. a horse very handy with his legs can readily change them at the corners when making the full right-angle turn, but there is always at first the danger of one not so clever attempting to execute the turn by crossing the leading leg over the supporting one, when the rider will be lucky to get off with an awkward stumble--a "cropper" will most likely follow. when at this private practice, "make much of your horse"--that is, caress and speak kindly to him, when he does well; in fact, the more he is spoken to throughout the lesson, the better for both parties. so good and discriminating is a horse's ear that he soon learns to appreciate the difference between kindly approval and stern censure. a sympathy between horse and rider is soon established, and such freemasonry is delightful. [illustration: free but not easy.] never canter on the high road, and see that your groom does not indulge himself by so doing. on elastic springy turf the pace, which in reality is a series of short bounds, if not continued too long at a time, does no great harm, but one mile on a hard, unyielding surface causes more wear-and-tear of joints, shoulders, and frame generally, than a long day's work of alternating walk and trot which, on the queen's highway, are the proper paces. there is no objection to a canter when a bit of turf is found on the road-side; and the little drains cut to lead the water off the turnpike into the ditch serve to make young horses handy with their legs. the hand-gallop and gallop. the rider should not attempt either of these accelerated paces till quite confident that she has the horse under complete control. as the hand-gallop is only another and quickened form of the canter, in which the stride is both lengthened and hastened, or, more correctly speaking, in which the bounds are longer and faster, the same rules are applicable to both. many horses, especially those through whose veins strong hot blood is pulsing, fairly revel in the gallop, and if allowed to gain upon the hand, will soon extend the hand-gallop to full-gallop, and that rapid pace into a runaway. the rider must, therefore, always keep her horse well in hand, so as to be able to slacken speed should he get up too much steam. some, impatient of restraint, will shake their heads, snatch at their bits, and yaw about, "fighting for their heads," as it is termed, and will endeavour to bore and get their heads down. a well-trained horse, one such as a beginner should ride, will not play these pranks and will not take a dead pull at the rider's hands; on the contrary, he will stride along quite collectedly, keeping his head in its proper place, and taking just sufficient hold to make things pleasant. but horses with perfect mouths and manners are, like angels' visits, few and far between, and are eagerly sought after by those fortunate beings to whom money is no object. to be on the safe side, the rider should always be on the alert and prepared to at once apply the brake. when fairly in his stride and going comfortably, the rider, leaning slightly forward, should, with both hands on the bridle, give and take with each stroke, playing the while with the curb; she should talk cheerily to him, but the least effort on his part to gain upon the hand must be at once checked. the play of the little fingers on the curb keeps his mouth alive, prevents his hanging or boring, and makes it sensible to the rider's hand. "keeping a horse in hand" means that there is such a system of communication established between the rider and the quadruped that the former is mistress of the situation, and knows, almost before the horse has made up his mind what to do, what is coming. this keeping in hand is one of the secrets of fine horsemanship, and it especially suits the light-hearted mercurial sort of goer, one that is always more or less off the ground or in the air, one of those that "treads so light he scarcely prints the plain." my impression is, despite the numerous bits devised and advertised to stop runaways, that nothing short of a long and steep hill, a steam-cultivated, stiff clay fallow, or the bog of allen, will stop the determined bolt of a self-willed, callous-mouthed horse. there is no use pulling at him, for the more you pull the harder he hardens his heart and his mouth. the only plan, if there be plenty of elbow room, is to let him have his wicked way a bit, then, with one mighty concentrated effort to give a sudden snatch at the bit, followed by instantly and rapidly drawing, "sawing," of the bridoon through his mouth. above all, keep your presence of mind, and if by any good luck you can so pilot the brute as to make him face an ascent, drive him up it--if it be as steep as the roof of a house, so much the better,--plying whip and spur, till he be completely "pumped out" and dead beat. failing a steep hill, perhaps a ploughed field may present itself, through and round which he should be ridden, in the very fullest sense of the word, till he stands still. such a horse is utterly unfit to carry a lady, and, should she come safe and sound out of the uncomfortable ride, he had better be consigned to tattersall's or "the lane," to be sold "absolutely without reserve." worse still than the runaway professional bolter is the panic-stricken flight of a suddenly scared horse, in which abject terror reigns supreme, launching him at the top of his speed in full flight from some imaginary foe. nature has taught him to seek safety in flight, and the frightened animal, with desperate and exhausting energy, will gallop till he drops. professor galvayne's system claims to be effective with runaway and nervous bolters. at ayr that distinguished horse-tamer cured, in the space of one hour, an inveterate performer in that objectionable line, and a pair he now drives were, at one time, given to like malpractices. do not urge your horse suddenly from a canter into a full gallop; let him settle down to his pace gradually--steady him. being jumped off, like a racehorse with a flying start at the fall of the flag, is very apt to make a hot, high-couraged horse run away or attempt to do so. some horses, however, allow great liberties to be taken with them, and others none. all depends on temperament, and whether the nervous, fibrous, sanguine, or lymphatic element preponderates. and here let me remark that the fibrous temperament is the one to struggle and endure, to last the longest, and to give the maximum of ease, comfort, and satisfaction to owner and rider. leaping. "throw the broad ditch behind you; o'er the hedge high bound, resistless; nor the deep morass refuse." thompson. though the "pleasures of the chase" are purposely excluded from this volume, the horsewoman's preliminary course of instruction would hardly be complete without a few remarks on jumping. in clearing an obstacle, a horse must to all intents and purposes go through all the motions inherent to the vices of rearing, plunging, and kicking, yet the three, when in rapid combination, are by no means difficult to accommodate one's self to. it is best to commence on a clever, steady horse--"a safe conveyance" that will go quietly at his fences, jump them without an effort, landing light as a cork, and one that will never dream of refusing. as beginners, no matter what instructors may say and protest, will invariably, for the first few leaps, till they acquire confidence, grip, and balance, ride to some extent "in the horse's mouth," they should be placed on an animal with not too sensitive a mouth, one that can go pleasantly in a plain snaffle. begin with something low, simple, and easy--say a three feet high gorsed hurdle, so thickly laced with the whin that daylight cannot be seen through, with a low white-painted rail some little distance from it on the take-off side. if there be a ditch between the rail and the fence, so much the better, for the more the horse spreads himself the easier it will be to the rider, the jerk or prop on landing the less severe. some horses sail over the largest obstacle, land, and are away again without their appearing to call upon themselves for any extra exertion; they clear it in their stride. hunters that know their business can be trotted up to five-barred gates and stiff timber, which they will clear with consummate ease; but height and width require distinct efforts, and the rear and kick in this mode of negotiating a fence are so pronounced and so sudden that they would be certain to unseat the novice. [illustration: the leap.] it is easiest to sit a leap if the horse is ridden at it in a canter or, at most, in a well-collected, slow hand-gallop. the reins being held in both hands with a firm, steady hold, the horse should be ridden straight at the spot you have selected to jump. sit straight, or, if anything out of the perpendicular, lean a little back. the run at the fence need only be a few yards. as he nears it, the forward prick of his alert ears and a certain measuring of his distance will indicate that he means "to have it," and is gathering himself for the effort. the rider should then, if she can persuade herself so to do, give him full liberty of head. certain instructors, and horsemen in general, will prate glibly of "lifting" a horse over his fence. i have read of steeplechase riders "throwing" their horses over almost unnegotiable obstacles, but it is about as easy to upend an elephant by the tail and throw him over the garden wall as it is for any rider to "lift" his horse. although the horse must be made to feel, as he approaches the fence, that it is utterly impossible for him to swerve from it, yet the instant he is about to rise the reins should be slacked off, to be almost immediately brought to bear again as he descends. irish horses are the best jumpers we have, and their excellence may justly be ascribed to the fact that, for the most part, they are ridden in the snaffle bridle. if the horse be held too light by the head he will "buck over" the obstacle, a form of jumping well calculated to jerk the beginner out of her saddle. after topping the hurdle, the horse's forehand, in his descent, will be lower than his hind quarters. had the rider leant forward as he rose on his hind legs, the violent effort or kick of his haunches would have thrown her still further over his neck, whereas, having left the ground with a slight inclination towards the croup, the forward spring of the horse will add to that backward tendency and place her in the best possible position in which to counteract the shock received upon his forefeet reaching the ground. if the rider does not slacken the reins as the horse makes his spring, they must either be drawn through her hands or she will land right out on his neck. i have referred to the "buck-over" system of jumping, which is very common with irish horses. a mare of mine, well-known in days of yore at fermoy as "up-she-rises," would have puzzled even mrs. power o'donoghue. she would come full gallop, when hounds were running, at a stone wall, pull up and crouch close under it, then, with one mighty effort, throw herself over, her hind legs landing on the other side little more than the thickness of the wall from where her forefeet had taken off. it was not a "buck," but a straight up-on-end rear, followed by a frantic kick that threatened to hurl saddle and rider half across the field. "scrutator," in "horses and hounds," makes mention of an irish horse, which would take most extraordinary leaps over gates and walls, and if going ever so fast would always check himself and take his leaps after his own fashion. "not thinking him," writes this fine sportsman, "up to my weight, he was handed over to the second whipper-in, and treated jack at first acquaintance to a rattling fall or two. he rode him, as he had done his other horses, pretty fast at a stiff gate, which came in his way the first day. some of the field, not fancying it, persuaded jack to try first, calculating upon his knocking it open, or breaking the top bar. the horse, before taking off, stopped quite short, and jerked him out of the saddle over to the other side; then raising himself on his hind legs, vaulted over upon jack, who was lying on his back. not being damaged, jack picked himself up, and grinning at his friends, who were on the wrong side laughing at his fall, said, 'never mind, gentlemen, 'tis a rum way of doing things that horse has; but no matter, we are both on the right side, and that's where you won't be just yet.'" the standing jump is much more difficult, till the necessary balance be acquired, than the flying leap. the lower and longer the curve described, the easier to sit; but in this description of leaping, the horse, though he clears height, cannot cover much ground. his motion is like that of the whip's horse described above, and the rider will find the effort, as he springs from his haunches, much more accentuated than in the case of the flying leap, and therefore the more difficult to sit. as, however, leaping, properly speaking, belongs to the hunting-field, i propose to deal more fully with the subject in another volume. dismounting. when the novice dismounts there should, at first, be two persons to aid--one to hold the horse's head, the other to lift her from the saddle. after a very few lessons, if the lady be active and her hack a steady one, the services of the former may be dispensed with. of course the horse is brought to full stop. transfer the whip to the left hand, throw the right leg over to the near side of the crutch and disengage the foot from the stirrup. let the reins fall on the neck, see that the habit skirt is quite clear of the leaping-head, turn in the saddle, place the left hand upon the right arm of the cavalier or squire, the right on the leaping-head, and half spring half glide to the ground, lighting on the balls of the feet, dropping a slight curtsey to break the jar on the frame. retain hold of the leaping-head till safely landed. very few men understand the proper manner in which to exercise the duties of the _cavalier servant_ in mounting and dismounting ladies. many ladies not unreasonably object to be lifted off their horses almost into grooms' arms. a correspondent of the _sporting and dramatic news_ mentions a contretemps to a somewhat portly lady in the crimea, whose husband, in hoisting her up on to her saddle with more vigour than skill, sent his better half right over the horse's back sprawling on the ground. it is by no means an uncommon thing to see ladies, owing to want of lift on the part of the lifter and general clumsiness, failing to reach the saddle and slipping down again. having dismounted, "make much" of your horse, and give him a bit of carrot, sugar, apple, or some tid-bit. horses are particularly fond of apples. chapter iv. the side saddle. it is of first-class importance that a lady's saddle should be made by a respectable and thoroughly competent saddler. seeing the number of years a well-built and properly kept side-saddle will last, it is but penny wise to grudge the necessary outlay in the first instance. those constructed on the cheap machine-made system never give satisfaction to the rider, are constantly in need of repair (grooms, if permitted, are everlastingly in and out of the saddler's shop), and are a prolific cause of sore backs. [illustration: the old style.] with all saddles the chief cause, the source and origin, of evil is badly constructed and badly fitting trees that take an undue bearing on different parts of the back. at a critical moment, when just a little extra exertion would perhaps keep the horse on his legs, a somewhat tender muscle or portion of "scalded" skin comes in painful contact with some part of an ill-fitting saddle, the agony causing him to wince, checks the impulse to extend the "spare leg," and he comes down. it does not matter how hard or heavy the rider may be, how tender the skin, a sore back can be prevented by a proper system of measurement and a good pannel. mrs. power o'donoghue, in her very interesting letters upon "ladies on horseback," unsparingly condemns the elaborate embroidery which adorned (?) the near flap of every old-fashioned saddle, pointing out that as it is always concealed by the rider's right leg, the work is a needless expense. "there might be some sense," that brilliant and bold horsewoman says, "although very little, in decorating the off-side and imparting to it somewhat of an ornamental appearance; but in my opinion there cannot be too much simplicity about anything connected with riding appointments. let your saddle, like your personal attire, be remarkable only for perfect freedom from ornament or display. have it made to suit yourself--neither too weighty nor yet too small,--and if you want to ride with grace and comfort, desire that it be constructed without one particle of the objectionable _dip_." [illustration: the safety saddle.] the foregoing two sketches, "the old style" and "the straight-seated safety," contrast the wide difference between the old and fast disappearing form of side-saddle and that designed and manufactured by messrs. champion and wilton. the disadvantages of the old style are so painfully obvious that it is marvellous they should not have been remedied years ago. on, or rather _in_, one of these, the lady sat in a dip or kind of basin, and unless her limbs were of unusual length--thereby pushing her right knee towards the off-side--she necessarily faced half-left, _both_, not her horse's ears, but his near shoulder; or, in order to attain any squareness of front, she was called upon to twist her body from the hips, and to maintain a most fatiguing, forced position during her whole ride (even through a long day's hunting), or else sit altogether on the near side of her saddle. this twist was the cause of the pains in the spine so frequently complained of. more than this, the height upon which her pommels were raised caused her to sit, as it were, uphill, or at best (in the attempt on the part of the saddler to rectify this, by stuffing up the seat of her saddle) to find herself perched far above her horse's back. the natural expedient of carrying the upper or middle pommel nearer the centre of the horse's withers, so as to bring the knee about in a line with his mane, was impracticable with the old-style of saddle tree, which gave the pommels a lofty, arched base above the apex of his shoulders. the result was, in all cases, (1) great inconvenience and often curvature of the spine to the rider, (2) constant liability to sore back on the part of the horse, through the cross friction produced by the lady's one-sided position. to meet and entirely remove the difficulty, messrs. champion and wilton pruned away all the forepart of the saddle-tree, and, in place of the raised wood and metal base, upon which the lady's right leg formerly rested, substituted merely a stout leather flap or cushion. as will be seen from the foregoing illustration, they were by this arrangement able to place the upper pommel in whatever exact position the form of the rider may require, to enable her to sit straight to her proper front, riding the whole upon a level seat, and distributing her weight fairly upon her horse's back. the importance of being in a position to face her work and to hold her horse at his, needs no comment. the small holster attached to the saddle is an exceedingly ingenious air and water-tight detachable receptacle for a reliable watch with a very clearly marked dial. the rider thus always has the time before her eyes, and is saved the great inconvenience--in the hunting-field especially--of unbuttoning the habit to get out a watch. this invention, though not a necessity, is a very handy adjunct. [illustration: fig 1] this superlatively good saddle is fitted with a patent safety-stirrup bar, which, while it renders it impossible for the rider to be hung up or dragged when thrown, cannot possibly become detached so long as she remains in the saddle. the action of this perfect safeguard is explained by the accompanying diagrams. [illustration: fig 1 fig 2 fig 3] the back of the bar is fixed to the tree in the ordinary way. there are only two moving parts, viz. the hinged hook-piece, marked a, figs. 1, 2, and 3, upon which the loop of the stirrup-leather is hung, and the locking bar, b, upon which the skirt and the rider's legs rest. it will be noticed that the front of the hook-piece, marked a, fig. 1, is cut off diagonally front and back, and that there is upon the back-plate a cone, marked c, which projects through the back of the hook-piece. the locking action may be thus described: the skirt, with lever, b, fig. 2, is lifted, the hook, a, pulled forward, and the loop of the stirrup-leather hooked upon it; it springs back again (spring not shown) and the locking lever, b, falls down over it, as at fig 3. while in the saddle, one of the rider's legs rests at all times upon the skirt and lever, which therefore cannot rise; but upon the rider being thrown and dragged, the stirrup-leather is tilted diagonally against the cone, c, in passing which the hook is thrust outwards, lifting the locking lever and skirt, as shown, fig. 2, and thus reaching the releasing point, is free. there is another case more rare, that in which the rider is thrown over the horse's head, and also over a gate or fence when the horse refuses and backs; and here we have just the reverse action to that of the ordinary dragging, but in this case the bar acts equally well. when the rider is thrown and dragged on the off or reverse side, the stirrup-leather lifts the skirt and locking lever, fig. 2, and there remains nothing to retain the loop to the bar. the above sketch of the side-saddle will aid in making the foregoing clear. here a is the skirt, and locking lever, b, shown raised, in order to fit the loop of the stirrup-leather to the hook c below the cone d. a balance strap is usually supplied with a side-saddle, and is a very desirable adjunct. ds also, to which the cover-coat is attached, should be fitted on. quilted or plain doeskin seat and pommels are matters of taste. these extras add to the cost of the saddle. a waterproof or leather cover is an essential. hogskin caps and straps, to prevent the habit catching on the pommels, should be provided when the new patent safety-bar stirrup is not used. when practicable a lady should invariably be measured for her saddle. it is almost impossible to find a lady's horse that at some time or another has not suffered from sore back, and it is imperative that the saddle should fit _both_ and that perfectly. we bipeds cannot walk or run in tight ill-fitting boots, neither can a horse act under a badly fitting saddle. i have read somewhere that the empress of austria rode in an 8-lb. saddle, a statement i take leave to doubt. her imperial highness is far too fine and experienced a horsewoman to have been seen outside any such toy. in the present day there is a senseless rage for light side-saddles, much to be deprecated, as the lightness is gained at the expense of the tree, and light flimsy leather is used in their manufacture. possibly when alum comes into general use we may see lighter and even strong trees. a lady weighing 9 stone 7 lbs. requires a saddle about 17 inches long, measured, as in the sketch, from a to b, the seat from c to d, 13-1/4 inches wide, the upright pommel 5-1/2 inches high, and the leaping-head 8 inches long. such a saddle, brand new, will weigh about 14 lbs., and at the end of a season will pull the scale down at 18 to 20 lbs. a saddle made of the proper weight and strength in the first instance--the extra weight being in the tree, where the strength is required--will be lighter in appearance. light saddles always require a lot of extra stuffing, which soon mounts up the weight and detracts from the looks; moreover it is very inconvenient to be constantly sending one's saddle to be restuffed. most ladies, from lack of proper supervision and want of thought, are neglectful of the make and condition of their saddles, and so some ribald cynic has hazarded the remark that although "a good man is merciful to his beast, a good woman is rarely so." a first class firm keeps an experienced man for the purpose of measuring horses, who is sent out any distance required at a fixed scale of charges. when a lady cannot conveniently attend to be measured, she should endeavour to get the measurements, as indicated in the sketch, from some saddle in which she can ride with comfort. though careful fitting and adjustment of the saddle will reduce friction to a minimum, and will, in the majority of cases, do away with its baneful effects, still with some very highly bred horses the skin of the back is so easily irritated, that during a long day's work, in hot climates especially, it becomes chafed, and injury is inflicted either at the withers or underneath the seat. nothing is more difficult to deal with and heal than a sore back. in a prolonged and arduous campaign, i have seen regiments seriously reduced below their fighting strength by obstinate sore backs. a very great _desideratum_, in my opinion, is the new "humanity" sponge-lined numnah, another of messrs. champion and wilton's sensible inventions. this excellent preventative and curative saddle-cloth keeps the most tender-skinned horse in a position to walk in comfort. it is an adaptation of the finer kind of turkey sponge, the soft nature of which suggested itself to the inventors as an agent for counteracting saddle friction. it is made in two varieties: (1) of bridle leather, lined at the withers with this fine, natural sponge, thus interposing a soft pad between the saddle and the withers (a point where the chief strain of a lady's seat is brought to bear during the action of the trot); (2) of a fine white felt, lined at the back as well as at the withers with the same quality of sponge, and intended for such horses as are apt to become troubled under the seat of the saddle as well as at the withers. the sponge has to be damped, preferably in warm water, but pressed or wrung out before using, and the leather part kept soft with vaseline, which is an excellent preservative and softener of leather. _each time after use, the sweat should be thoroughly washed out of the sponge; to ensure best results, attention to scrupulous cleanliness is absolutely essential._ the following are representations of this numnah. [illustration: inside surface.] with the safety-bar and the zenith habit it matters not what form of stirrup a lady uses, for these have done away with the necessity for the so-called safety patterns, of which there are several. the slipper has been objected to, as it, from being so comfortable, encourages ladies to lean their whole weight on it and thus throw themselves out of balance; moreover, it is out of fashion. mrs. power o'donoghue advocates the plain iron racing stirrup, with the foot well home, as by its means the rise or purchase is from the instep, as it ought to be, and not from the toes. the prussian side-pieces at the bottom take sharp pressure off the sides of the foot. the victoria and french pad inside the stirrup, except when the safety bar and habit are adopted, are fraught with danger; with these precautions they are a great comfort, and guard the instep at the trot when the foot is thrust well home. the size of the stirrup should be proportionate to the foot. chapter v. hints upon costume. "she wore what was then somewhat universal--a coat, vest, and hat resembling those of a man; which fashion has since called a riding-habit."--_diana vernon_, scott. under no circumstances does a lady, possessed of good figure and carriage, appear to such great advantage, or is she so fascinating, as when with mien and bearing haught and high, with perfect, well-balanced seat, and light hands, faultlessly appointed, firmly, gently, and with seeming carelessness she controls some spirited high-bred horse, some noble steed of stainless purity of breed, whose rounded symmetry of form, characteristic spring of the tail, and pride of port, proclaim his descent from "the silver arab with his purple veins, the true blood royal of his race." at no time are the beauties of the female form divine displayed with such witching grace, the faultless flowing lines so attractively posed, the _tout ensemble_ so thoroughly patrician. but if there be one blot in the fair picture the whole charm at once vanishes. the incomparable dignity, the well-turned-out steeds--the best that money could buy or critical judgment select--the perfect figure of that superb horsewoman the empress of austria, of whom it may justly be said "all the pride of all her race in herself reflected lives," were it possible for her imperial majesty to err in such a matter, would have been of little effect, but for a faultlessly cut and fitting habit. "fine feathers make fine birds," and though in riding costume the plumage, save in the hunting-field, must be of sombre tint, it must be unruffled and lie perfectly flat. there are habit-makers and habit-makers; a very few as perfect as need be, more médiocre, most arrant bunglers. of late years legions of so-called ladies'-tailors have sprung into being, not one in a hundred possessing the faintest idea of what is wanted. a habit-maker is a genius not often met with, and when come across should be made a note of. a perfect fitting habit, though not quite "a joy for ever," is a very useful, long-wearing, and altogether desirable garment. particular attention must be given to the cutting of the back of the neck to secure plenty of play, and to prevent that disagreeable tightness so often experienced, which completely mars the easy and graceful movement of the head. while giving absolute freedom to the figure, the well shaped body will fit like a glove. a tight habit gives a stiff, inelegant appearance to the whole figure, and produces a feeling of being "cribbed, cabined, and confined," tantamount to semi-suffocation. a too long waist is certain to ride-up and wrinkle. for winter wear there is nothing like the double-breasted body. the choice to select from is a wide one. [illustration: the "zenith" habit--jacket body.] to my mind and eye no one understands the whole art of habit-making so well as mr. w. shingleton, 60, new bond street, london, the inventor of the patent "zenith" skirt, an ingenious arrangement which should be universally patronized for its absolute safety, if for no less weighty reason. any lady wearing this clever and smart combination of skirt and trousers, seated on one of messrs. champion and wilton's safety side-saddles, may set her mind completely at rest as to the possibility of being "hung up" on the pommel, or dragged by it or the stirrup. perfect freedom in the saddle is secured to the rider, that portion of the skirt which in the ordinary habit fits over the pommel, always a source of danger, being entirely dispensed with. the "zenith" is made in two breadths or portions, instead of three, as heretofore, and on one side this skirt is attached to the trousers at the "side seam" of the right leg, or leg which passes over the pommel. the skirt is then carried across or over both legs of the trousers in front, and, on the other side, is brought round and attached to the "leg seam" of the left leg and to the "seat seam," both the trousers and the skirt being then secured to the waistband. thus the rider, as stated above, has the pommel leg free to be readily disengaged from the pommel without the skirt catching thereon, the right leg at the back being left uncovered by the skirt. an opening formed on the left side of the skirt allows of the garment being readily put on. the front draping of the skirt remains unaltered from the usual skirt, but when seen from behind it presents the appearance of one leg covered, the other uncovered. when walking, the back of the right trousers leg, which is uncovered, can be draped somewhat by the front of the skirt being lifted and brought round by the right hand. there is nothing whatever in this invention to offend the most sensitive _equestrienne_, nothing to hurt the proper feelings of the most modest. if preferred, the skirt may be provided on each side with a slit, extending down from the knees, so as to enable the wearer to readily use the skirt when wearing breeches or riding boots. that such an enterprising firm as messrs. redfern, of paris, should have secured the patent rights for france, speaks volumes in favour of mr. shingleton's really admirable invention. except for summer wear in early morning or in the country, and in the case of young girls, when grey is permissible, the habit should be made of some dark cloth. in the hunting-field, on which subject i am not touching in this volume, some ladies who "go" don pink, those patronising the duke of beaufort's wearing the becoming livery of the badminton hunt, than which nothing is more becoming. diagonal ribbed cloths are much in vogue for skirts. stout figures tone down the appearance of too great solidity and rotundity by wearing an adaptation of the military tunic. the long jacket-body, depicted in mr. shingleton's sketch of the "zenith," is well suited to full figures. waistcoats are all the rage,--blue bird's-eye, plush-leather with pearl buttons, kersey, corduroy, nankeen, etc., in endless variety, and are very much in evidence, as are shirt fronts, high collars, silk ties with sporting-pin _à la cavalière_. braiding or ornamentation is bad form; no frilling, no streamers are admissible; everything, to be in good taste, ought to be of the very best, without one inch of superfluous material,--severely simple. in the park, except for young ladies just entering on their teens, or children, the tall silk hat is _de rigueur_. the present prevailing "chimney-pot" or "stove-pipe" model, shaped something like the tompion of a gun, is an unbecoming atrocity. let us hope that fashion will soon revert to the broad curled brim bell-shaped hardwicke. nothing is cheap that's bad, and nothing detracts more from the general effect of a "get-up" than a bad hat. so if my lady reader wants to be thoroughly well hatted, let her go to ye hatterie, 105, oxford street, and be measured for one of mr. heath's best. it will last out two or three of other makers, and having done duty one season in rotten row, will look well later on in the wear-and-tear of the hunting field, preserving its bright glossy brilliancy, no matter what the weather be. order a quilted silk lining in preference to a plain leather one, and, when being measured, let the _chevelure_ be compact and suited for riding. a low-crowned hat is the best. for young girls, and out of the season, riding melon-shaped or pot-hats of felt are useful and by no means unbecoming. mr. heath makes a speciality of these, and has scores of different, and more or less becoming, styles to select from. hats made to the shape of the head require no elastics to hold them on, and are not the fruitful source of headache which ready-made misfits invariably are. there is no objection to a grey felt with grey gauze veil in the summer, but black with a black veil is in better taste. anything in the way of colour, other than grey, or, perhaps brown, is inadmissible. i am not sufficient of a monsieur mantalini to advise very minutely on such important points as the ladies' toilette, as to what veils may or may not be worn, but a visit to the park any morning or forenoon, when london is in town, will best decide. for dusty roads gauze is essential. of all abominations and sources of equestrian discomfort a badly built pair of riding-breeches are the worst. no breeches, pants, or trousers can possibly sit well and give absolute comfort in the saddle without flexible hips and belt-band riding-drawers. the best material, and preferable to all silk, is a blend of silk and cashmere, which wears well, is warm, elastic, of permanent elasticity, can be worn with great comfort by the most sensitive, and is not too expensive. a habit should fit like a glove over the hips, and the flexible-hip make of riding-drawers which i advocate, aids in securing this moulding. the fit of the breeches or pants, especially that of the right leg, at the inside of the knee, should be particularly insisted upon. first-class ladies' tailors generally have a model horse on which their customers can mount when trying on. at messrs. e. tautz and sons' establishment, where the rider can be accoutred to perfection, ladies will find a competent assistant of their own sex,--a trained fitter--who will by careful measurement and subsequent "trying on" secure them against the galling miseries of badly cut and ill-fitting breeches. materials of every description are available; but if the fair reader will be advised by me, she will select brown undressed deer-skin, which is soft, pliable, and durable. the waistbands and continuations are of strong twilled silk. leggings are generally and preferably worn with the breeches, and can be had in all shades of cloth to go with the habit. for the colonies and india a new material, known as dr. lahmann's cotton-wool underclothing, cannot be too highly commended. in "the gorgeous east," of which abode of the sun i have had some experience, between march and the latter days of october, the thinnest animal-wool is unbearably warm, and, when prickly-heat is about, absolutely unbearable, the irritation produced by the two being, i should imagine, akin to that endured by the four-footed friend of man when suffering acutely from the mange. moreover, in the clutches of the indian _dhobie_ (washerman), woollen materials rapidly shrink by degrees and become beautifully less, when not knocked into holes, and are converted into a species of felt. this fabric is a new departure in the manufacture of cotton. from first to last it is treated as wool, is spun as wool, and woven as wool, and in my opinion is the best possible material for under wear in the tropics. it is cool, wears well, washes well, is warranted not to shrink, does not irritate the most sensitive skin, and, being woven on circular knitting looms, is peculiarly adapted for close-fitting riding-drawers and under-clothing generally. it has the additional merits of having the appearance and colour of silk--a soft cream colour,--is entirely free from dressing, and is moderate in price. as this fabric (porous, knitted, woven, ribbed, or double-ribbed) is sold by the yard as well as made up into seamless pants, jersies, etc., it is admirably suited to the make of flexible-hip and belt-band drawers referred to above. i feel that in directing attention to this "baumwoll" (tree wool) clothing, i am conferring a benefit on all europeans whose avocations keep them within the tropics, and on those of them especially who are obliged to take constant and prolonged horse exercise. it is to be obtained at the lahmann agency, 15, fore street, london, e.c. the question of corsage is an all-important one, as the fit of a garment depends largely on the shape of the corset. for growing girls, and especially for such as are at all delicate and outgrowing their strength, the _invigorator_ corset is the least objectionable i have yet seen. that it has the approval of the faculty is in its favour. it may be described as a corset in combination with a chest-expanding brace, and as such corrects the habit of stooping, and by expanding the chest flattens the back and keeps the shoulder-blades in their right place. speaking as an ex-adjutant, who has had a good deal of experience in "setting-up-drills," it in my opinion possesses for young people merits far superior to anything of the kind yet brought out. it gives support where most wanted without impeding the freedom of the movements of the body; its elasticity is such that respiration and circulation are not interfered with; the chest is thrown out, the back straightened, preserving an erect figure--the body being kept erect by the cross-straps at the back; it is comfortable to the wearer, and there is no undue pressure anywhere. a riding-stay to be perfect should be as light as possible, consistent with due support, boned throughout with real whalebone, so as to be capable of being bent and twisted without fear of "broken busks," and should fit the figure--not the figure fit it--with glove-like accuracy. such supple corsets give perfect ease with freedom. the best special maker of riding-corsets for ladies is madame festa, 13, carlos street, grosvenor square, london, w. this artiste's productions combine all that is necessary in material and workmanship, with perfect fit, ease, and grace. a combination of silk elastic and coutil is said to be the ideal material from which really comfortable corsets are made. for winter work they should be lined with a pure natural woollen stuff as soft as a chuddah shawl. for tropical climates grass-cloth or nettle-cloth is strongly recommended. in this humid, uncertain climate of ours the rider will generally find some sort of light and short waterproof a great comfort. it should be sufficiently long to clear the saddle, and of a material such as will permit of its being rolled up into a small compass for attachment to the ds of the saddle. messrs. lewin and co., 28, cockspur street, s.w. (successors to the old established firm bax and co.), makers of the selby driving-coat, turn out some very neat waterproof tweed or drab garments, which are appropriate and serviceable. their designs are good, and the material thoroughly to be relied upon. well fitting, or in other words, tight gloves, of course, look very well, but horsewomen must preserve free use of their hands. lightness of hand is an essential, but a certain amount of physical strength cannot be dispensed with, and a tight glove, even of the best quality of kid, means a cramped contraction of the hand and fingers with consequent loss of power. the material, so long as it be stout enough, may be of real buck-skin, stout suède, dog's-skin, so called, or cape. the best real buck-skin hunting, driving, and walking-gloves, for either ladies or gentlemen, i have ever come across, are those manufactured by t. p. lee and co., 24, duke street, bloomsbury. they are of first-class soft material, well cut, hand-sewn with waxed brown thread, and very durable; in fact, everlasting, and most comfortable wear. a neat, light hunting-crop, riding-cane, or whip _without a tassel_, are indispensable. the following is a comfortable and serviceable riding-dress for long country rides, picnics, etc., recommended by a lady who can boast of considerable experience in the saddle both at home and in the colonies--one of a riding family. "habit--a short hunting-skirt, short enough to walk in with comfort, with jacket (_norfolk?_) of the same material, made loose enough to admit of jersey being worn under it, if required; a wide leather belt for the waist, fastening with a buckle. this belt will be found a great comfort and support when on horseback for many hours. hat of soft felt, or melon-shaped hat. pantaloons of chamois leather, buttoning close to the ankles. hussar or wellington boots made of peel leather, with moderate-sized heels, tipped with brass, and soles strong but not thick. a leather stud should be sewn on the left boot, about two and a half inches above the heel, on which stud the spur should rest, and thus be kept in its place without tight buckling. the spur found to be the most useful after a trial of many is a rowel spur of plated steel (the flat tapered-side, elastic, five-pointed hunting), about two to two and a half inches long, strong and light, hunting shape, and fastened with a strap and buckle, the foot-strap of plated steel chain. this chain foot-strap looks neater than a leather one, and does not become cut or worn out when on foot on rough, rocky ground. the rowel pin is a screw-pin; thus the rowel can be changed at pleasure, and a sharp or blunt one fitted as required by the horse one rides." [_in lieu of chamois leather i would suggest undressed deer-skin, as supplied by messrs. e. tautz and sons, 485, oxford street, london, which is as soft as velvet, and needs no additional lining, so apt to crease. and instead of the boots i recommend waterproofed russia leather or brown hide, such as men use for polo, as manufactured by faulkner, 52, south molton street, london, w., with low, flat heels tipped with mild steel._] the lady's idea, except with regard to the interchangeable rowel, the pin of which must work loose, is good. this brings me to the much-vexed subject of the spur, its use and abuse. ladies should not be mounted on horses requiring severe punishment; but there are occasions, oft and many, when "a reminder" from a sharp-pointed rowel will prove of service. i do not say that lady riders should always wear a persuader; on a free-going, generous horse it would be out of place, irritating, and annoying; but on a lymphatic slug, or in the case of a display of temper, the armed heel is most necessary. we must bear in mind that almost all of the highest priced ladies' horses have been broken in to carry a lady by professional lady-riders, one and all of whom wear spurs. many a horse, in the canter especially, will not go up to his bit without an occasional slight prick. women are by nature supposed to be gentle and kindly, and yet i know some who are everlastingly "rugging" at their horse's mouths and digging in the spur. they would use the whip also as severely as the latchfords but for the exhibition it would entail. when punishment must be inflicted, the spur as a corrective is far more effective than the whip; it acts instantaneously, without warning, and the horse cannot see it coming and swerve from it. though more dreaded it inflicts the lesser pain of the two. the deepest dig from the rowel will not leave behind it the smart of the weal from a cutting whip. the best spur for ladies is the one mentioned above, with fine-pointed rowel; it does not tear the habit, and the points are long enough and sharp enough to penetrate through the cloth should it intervene between the heel and the horse's side. no lady should venture to wear a spur till she has acquired firmness of seat, to keep her left leg steady in the stirrup and her heel from constantly niggling the animal's ribs. i do not like the spring-sheath one-point spur, as it is uncertain in its action. chapter vi. à la cavalière. much of late has been said and written against and in favour of cross-saddle riding for girls and women. a lady at my elbow has just given her emphatic opinion that it is neither graceful nor modest, and she predicts that the system will never come into vogue or meet the approval of the finer sense of women. the riding-masters are against it to a man, and so are the saddlers, who argue that the change would somewhat militate against their business. we are very conservative in our ideas, and perhaps it is asking too much of women, who have ridden and hunted in a habit on a side-saddle for years, to all at once, or at all, accept and patronize the innovation. travellers notice the fact that women never ride sideways, as with us, but astride, like men. it has generally been supposed that the custom now prevailing in europe and north america dates back only to the middle ages. as a fact, the side-saddle was first introduced here by anne of luxembourg, richard ii.'s queen, and so far back as 1341, according to knighton, it had become general among ladies of first rank at tournaments and in public. but the system must have prevailed to some extent in far earlier times, for rawlinson discovered a picture of two assyrian women riding sideways on a mule, and on etruscan vases, older than the founding of rome, are several representations of women so seated. there were no horses in mexico prior to the advent of the spaniards; indeed, from the progeny of one andalusian horse and mare, shipped to paraguay in 1535, were bred those countless mobs which have since spread over the whole southern part of the new western world, and, passing the isthmus of darien or panama, have wandered into north america. in the great plains of south america, where the inhabitants, all more or less with spanish blood pulsing through their veins, may be said to live on horseback, it is strange that, without some good cause, the side-saddle should have been discarded for the "pisana" fashion--the lady riding in front of her cavalier. in edward i.'s time our fair dames jogged behind their lords, or behind somebody else's lords, in the conventional pillion: then "this riding double was no crime in the first good edward's time; no brave man thought himself disgraced by two fair arms around his waist; nor did the lady blush vermillion dancing on the lady's pillion." the attitude of the "pisana" fashion, though in some cases vastly agreeable, is not highly picturesque, so there must have been some valid reason why the side-saddle, then in general use in spain, fell out of favour. in long rides, it, as at that time constructed, tired the rider, and caused severe pain in the spine. nowadays in mexico and on the plate river there are magnificent horsewomen who can ride almost anything short of an australian buckjumper, and who never tire in the saddle, but then they one and all patronize the cross-saddle, riding _à la cavalière_ or _à la_ duchesse de berri. their riding garb, and a very becoming one it is, consists of a loose kind of norfolk jacket or tunic secured at the waist by a belt, loose turkish pyjamas thrust into riding boots of soft yellow leather, a huge pair of mexican spurs, and the ladies' "sombrero." their favourite and, in fact, only pace is a continuous hand-gallop. some thirty years ago i remember seeing the ex-queen of naples superbly mounted, riding _à la cavalière_. her majesty was then even more beautiful than her imperial sister the empress of austria, and quite as finished a horsewoman. she wore a high and pointed-crowned felt hat, a long white cloak, something like the algerian bournouse, patent-leather jack-boots, and gilt spurs. her seat was perfect, as was her management of her fiery arab or barb, the effect charming, and there was nothing to raise the faintest suspicion of a blush on the cheeks of the most modest. there is no doubt that the duchess de berri mode of sitting on a horse is much less fatiguing to the rider, gives her more power over the half-broken animals that in foreign countries do duty for ladies' horses, and, in a very great measure, does away with the chance of establishing a raw on the back. in support of the claims of this, to us, novel manner of placing the rider on her horse's back, i quote from miss isabella bird's "hawaiian archipelago." describing her visit to the anuenue falls, that lady writes: "the ride was spoiled by my insecure seat in my saddle, and the increased pain in my side which riding produced. once, in crossing a stream, the horses had to make a sort of downward jump from a rock, and i slipped round my horse's neck; indeed, on the way back i felt that, on the ground of health, i must give up the volcano, as i would never consent to be carried to it, like lady franklin, in a litter. when we returned, mr. severance suggested that it would be much better for me to follow the hawaiian fashion, and ride astride, and put his saddle on the horse. it was only my strong desire to see the volcano which made me consent to a mode of riding against which i have a strong prejudice; but the result of the experiment is that i shall visit kilauea thus or not at all. the native women all ride astride on ordinary occasions in the full sacks, or kolukus, and on gala days in the pan--the gay winged dress which i described in writing from honolulu. a great many of the foreign ladies in hawaii have adopted the mexican saddle also for greater security to themselves and ease to their horses on the steep and perilous bridle-tracks, but they wear full turkish trousers and jauntily made dresses reaching to the ankles." writing later from the colorado district of the rockies, miss bird adds: "i rode sidewise till i was well out of the town, long enough to produce a severe pain in my spine, which was not relieved for some time till after i had changed my position." mrs. power o'donoghue runs a tilt with all her might against the idea of any of her sex riding like men. but there are so many manly maidens about now who excel in all open-air pastimes requiring pluck, energy, physical activity, and strength, and who attire themselves suitably in a sort of semi-masculine style, that is not asking too much of them to try the virtues of the cross-saddle. their costumes are not so much _negligé_ as studiedly, so far as is possible without exactly "wearing the breeches" in public, of the man, manly. one of our princesses has the credit of being an adept with the foils; our cricket and golf fields are invaded by petticoats of various lengths; we see polo played by ladies on clever blood ponies; they take kindly to billiards and lawn-tennis; and it is whispered of a few that they can put on the "mittens" and take and give punishment. it is not so much the prudery about sitting like men that excites the wrathful indignation of the opponents of cross-saddle riding as the apparent difficulty of deciding upon the thoroughly neat and workwoman-like costume. [illustration: no. 1. no. 2. no. 3.] the three different costumes represented in these sketches do not differ very greatly in propriety. shorten no. 3, the eilitto muddy-weather costume--who says there's nothing in a name?--just a trifle and encase the wearer's lower limbs in a pair of messes e. tautz and son's gaiters or leggings, and we have the costume sported the winter before last by a well known lady. it certainly looked, on a wearer of advanced years, a trifle eccentric, but any pretty girl, in her _première jeunesse_, blessed with a good figure and gait, would have been the admired of all admirers. this costume with the funny name is much patronized by lawn-tennis players, golfers, and skaters. nos. 1 and 2 are as like as "two dromios," and in no very material degree differ from the short-skirted walking-dress. they have been brought out with an eye to riding _à la cavalière_, and being strong and yet neat are intended for prairie-riding in the far west, for the rough-and-ready work of the australian or new zealand bush, and for scouring over the veldt of south africa, or for the hundred and one out-of-the-way places of the earth, whither our english girls venture, from necessity, for adventure, or some more potent attraction. of the two i prefer no. 1, which is the smarter. it is nothing more or less than a short habit made in the shape of a frock-coat, and is buttoned the whole way down to the knees. the long boots, which, by the way, show off a pretty well-turned ankle and foot to perfection, are certainly a trifle more in evidence than is the case when the lady wears the regular habit and is desirous of showing as little "leg" as possible--a desire, when the foot is threes or narrow fours, and the instep well sprung, not too often indulged. no 2 has a divided skirt. i do not ask ladies of mature age, or even those whose seat is formed, to don one or other of these costumes, though, after the experience of miss bird and others, they might, under similar circumstances, adopt both the costume, and the cross-saddle with advantage. in the backwoods and jungles a wide latitude in dress may be permitted without assailing the strictest modesty. the fashion of riding in the cross-saddle, if it is to be introduced, as it ought to be, must emanate from the rising generation. the luxury of having both feet in the stirrups, of being able to vary the length of the leather, of having a leg down either side of the horse, and a distribution of the bearing equally on each foot, is surely worthy of consideration when many hours have to be spent in the saddle and long weary distances travelled. if agreeable to the rider, how much more so to the horse? we men know what a relief it is on a long journey to vary the monotonous walk or the wearying trot with an occasioned hard gallop "up in the stirrups," or how it eases one to draw the feet out of the stirrups and let the legs hang free. i have already hazarded the opinion that a lady's seat on a side-saddle is a very firm one, but when she is called upon to ride half-broken horses and to be on their backs for hours at a time, traversing all sorts of country, she undoubtedly is heavily handicapped as compared with a man. mrs. o'donoghue, much to the damage of her own contention, so clearly demonstrates my views that i venture to quote _verbatim_ from one of that lady's published letters. "my companion was in ease while i was in torture. because he had a leg on either side of his mount, his weight equally distributed, and an equal support upon both sides; in fact he had, as all male riders have, the advantage of a double support in the rise; consequently, at the moment his weight was removed from the saddle, it was thrown upon both sides, and this equal distribution enabled him to accomplish without fatigue that slow rise and fall which is so tiring to a lady whose weight, when she is out of the saddle, is thrown entirely upon one delicate limb, thus inducing her to fall again as soon as possible." as for mere grip--the upright and leaping-heads _versus_ both knees--the security in either case is about the same, but the woman's position in the side-saddle is the more tiring and cramping of the two, and in complete control over the horse, the man's position on the horse has a very decided advantage. appendix i. the training of ponies for children. we will take it for granted that the colt, say a three or four year old, is well accustomed to the restraint of the common halter, and is obedient to the cavesson on both sides, also that he leads quietly and bears a fair amount of handling. were i permitted to explain the galvayne system, i could, in a very few pages, save the breaker and the colt much time, trouble, and many trials of temper and patience. i have not the professor's permission to make the tempting disclosures. without trenching on his domain, i may lay down the following rough-and-ready _modus operandi_, which, however, i am free to confess would be considerably facilitated by a set of his breaking tackle, especially of a particular rope, not made of any vegetable fibre, which, in some cases, exercises a potential control. we must just "gang our ain gait" as my countrymen say. having fitted the colt with a soft-lined head-collar-bridle, of the australian bush pattern, with strong hooks or straps by which to attach the bit, i proceed to bit him. the bit should be on the flexible principle, the mouth-piece being either of chain or a series of ball and socket sections, covered over with white and tasteless rubber, or other soft and yielding material. it should be no thicker than a man's little finger. inside the cheek and leg of this snaffle i have a large flat disc of sole leather, rounded at the edges, stitched as a guard to prevent the possibility of the bit being drawn through the mouth, of pinching the cheeks against the teeth or in any way injuring the mouth. every bit, no matter how merciful, will, more or less, make the bars of the mouth tender, but this least of all. if any suffering is evident, or any inflammation set up, then the use of the bit must, till all appearance of undue redness has disappeared, be discontinued. a little tincture of myrrh with eau-de-cologne applied with the fore finger will soon allay the irritation and remove the tenderness. the best way to insert the bit is, having fixed the near ring to the spring hook or strap on the near side of the head-collar, then coming round to the off side of the head, gentling the pony's head all the time and soothing him, to quietly work the two fore fingers of the left hand into his mouth, and on an opportunity offering, to slip the bit quickly into the mouth. this must be done deftly, without alarming the pony, for if the first attempt result in failure he is certain to throw up his head, run back, and otherwise thwart subsequent endeavours. a little treacle smeared on the bit will make it more palatable and inviting. the first time the bit is in the colt's mouth it should not be allowed to remain more than an hour, and his head must be entirely without restraint. on removing it examine the mouth to see that it has not been injured or bruised, and give him a carrot, or apple. it is immaterial whether these bitting lessons be given in a roomy loose-box, barn, covered-yard, or small paddock. after becoming reconciled to the bit, strap on a roller or surcingle, having two side and one top ring stitched on to it, the side rings being placed horizontally about where the rider's knees would come, that on the top fore-and-aft. through these three rings a strong cord should be run forming a sort of running rein, tie the cord to the off-ring of the snaffle, bring it back through the off-side ring, up and through the top ring on the back, down through that on the near side, and so on forward to the near ring of the bit to which it is fastened with a slip knot, taking care that though a slight bearing be upon the bars of the mouth, the colt's head is not tightly reined in and an irksome continuous strain kept on a certain set of muscles of the neck. this running-rein arrangement admits of lateral play of the head, and minimizes the possibility of creating a one-sided mouth. after a few short lessons in lounging on both sides with his head thus restrained, he may be made to stand in stall with his hindquarters to the manger, the reins being fastened to the post on either side. if the stall, as probably will be the case, be too wide, narrow it by placing sheep hurdles laced with straw on either side of him, so narrowing his standing room that he must preserve a fair "fore and aft" position. the reins must be, if the pillars are too high, fastened to the three rings on the surcingle as explained above. in addition to the single reins there must also be driving reins or cords, carefully adjusted as to length, so as to preserve an even pressure on either side of the mouth, attached to the rings on the manger, so that any attempt to advance is immediately curbed by the strain on the bit. these lessons should not extend over more than an hour at a time, and during them the trainer should occasionally, by taking the bit in both hands on either side facing him, or by laying hold of the long reins, cause him, exercising only gentle pressure, to rein back, saying at the same time in a tone of quiet command, "back." there will be plenty of room for this in a full-sized stall. he may also be taught to bend his head to the right when the off-rein is pulled upon or even twitched, and so on with the left. the instructor's aim must be to instil into his mind the firm conviction that it is as impossible to resist the pressure of the bit on either side of the mouth as it is to advance against it. extreme kindness and gentleness must be exercised in this initial training, each compliance with the teacher's hand and voice being at once met with some encouragement or reward, in shape of a word or two of soothing approval, gentling his head, and a few oats or pieces of carrot or apple--in the tropics sugar-cane or carrot--the bit being removed from the mouth for the purpose. horses of all sorts are very quick in their likes and dislikes. from the start never let the colt take a dead pull at the reins, let all the pressures be exerted in a light feeling manner with the fingers not the hands. on becoming fairly proficient at his indoor lesson, we will now, with his australian bush pattern head-collar-bridle on, a pair of long reins run from the snaffle through the side rings of the surcingle back into the trainer's hands, who will walk behind him, and led by a leading rein attached to the near side of the head-collar but wholly unconnected with the bit, take him into a quiet yard or paddock. he has now to be taught to stop, back, and turn to his bit. the control exercised by the assistant holding the leading rein just suffices to prevent the colt rushing about, or under sudden alarm running back; he will also, though giving him a perfectly free rein, be sufficiently close to his head to aid him in obeying the mandates of the trainer. after walking about as quietly as possible for some time, teaching him how to incline and turn, the feel on the mouth with a moderately tight rein being carefully preserved, he will be on the word "whoa!" brought to a stand still, and made to stand still and motionless as a well-trained charger on parade. in the lessons on turning, he may if needful be touched with the whip, _only if needful_, and then the lash should fall as lightly as the fly from some expert fisherman's rod, the touch of the silk or whip-cord coming simultaneously with the touch on the bars of the mouth. for instance, he is required to turn to the right and hangs a bit on the rein without answering the helm, then a slight touch on the near shoulder will send him up to his bit, give him an inclination to turn smartly in the direction wished for, and the movement may be hastened by the point of the whip being pressed against the off buttock, or upper thigh on the outside. the pull must not be a jerk but a decided lively pull. always let him go forward as much as space will permit of before making another turn; he must not be confused and so provoked to be stubborn or fight. let all the turns be to one hand for the first few minutes then turn him in the reverse direction. should he get his head down and endeavour to establish a steady dead pull, do not indulge him, but step in closer to his quarters so that the strain is at once off the reins, and the moment that he once more feels his bit instantly make him come to a full halt with the word "whoa." to make a horse stand after being halted, the arabs throw the bridle over his head and let the rein drag on the ground. when the colt is being broken the bridle is thus left hanging down between his fore legs, and a slave gives it a sharp jerk whenever a step in advance is taken. by this means the horse is duped into the delusion that the pain inflicted on his mouth or nose is caused by his moving while the rein is in this pendant position. what is taught in the desert may be taught in the paddock. the slightest attempt to move forward without the "click" must at once be stopped. the "backing" lesson is, as a rule, a very simple one, though there are some horses which decline to adopt this retrograde motion. to rein back, the trainer, standing immediately behind the colt, either exerts an even and smart pressure on both reins, drawing them, if need be, through the mouth, when the horse will first bend himself getting his head in handsomely and then begin to step back. at first he will be perhaps, a little awkward, but will soon learn to use his hocks and to adopt this strange gait. if there be any difficulty about getting his head in--it must not be up and out with the bit in the angles of the mouth--the assistant should place the flat of his hand on the animal's face pressing its heel firmly on the cartilage of the nose. the backward movement must cease on the word "whoa!" and the relaxation of the rein. a horse must not be taught to run back, some acquire the bad habit too readily to a dangerous extent. i may here say that when a horse is given to this vice the best plan is to turn him at once and sharply in the direction he wants to go. in tuition what we want to arrive at is a sort of military "two paces step back, march!" in these introductory lessons the main use of the assistant with his loose yet ready leading rein is to prevent the colt from turning suddenly round and facing the trainer, a _contretemps_ with a galvayne's tackle next to impossible. reins should not, however, be tried at all till the lessons in the loose box and in the stall are so well learnt that there is little or no fear of sudden fright, ebullitions of temper, or other causes of disarrangement and entanglement of the long driving reins. when the habit of yielding to the indication of the rein has once been acquired and well established, it becomes a sort of second nature, which under no circumstances, save those of panic or confirmed bolting, is ever forgotten. a few lessons carefully, firmly, patiently, and completely given will cause the colt to answer the almost imperceptible touch of the rein or the distinct word of command. once perfected in answering the various signals at the walk, he is then put through precisely the same movements at a trot, and to be an effective teacher, the breaker must not only be a good runner, but in good wind, he must be active enough to show such a horse as "beau lyons" at the hackney show at islington. a pony such as is "norfolk model," one a hand higher and of a very different stamp, it is true, from what i commend for children, would make a crack "sprinter" put forth his best pace. during the time the pony is acquiring the a b c or rudiments of his education, he must be frequently and carefully handled. every effort should be made to gain his confidence. like all beasts of the field the speediest and surest way to his affection is down his throat; he is imbued with a large share of "cupboard love," so the trainer should always have some tit-bit in his pocket wherewith to reward good behaviour and progress made; moreover, the pupil should be aware of the existence and whereabouts of this store-room. the handling must be general. rub the head well over with the hands, always working with, and never against the run of the hair. pull his ears gently (never pull the long hair out from the inside) rub the roots, the eyes and muzzle, work back from the ears down the neck and fore legs, between the fore legs, at the back of the elbows, and along the back, talking to him all the while. before going to the flanks and hind quarters make him lift both fore feet. if there be any disinclination to obey, a strap should be wound round the fetlock joint, the trainer then taking a firm hold of the ends in his right hand says in a loud voice "hold up!" at the same time with the palm of the left hand, throwing a portion of his weight on to the near shoulder; this, by throwing the animal's weight over on to the offside, enables the foot to be easily held up. this lesson imparted, it is extended to the off fore foot. should the colt, by laying back his ears, showing the whites of his eyes, hugging his tail, and other demonstrations of wickedness, evince his objections to being handled behind the girth, one of the fore feet must be held up and strapped, the buckle of the strap being on the outside of the arm, the foot brought so close to the point of the elbow that no play is left to the knee joint. then commence to wisp him all over commencing with the head, but, if he is not very restive, do not keep the weight on three legs more than ten minutes at a time, though he, if not overburdened with fat, could easily stand very much longer, or travel a mile or so on three legs. the object, unless vice be displayed, is merely to prevent serious resistance and to convince him that the operation causes no pain. the wisp, the assistant all the time standing at his head speaking in low reassuring tone, patting and caressing him, in the hands of the operator should be at first very gently then briskly applied to the flanks, over the loins, down the quarters and along the channel running between the buttocks, inside the flanks, stifles and haunches, over the sheath, down inside the hocks, in fact anywhere and everywhere known to be tender and "kittle." having succeeded with the near fore foot up, release it, let him rest awhile and find his way to the store-room dainties. go through precisely the same lesson with the right foot up, on this occasion giving special attention to those parts which he most strongly objects to being handled. dwell over his hocks and the inside of his stifles, handle his tail, freely sponging his dock out, running the sponge down through the channel over the sheath, the inside of the thighs and hocks. release the fore foot, and if he will stand a repetition of all these liberties quietly, he has learnt one important part of his education. elsewhere i have endeavoured to describe the unsophisticated antics displayed by the fresh-caught australian buck-jumper and the inveterate plunger in endeavouring to dislocate their riders. in the one case it is the untaught, unpractised effort of an animal in a paroxysm of fear; in the other the vice of the artful, tricky, practitioner. in either case the horseman may be, very often is, "slung" handsomely, wondering, as he picks himself up, dazed and bewildered with an incoherent idea as to what had befallen him, and how he got there. if a wild horse suddenly finds a panther or a tiger on his back, he at once, in terror, endeavours by a succession of flings to get rid of the incubus. so it is with the unbroken colt bred in captivity, and especially so with the pony fresh from his native hills or pastures. what must be his astonishment when, for the first time he feels a saddle tightly girthed to his back, and the weight of some one in it? his first and only feeling is that of fear, so, being prevented by the bit and bridle from rushing off at the verge of his speed, he by bucks, plunges, and kicks, sets to work to throw the rider. in mounting the colt the first attempts at making him quite quiet during the process should be in the direction of eliminating every sense of fear. as saddles, especially if badly stuffed and cold, are the cause of many back troubles, i prefer to have him, in the first instance, ridden in a rug or sheepskin, the wool next his hair, kept in its place by a broad web surcingle. hold the rug or skin to his nose, and let him smell and feel it, rub it over his head, down his neck, in fact all over him, not neatly folded up but loose; toss it about, drag it over him, round him, between his fore legs, under his belly, and out between his thighs. when he takes no heed of it, fold it up on his back and girth it on with the surcingle. then lead him out for half an hour or so occasionally, pulling up to lean a good bit of weight on his back. on returning to the loose box, covered yard, or paddock, the first lesson in mounting will be commenced. having secured the services of some active smart lad who can ride and vault, the lighter the better, make him stand on a mounting block, an inverted empty wine chest will do, placed near his fore leg. if the pony be nervous at this block, let him examine it, smell it, touch it, and even eat a few carrots off it. standing on this coign of advantage, the lad must loll over him, patting him, reaching down well on the off side, leaning at first a portion, and then his whole weight on him. if he makes no objection to this treatment, the lad should seat himself on his back, mounting and dismounting repeatedly, slowly but neatly, being careful not to descend on his back with a jerk. so long as the colt shows no fear, this gymnastic practice may be varied with advantage to almost any extent, the contact of the gymnast's body with that of the pony being as close as possible. he should not only vault all over him and straddle him, but should crawl and creep all over him and under him, winding up by vaulting on his back, over his head, and over his quarters. i have frequently taught arabs to put their heads between my legs and by the sudden throw-up of their necks to send me into the saddle face to the tail. on no account hurry this mounting practice, do not let him be flustered or fatigued, and see that the rider's foot deftly clears him without once touching or kicking him; much depends on the clean manner in which the various mountings and dismountings are performed. the mounting block will be dispensed with so soon as the rider is permitted to throw his right leg over his back and to straddle him without starting. it is essential that he should stand stock still and that he should not move forward without the usual "klick." when quite patient and steady in being mounted with the rug or fleece, a nice light 5 lb. polo or racing saddle with a "humane" numnah under it should be substituted, and if the pony's shoulders are low and upright a crupper will be necessary. care must be taken that the crupper strap is not too tight, also that the crupper itself does not produce a scald under the dock of the tail; a strip of lamb-skin, the wool next the dock, will ensure that. after being led about in the saddle for a time, he is brought into the box or yard and there mounted by the lad, the trainer having hold of the leading rein, the rider of the bridle. now a word as to the said lad. all he has to do is to preserve the lightest possible touch of the mouth, and to sit firm and sit quiet. i would rather prefer that he did not hail from a racing stable, for these imps--the most mischievous of their race--are up to all sorts of tricks and are accustomed to ride trusting almost entirely to the support gained from their knotted bridle and the steady pressure against the stirrup somewhat after the principle of the coachman and his foot-board. he must be forced to keep his heels and his ashplant quiet. i am averse to much lounging and am confident it is overdone. on carrying the lad quietly led by hand, the following lessons should be in company with some staid old stager. markedly gregarious in his habits, the horse never feels so happy or contended as when in company; in the society of a well-behaved tractable member of his family he will do all that is required of him. soon the leading rein will be superfluous and the pony and his rider will be able to go anywhere at any pace. it is especially advisable that when his first rides lie away from home he should be ridden in company with some other horse, or he may turn restive. be very careful not to attempt anything with him that may lead up to a fight in which he may remain master. any disposition on his part to "reest" or to break out into rebellion is proof of his not having learnt his first lessons properly. far better to lead him away from home for a mile or two and then to mount him, than to hazard any difference of opinion. the example of a well-broken, well-ridden, well-mannered horse is very important. one act of successful disobedience may undo the careful labour of weeks and necessitate very stringent measures, such as those described in my previous volume, in the case of confirmed vice. weeks of careful riding always under the trainer's eye, will be required before the lessons are complete, and the pupil sobered down so as to be a safe and comfortable conveyance for children beginners. appendix ii. extension and balance motions. the following are adapted as closely as possible from the carefully thought-out system of military equitation practised in the british army, and may be executed as follows:-_prepare for extension and balance motions._--on this caution each rider will turn his horse facing the instructor, drop the reins on the horse's neck, and let both arms hang down easily from the shoulders, with the palms of the hands to the front. this is the position of _attention_. caution.--_first practice._ {on the word "one" bring the hands, at the full { extent of the arms, to the front, close to the body, { knuckles downwards till the fingers meet at the "one" { points; then raise in a circular direction over { the head, the ends of the fingers still touching { and pointing downwards so as to touch the forehead, { thumbs pointing to the rear, elbows pressed { back, shoulders kept well down. {on the word "two," throw the hands up, extending { the arms smartly upwards, palms of the hands { inwards; then force them obliquely back, and "two" { gradually let them fall to the position of _attention_, { the first position, elevating the neck and { chest as much as possible. n.b.--the foregoing motions are to be done slowly, so that the muscles may be fully exerted throughout. no stirrup is to be used. caution.--_second practice._ {on the word "one" raise the hands in front of the "one" { body, at the full extent of the arms, and in a line { with the mouth, palms meeting, but without noise, { thumbs close to the forefingers. {on the word "two," separate the hands smartly, "two" { throwing them well back, slanting downwards, { palms turned slightly upward. {on the word "one," resume the first position above "one" { described, and so on, sitting down on the saddle "two" { without any attempt, in resuming the first position, { to rise. "three" {on the word "three," smartly resume the position { of _attention_. in this practice the second motion may be continued without repeating the words "one," "two," by giving the order "continue the motion:" on the word "steady," the second position is at once resumed, the rider remaining in that position, head well up, chin in, and chest thrown out, on the word "three," resuming the position of _attention_. caution.--_third practice._ {on the word "one," raise the hands, with the fists "one" { clenched, in front of the body, at the full extent { of the arms, and in line with the mouth, thumbs { upwards, fingers touching. {on the word "two," separate the hands smartly, "two" { throwing the arms back in line with the shoulders, { back of the hands downwards. "three" {on the word "three," swing the arms round as { quickly as possible from front to rear. "steady" on the word "steady," resume the second position. "four" {on the word "four," let the arms fall smartly to { the position of _attention_. caution.--_fourth practice._ {on the word "one," lean back until the back of "one" { the head touches the horse's quarter, but moving { the legs as little as possible. "two" on the word "two," resume the original position. caution.--_fifth practice._ {on the word "one," lean down to the left side and "one" { touch the left foot with the left hand without, { however, drawing up the foot to meet the hand. "two" on the word "two," resume the original position. the same practice should also be done to the right reaching down as far as possible, but without drawing the left heel up and back. the following practice can only be performed in the cross-saddle, by pupils learning to ride à la cavalière, and suitably dressed. caution.--_sixth practice._ {on the word "one," pass the right leg over the { horse's neck, and, turning on the seat, sit facing "one" { the proper left, keeping the body upright, and the { hands resting on the knees. the leg must not { be bent in passing over the horse's neck. {on the word "two," pass the left leg over the "two" { horse's quarter, and turning in the seat, sit facing { to the rear, assuming, as much as possible, the { proper mounted position, the arms hanging { behind the thighs. {on the word "three," pass the right leg over the "three" { horse's quarter, and, turning in the seat, sit facing { to the proper right, the body upright, and the { hands resting on the knees. {on the word "four," pass the left leg over the "four" { horse's neck, and, turning in the seat, resume the { proper mounted position. each of the above motions may be performed by command of the instructor without repeating the words "one," "two," "three," etc. transcriber's note: inconsistencies in spelling, punctuation, and hyphenation have been retained as printed. how women should ride by "c. de hurst" illustrated [illustration] new york harper & brothers, franklin square 1892 copyright, 1892, by harper & brothers. all rights reserved. to e. e. f. to whom i owe the experience which has enabled me to write of riding this book is gratefully and affectionately dedicated introduction it has not been the intention of the author of this little volume to present the reader with elaborate chapters of technical essays. entire libraries have been written on the care and management of the horse from the date of its foaling; book upon book has been compiled on the best and proper method of acquiring some degree of skill in the saddle. the author has scarcely hoped, therefore, to exhaust in 248 pages a subject which, after having been handled on the presses of nearly every publisher in this country and england, yet contains unsettled points for the discussion of argumentative horse-men and horse-women. but it happens with riding--as, indeed, it does with almost every other subject--that we ignore the simpler side for the more intricate. we delve into a masterpiece, suitable for a professional, on the training of a horse, when the chances are we do not know how to saddle him. we stumble through heavy articles on bitting, the technical terms of which we do not understand, when if our own horse picked up a stone we probably would be utterly at a loss what to do. we, both men and women, are too much inclined to gallop over the fundamental lessons, which should be conned over again and again until thoroughly mastered. we are restive in our novitiate period, impatient to pose as past-masters in an art before we have acquired its first principles. beginning with a bit of advice to parents, of which they stand sorely in need, it is the purpose of this book to carry the girl along the bridle-path, from the time she puts on a habit for the first attempt, to that when she joins the hunt for a run across country after the hounds. there is no intention of wearying and confusing her by a formidable array of purely technical instruction. the crying fault with nearly all those who have handled this subject at length has been that of distracting the uninformed reader by the most elaborate dissertation on all points down to the smallest details. this author, on the contrary, has shorn the instruction of all hazy intricacies, with which the equestrienne has so often been asked to burden herself, and brought out instead only those points essential to safety, skill, and grace in the saddle. no space has been wasted on unnecessary technicalities which the woman is not likely to either understand or care to digest, but everything has been written with a view of aiding her in obtaining a sound, practical knowledge of the horse, under the saddle and in harness. contents chapter i a word to parents page 3 dangers of early riding, 4.--vanity, 9. chapter ii girls on horseback 13 hints to mothers, 13.--the beginner's horse, 14.--costuming, 16.--preparatory lessons, 16.--instructors, 20.--balance, 21.--hands, 23.--position, 25.--management, 26. chapter iii beginning to ride 31 form, 32.--insufficient training, 33.--mounting, 34.--dismounting, 37.--stirrup, 38. chapter iv in the saddle 43 below the waist, 44.--above the waist, 48.--hands and wrists, 49.--reins, 53. chapter v emergencies 63 eagerness to start, 63.--shyers, 65.--stumblers, 66.--rearers, 66.--plungers, 67.--buckers, 68.--pullers, 70.--runaways, 72.--punishment, 76. chapter vi choosing a mount 83 an adviser, 83.--park hack, 87.--measurement, 88.--conformation, 90.--hunter, 94.--gait and manners, 95. chapter vii dress 99 skirt, 100.--safety skirt, 100.--divided skirt, 102.--bodice, 103.--waistcoat, 104.--corsets, 105.--boots, breeches, tights, 106.--collars and cuffs, 110.--gloves, 111.--hair and hat, 112.--veil, 113.--whip or crop, 113.--spur, 114. chapter viii leaping 121 requirements, 121.--in the ring, 122.--approaching jump, 122.--taking off, 124.--landing, 125.--lifting, 126.--out-of-doors, 127.--pilot, 128.--selecting a panel, 128.--stone wall, 130.--in hand, 131.--trappy ground and drops, 131.--in and out, 133.--picket and slat fences, 134.--wire, 135.--combined obstacles, 136.--refusing, 136.--timidity, 137.--temper, 138.--rider at fault, 139. chapter ix leaping (continued) 145 rushers, 145.--balkers, 147.--sluggards, 149.--falls, 150. chapter x riding to hounds 159 courtesy, 159.--the novice, 161.--hard riding, 162.--jealous riding, 163.--desirable qualities, 164.--getting away, 165.--indecision, 166.--right of way, 167.--funk, 168.--excitable and sluggish horses, 169.--proximity to hounds, 170.--choosing a line, 172. chapter xi sympathy between horse and woman 179 talking to horse, 180.--in the stall, 183.--on the road, 185.--cautions, 187. chapter xii practical knowledge of the stable 193 stabling, 193.--picking up feet, 194.--grooming, 197.--bitting, 197.--clipping, 199.--bridling, 200.--noseband, 202.--martingale, 203.--breast-plate, 204.--the saddle, 205.--stirrup, 208.--girths, 209.--saddling, 210. chapter xiii something on driving 215 desirability of instruction, 215.--vulgar display, 218.--bad form, 219.--costume, 220.--cockade, 221.--confidence, 222.--the family-horse fallacy, 222.--on the box, 223.--position of reins, 224.--handling reins, 225.--a pair, 226. chapter xiv something more on driving 231 management, 231.--stumbling, 232.--backing, 232.--rearing and kicking, 234.--rein under tail, 236.--bolting and running, 238.--crowded driveways, 239.--road courtesy, 241.--tandems and teams, 243.--reins, 244.--unruly leader, 245.--turning, 246. illustrations correct position _facing p._ 24 incorrect position " 26 incorrect left leg and heel 43 correct left leg and heel 44 incorrect right thigh and knee 46 correct right thigh and knee 47 correct knuckles, side view 50 incorrect position of hands 51 hands in good form, front view 52 snaffle outside, curb inside, front view 54 snaffle outside, curb inside, side view 55 reins in two hands, snaffle outside, curb inside _facing p._ 56 position of reins and hands in jumping, curb outside, snaffle inside 57 reins in two hands, curb outside, snaffle inside, side view 58 hands and seat in rearing _facing p._ 66 crop 114 a good spur 115 taking off _facing p._ 124 about to land " 126 double bridle for general use " 202 correct saddle 205 undesirable saddle 206 safety stirrup, closed 209 safety stirrup, open 210 a well-balanced cart _facing p._ 220 position in tandem driving " 244 i a word to parents riding has been taken up so generally in recent years by the mature members of society that its espousal by the younger element is quite in the natural order of events. we can look upon the declaration of young america for sport with supreme gratification, as it argues well for the generation to come, but we should not lose sight of the fact that its benefits may be more than counterbalanced by injudiciously forcing these tastes. that there is danger of this is shown by the tendency to put girls on horseback at an age much too tender to have other than harmful results. it is marvellous that a mother who is usually most careful in guarding her child's safety should allow her little one to incur the risks attendant upon riding (which are great enough for a person endowed with strength, judgment, and decision) without proper consideration of the dangers she is exposed to at the time, or a realization of the possible evil effects in the future. [sidenote: dangers of early riding] surely parents do not appreciate what the results may be, or they would never trust a girl of eight years or thereabouts to the mercy of a horse, and at his mercy she is bound to be. no child of that age, or several years older, has strength sufficient to manage even an unruly pony, which, having once discovered his power, is pretty sure to take advantage of it at every opportunity; and no woman is worthy the responsibilities of motherhood who will permit her child to make the experiment. even if no accident occurs, the knowledge of her helplessness may so frighten the child that she will never recover from her timidity. it is nonsense to say she will outgrow it; early impressions are never entirely eradicated; and should she in after-life appear to regain her courage, it is almost certain at a critical moment to desert her, and early recollections reassert themselves. the vagaries of her own mount are not the only dangers to which the unfortunate child is exposed. many accidents come from collisions caused by some one else's horse bolting; and it is not to be expected, when their elders often lose their wits completely, that shoulders so young should carry a head cool enough to make escape possible in such an emergency. it is a common occurrence to hear parents inquiring for a "perfectly safe horse for a child." such a thing does not exist, and the idea that it does often betrays one into trusting implicitly an animal which needs perhaps constant watching. if fresh or startled, the capers of the most gentle horse will not infrequently create apprehension, because totally unexpected. on the other hand, if he is too sluggish to indulge in any expressions of liveliness, he is almost sure to require skilful handling and constant urging to prevent his acquiring a slouching gait to which it is difficult to rise. a slouching horse means a stumbling one, and, with the inability of childish hands to help him recover his balance, he is likely to fall. supposing the perfect horse to be a possibility--a girl under sixteen has not the physique to endure without injury to her health such violent exercise as riding. from the side position she is forced to assume, there is danger of an injured spine, either from the unequal strain on it or from the constant concussion, or both. if a mother can close her eyes to these dangers, insisting that her child shall ride, a reversible side-saddle is the best safeguard that i know of against a curved spine; but it only lessens the chances of injury, and is by no means a sure preventive, although it has the advantage of developing both sides equally. another evil result of beginning too young is that if she escapes misadventures and does well, a girl is sure to be praised to such an extent that she forms a most exaggerated idea of her prowess in the saddle. by the time she is sixteen she is convinced that there is no room for improvement, and becomes careless, lapsing into many of her earlier faults. parents should guard against this. it is often their affection which permits them to see only the good points of their daughter's riding, and their pride in her skill leads to undue flattery, which she is only too willing to accept as her due. later i shall mention some of the principles a young rider should acquire, and it is the duty of those who have put her in the saddle when too young to judge for herself to see that she follows them correctly. the necessity of riding in good form cannot be too firmly impressed on her mind. one often hears: "oh, i only want to ride a little in the park; so don't bother me about form. i ride for pleasure and comfort, not work"--all of which is wrong; for, whether in the park, on the road, in the country, or in the hunting-field, nothing is of more importance than to ride in good form. to do so is to ride easily, being in the best position to manage the horse, and therefore it is also to ride safely. [sidenote: vanity] the desire to attract attention often induces women to ride. young girls soon learn to do likewise, and their attempts at riding for the "gallery" by kicking the horse with the heel, jerking its mouth with the curb, that she may impress people with her dashing appearance, as the poor tormented animal plunges in his endeavors to avoid the pressure, are lamentable and frequent sights in many riding-schools. objectionable as this is in an older person, it is doubly so in a child, from whom one expects at least modesty instead of such boldness as this betokens. it is to be hoped that those in authority will discourage her attempts at circus riding, and teach her that a quiet, unobtrusive manner will secure her more admirers than an air of bravado. ii girls on horseback [sidenote: hints to mothers] notwithstanding these numerous reasons to the contrary, mothers will undoubtedly continue to imperil the life and welfare of children whom it is their mission to protect, and, such being the case, a few directions as to the best and least dangerous course to pursue may be of service to them. sixteen is the earliest age at which a girl should begin to ride, as she is then strong enough to control her mount, has more judgment, is better able to put instruction into practice, more amenable to reason, and more attentive to what is told her. if the parents' impatience will not admit of waiting until this desirable period, it is their duty to see that the child has every advantage that can facilitate her learning, and to assure her such safety as is within their power. [sidenote: the beginner's horse] a common theory is that any old screw, if only quiet, will do for a beginner. nothing could be more untrue. the horse for a novice should have a short but square and elastic trot, a good mouth, even disposition, and be well-mannered; otherwise the rider's progress will be greatly impeded. even if the child is very young, i think it is a mistake to put her on a small pony for her first lessons, as its gaits are so often uneven, interfering with all attempts at regular rising to the trot. ponies are also more liable to be tricky than horses, and, from the rapidity of their movements, apt to unseat and frighten a beginner. they are very roguish, and will bolt across a road without any reason, or stand and kick or rear for their own amusement; and, being so quick on their feet, their various antics confuse a child so that she loses her self-possession and becomes terrified. it is just as bad to go to the other extreme, as a large, long-gaited horse will tire the muscles of the back, and, if combined with sluggish action, require twice the exertion needed for a free traveller. furthermore, it destroys the rhythm of the movement by making the time of her rise only half as long as necessary, thus giving her a double jolt on reaching the saddle. having secured the right sort of horse, the saddle should be chosen with great care. [sidenote: costuming] it is a shame that little girls are made to ride in the ill-fitting habits seen half the time. they must set properly, or the best riders will be handicapped and appear at a disadvantage. a child's skirt should not wrinkle over the hips more than a woman's, nor should it ruck up over the right knee, exposing both feet, while the wind inflates the superfluous folds. above all things, a girl should not lace nor wear her habit bodice tight, as no benefit can possibly be derived from riding with the lungs and ribs compressed. [sidenote: preparatory lessons] it often happens that a child is put into the saddle before she has had the opportunity of becoming familiar with a horse, either by visiting it in its stall or going about it when in the stable. a more harmful mistake could not be made; the child is likely to be afraid of the animal the first time she is placed on its back, and nothing so interferes with tuition as terror. many of the difficulties of instructing a little girl will be overcome if her familiarity with the horse she is to ride has given her confidence in him. she should frequently be taken to the stable, and encouraged to give him oats or sugar from her hand, and to make much of him. meanwhile whoever is with her must watch the animal, and guard against anything which might startle the child. she may be lifted on to his back; and if he is suitable to carry her, he will stand quietly, thus assuring her of his trustworthiness and gaining her affection. before being trusted on a horse, a beginner should have the theory of its management explained to her; and here is another drawback to infantile equestrianism, as a young mind cannot readily grasp the knowledge. nevertheless, she must be made to understand the necessity of riding from balance, instead of pulling herself up by the horse's mouth, and be shown the action of the curb chain on the chin, that she may realize why the snaffle should be used for ordinary purposes, so that in case of an emergency she may have the curb to fall back upon. she must know that if she pulls against him, the horse will pull against her, and therefore she must not keep a dead bearing on his mouth. unyielding hands are the almost invariable result of riding before realizing the delicate manipulation a horse's mouth requires. a light feeling on the curb and a light touch of the whip will show her how to keep the horse collected, instead of allowing him to go in a slovenly manner. she must not try to make the horse trot by attempting to rise. until the animal is trotting squarely she should sit close to the saddle, instead of bobbing up and down, as he jogs or goes unevenly at first. when wishing to canter, in place of tugging at the reins, clucking, and digging the animal in the ribs with her heel, the child should be told to elevate her hands a trifle, and touch him on the shoulder with the whip. no habit is more easily formed than that of clucking to a horse, and it is a difficult one to cure. it is provocative of great annoyance to any one who is near, and who may be riding a high-spirited animal, as it makes him nervous and anxious to go, for he cannot tell whether the signal is meant for him or not, and springs forward in response, when his owner has perhaps just succeeded in quieting him. thus can one make one's self an annoyance to others near by, in a manner which might so easily have been avoided in the beginning. after being familiarized with such rudimentary ideas of horsemanship, comes the time for putting them into practice. [sidenote: instructors] it is a pity that there are not more competent instructors in the riding-schools, for it is of great importance to begin correctly; to find a teacher, however, who possesses thorough knowledge of the subject is, unfortunately, rare. their inefficiency is amply demonstrated by the specimens of riding witnessed every day in the park; and either their methods, if they pretend to have any, must be all wrong, or they are but careless and superficial mentors, as the results are so often far from satisfactory. there are, to be sure, plenty of teachers who ride well themselves, but that is a very different matter from imparting the benefit of their knowledge and experience to others. with the best intentions in the world, they may fail to make their pupils show much skill in the saddle. skill, and the power of creating it in the pupil, is an unusual combination. [sidenote: balance] if a young girl is to ride, she should be put in the saddle and not permitted to touch the reins. her hands may rest in her lap, and the horse should be led at a walk, while the teacher shows her the position she must try to keep, and tells her what she must do when the pace is increased. as she becomes used to the situation, and understands the instructions, the horse may be urged into a slow trot, she being made to sit close, without, at first, any attempt at rising. then a quiet canter may be given her, but on no account should the child be allowed to clutch at anything to assist in preserving her balance. it is that she shall not rely on the horse's mouth for balance that i have advocated keeping the reins from her, and it is a plan which men and women would do well to adopt. dependence on the reins is one of the commonest faults in riding, and every one should practise trotting (and even jumping, if the horse be tractable) with folded arms, while the reins are left hanging on the animal's neck, knotted so they will not fall too low. if the importance of riding from balance above the waist were more generally recognized, the seat would of necessity be firmer, the hands lighter, and horses less fretful. [sidenote: hands] too much emphasis cannot be put on the importance of good hands. good hands are hands made so by riding independently of the reins. intuitive knowledge of the horse's intentions, sympathy and communication with him, which are conveyed through the reins in a manner too subtle for explanation, must accompany light hands to make them perfect. such qualities are absolutely impossible with heavy hands, which are incapable of the necessary delicate manipulation of the horse's mouth. light hands, therefore, should be cultivated first, and experience may bring the rest. a child, beginning as i have advised, will early have this instilled into her mind, and not be obliged to overcome heavy hands when from experience she has learned their disadvantages. after sitting close to the trot and the canter, the beginner must be told to rise to the trot. at first she will find it difficult to make her effort correspond to the action of the horse's fore-legs, but, having once caught the motion, she will soon have no trouble in rising regularly. when she rises correctly and without much effort, the reins may be given her. a snaffle will be the best to use until she is sure of not letting them slip through her fingers, or of not interfering with the horse's mouth. she should hold the reins in both hands, as this lessens the probability of sitting askew, although as she becomes more certain of her seat she may transfer them to the left hand, and carry a whip or crop in the right. if a double bridle has been substituted for the snaffle, the instructor must show the child that the left snaffle rein goes outside of her little finger, the left curb between the little and third fingers, the right curb between the second and third fingers, and the right snaffle between the first and second. [illustration: correct position] now, as the child begins to have confidence in herself, is the time to guard against the formation of bad habits, which would later, if uncorrected, be difficult to eradicate. if parents will take the trouble to make an impartial criticism of their daughter's riding, they can aid her by insisting upon her doing as she ought, which is beyond the authority of the riding-master. [sidenote: position] they should see that her body is held erect, her shoulders squarely to the front and thrown back, head up, chin held back, arms hanging straight to the elbows, hands low and close together, her right knee immovable, as from there she must rise. her left leg must be held quiet, and the heel away from the horse, the ball of the foot resting on the stirrup; but she must be kept from placing too much reliance on that support, by practising without it every time she rides, taking care that, in relinquishing that aid, she does not instead take hold of the horse's mouth. [illustration: incorrect position] [sidenote: management] as the most trustworthy mount will at times be frisky or make a mistake, a child should be prepared for such a contingency, and know how to meet it. if a horse stumbles, she must sit well back and pull his head up. in rearing, the reins must be left loose and the body thrown forward. a tendency to back must be met with a sharp crack of the whip. in shying, she must try to sit close, and in case of a runaway she should understand that no good will come of throwing herself off. to stick close and try to direct him is all she can do, for she cannot hope to stop him when once started. if a horse falls with her, it is best to try and hold on to the reins, as then he cannot reach her with his heels; but if she cannot succeed in doing this, she must endeavor to get clear of him and as far away as possible, to avoid being rolled on or trampled upon as he makes his effort to get up. when i consider the trials and dangers she must pass through, a girl who is allowed to ride before she is sixteen has my sympathy, while i look with indignation on the mothers who thus thoughtlessly expose children to all the evils attendant upon a too early attempt at riding. iii beginning to ride that riding is increasing in popularity is clearly attested by the crowded bridle-path of central park. it is greatly to be hoped, however, that with its growth in public favor a more than superficial knowledge of horsemanship will be sought for by those who desire to experience all the pleasure which may be derived from this sport. women especially, laboring as they do under the disadvantages of a side-saddle and imperfectly developed muscles, should try to follow the most efficacious means of managing their horses, a result best attained by riding in good form. [sidenote: form] even those who consider themselves first-class horsewomen, and who are undoubtedly competent to manage an unruly animal, often have defects in form which destroy the grace and ease of their appearance, and prevent them, in case of an emergency, from employing the full amount of power of which they are capable. besides this, there are so many benefits to be derived from the exercise--if one will take it in a common-sense manner--that every endeavor should be made to extract from it the full amount of good. this cannot be done with any undue strain on the muscles arising from either a poor saddle, a back bent almost double, the arms nearly pulled out by improper handling of the horse's mouth, or with that abomination--a tight waist. sense in dressing and attention to form are the two indispensable attributes by which women can make riding a means to improved health. under such conditions all the organs are stimulated, and good digestion, an increased appetite, quieted nerves, better spirits, and sound sleep follow. with such advantages in sight, it is strange that more of an effort is not made to bring about these results by overcoming bad habits. [sidenote: insufficient training] in most instances the faults come either from improper instruction, or vanity which will not permit or heed criticism. if her horse has been docile, and refrained from any attempt to throw her, a woman is sometimes so impressed with her skill that after a few lessons she no longer regards the advice of her instructor, and thinks she is beyond the necessity of heeding his admonitions. having acquired so little knowledge, she will soon have numerous objectionable peculiarities in form, resulting from her imperfect conception of horsemanship. occasionally, too, a woman considers herself "a born rider, with a natural seat," and the result of this belief is a combination of pitiful mistakes, when, had her taste for the sport been properly trained and cultivated, instead of being allowed to run wild, she would probably have become a rider. there might yet remain hope of her acquiring a seat could she be convinced that there really is some knowledge on the subject that she has not yet mastered. in reference to those who have been taught by incompetent masters, a great deal is to be said, both to enable them to adopt the right way, and to prevent those who are desirous of learning from falling into their mistakes. [sidenote: mounting] unfortunately it is almost impossible for a woman to mount without assistance, unless she be very tall and her horse small. in this case she can reach the stirrup with her foot, and pull herself up by the saddle. sometimes the stirrup can be let down and used to mount with, then drawn up when seated in the saddle. but this can only be done when the stirrup leather buckles over the off flap, which is not usual. another method is to lead the horse to a fence or wall, climb that, and jump on to his back; but all these methods require a very quiet horse, and even then are not always practicable. it is advisable to learn to mount from the ground as well as from a block. this is done by placing the right hand containing whip and reins on the upper pommel, the left foot, with the knee bent, in the clasped hands of the attendant, the left hand on his shoulder, and, at a signal, springing from the right foot and straightening the left leg. nine out of ten women, after mounting, first carefully adjust the habit, and have the stirrup or girths tightened before putting the knee over the pommel, while some even button their gloves before; and, as a secondary consideration, when everything else has been seen to, they take up the reins, which have been loose on the horse's neck. he might easily wrench himself from the groom at his head, and without her hold on the pommel she would fall heavily to the ground; or if she were seated, but without reins, the horse might bolt into a tree, a wall, or another horse. she would probably grasp the first rein at hand, perhaps the curb, and then the horse might rear dangerously, and if she did not relax her hold on his mouth at once would be likely to fall backwards with her--the worst thing that can happen to a woman on a horse. all this may be avoided by taking the reins before mounting, and upon touching the saddle, instantly putting the right knee over the pommel. the reins should then be transferred to the left hand, with the snaffle on the outside, and the curb inside, but loose. it will then be the proper time to arrange the skirt and the stirrup. [sidenote: dismounting] to dismount she must transfer the reins to her right hand, take her left foot from the stirrup, and lift her right knee over the upper pommel, making sure that her skirt is not caught on any part of the saddle. she must then take a firm hold of the pommel with the hand containing the reins and the whip, the latter held so that it will not touch the horse. if there is some one to assist her she may reach out her left arm, and by this she can be steadied as she dismounts. in jumping down she should keep hold of the pommel and turn slightly, so that as she lands she is facing the horse, ready to notice and guard against signs of kicking or bolting. until she is fairly on the ground she must not let go of the reins or the pommel, for should the horse start she might be dragged with her head down, if her skirt or her foot caught, and without the reins she could not stop him. [sidenote: stirrup] it is well to discard the stirrup for some time during each ride, first at the canter, then at the trot, to make sure that too much weight is not rested on this support, and that the rise is from the right knee. if too much dependence is placed on the stirrup the seat is sure to be too far to the left, unless the leather is too short, when the body will be as much too far to the right, instead of directly on top of the horse. if these directions are observed, a very firm seat will be the result, which gives a confidence that enables one to be thoroughly flexible above the waist without fear of going off, and dispels a dread that often accounts for a stiff or crouching position. a test as to whether one is sitting sufficiently close in the canter is to put a handkerchief on the saddle, and note if the seat is firm enough to keep it there. iv in the saddle [illustration: incorrect left leg and heel] [sidenote: below the waist] the first impulse of a novice is to grasp the horse with her left heel, while the leg is bent back from the knee so that it almost reaches his flank. instead of this, the leg from the knee, which should not be more than half an inch below the pommel, must hang naturally in a perpendicular line, and the foot parallel with the horse, the heel being held away from his side and slightly depressed, the ball of the foot resting on the stirrup. this alters the grip entirely, and gives the greatest possible purchase, with the knee firmly in the angle between the pommel and the saddle flap, the thigh close to the saddle above, and the inside of the calf below, where one should be able to hold a piece of paper without having it fall out while trotting. the left foot will, of necessity, remain quiet--a most desirable point often neglected. [illustration: correct left leg and heel] now for the right leg. the first direction usually given is to grasp the pommel with it. that is all very well, but it leads to a grievous error. in the endeavor to obey the order, the right knee is pressed hard to the left--against the pommel, it is true, but in such a manner that there is considerable space between the leg and the saddle, extending from the knee half-way up the thigh. thus the rider rises, owing to her grip being too high, so that a person on the right can often see the pommel beneath her. [illustration: incorrect right thigh and knee] the first thing to do is to sit well back on the saddle, with the shoulders square to the front, and press down from the hip to the knee until as close to the saddle as possible. then, when sure that the knee is down, taking care that it does not leave the saddle in the slightest degree, grasp the pommel. it is from this knee that one must rise, and the most essential point is to have it absolutely firm, with a secure hold on as extended a surface as possible. from the knee the leg hangs straight, kept close to the horse, with the toe depressed just enough to avoid breaking the line of the skirt. it is seldom realized that the right leg below the knee should be held as firmly against the horse as the left, but such is the case. [illustration: correct right thigh and knee] [sidenote: above the waist] the body should be held erect at all times, the back straight while rising, instead of appearing to collapse with each movement, or rising from right to left with a churning motion instead of straight up and down; shoulders should be level--the right one is inclined to be higher than the left, as well as farther forward--well back and equidistant from the horse's ears, chest expanded, and chin held near the neck, as nothing is more unsightly than a protruding chin. the arms should fall naturally at the sides, bending inward from the elbow, but on no account to such an extent as to cause the elbows to leave the sides or form acute angles. all stiffness should be avoided. some difficulty may be experienced at first, though, in attempting to relax the muscles above the waist while keeping the lower ones firm. a little practice will accomplish this, and, as a stiff carriage is most frequently the result of self-consciousness, it will be desirable to practise where there are no spectators. as the woman becomes more accustomed to riding she will lose some of her rigidity; but she must not go to the other extreme and be limp or careless in her way of holding herself. a woman's body should be at right angles to her horse's back, neither inclining backwards nor giving evidence of a tendency to stoop. her anxiety to comply with these directions may render her conscious and awkward for a while; but if she will persevere, bearing them all in mind, they will become as second nature, and she will follow them naturally and gracefully. [sidenote: hands and wrists] the hands should be held about two thirds of the way back between the right knee and hip, and as low as possible. they should be perfectly steady, and in rising never communicate the motion of the body to the horse's mouth. if the right knee is used to rise from, the seat will not need to be steadied by the reins. in the canter, however, the hands, as well as the body above the waist, should sway slightly with the horse's stride, but not more than is necessary; for that, and rising too high in the trot, give an appearance of exertion not compatible with grace. [illustration: correct knuckles, side view] [illustration: incorrect position of hands] the wrists should be bent so that the knuckles point straight ahead with the thumbs up, thus giving the horse's mouth play from the wrist, instead of, as is often the case, from the shoulder, the former admitting of much greater delicacy of handling, and the give-and-take movement being not so easily observed. most teachers instruct a pupil to keep her finger-nails down, but this also necessitates all movement coming from the shoulder, or else sticking out the elbows. [illustration: hands in good form, front view] [sidenote: reins] many hold their reins in the left hand, allowing the right to hang at the side. this does not look well, and in case of an emergency, such as stumbling, the hand being so far from the reins precludes the possibility of rendering the quick assistance required. the reins should be held in the left hand, but the right should be on them, lightly feeling the horse's mouth, thereby anticipating his movements. the left snaffle-rein should go outside of the little finger, the left curb between the little and third fingers, the right curb between the third and middle fingers, and the right snaffle between the middle and first fingers. they must all be brought through the hand, over the second joint of the first finger, where they must lie flat and in order, held there by the thumb. the third finger of the right hand should rest on the right snaffle, leaving the first and second free to use the curb if required, thus giving equal bearing on all four reins. [illustration: snaffle outside, curb inside, front view] if the use of the curb alone is wanted, the third finger of the right should release the right snaffle, the first and second retaining their hold on the curb, and the desired result will be produced. [illustration: snaffle outside, curb inside, side view] if only the snaffle is desired, it may be brought to bear more strongly by keeping hold of the right rein with the third finger of the right hand, and reaching over on the left snaffle with the first finger. when this method is pursued there is no necessity for shifting the reins or hauling at them, and constantly changing their position and length. when a rein has slipped through the fingers of the left hand, instead of pushing it back from in front it should be pulled to the proper length from back of the left hand. [illustration: reins in two hands, snaffle outside, curb inside] it is quite correct, though inconvenient, to hold the reins in both hands; but the hands should be held close together, with the thumbs up, and always on the reins to prevent slipping. the little fingers then separate the reins, the left snaffle being outside of the left little finger, the left curb between the little and third fingers, with the reins drawn over the first finger; the right snaffle outside of the right little finger, the right curb between the little and third fingers, and these also drawn over the first finger, in both instances held by the thumbs. in this way the right reins may quickly be placed in the left hand by inserting the middle finger of the left hand between them without displacing the others. sometimes the ends of the left reins are passed over the first finger of the right hand as well as of the left one, and carried on past the little finger, the same being done to the right reins, thus giving additional purchase should the horse pull. [illustration: position of reins and hands in jumping, curb outside, snaffle inside] it is well to know several ways of holding the reins, and to practise them all. for instance, the positions of the snaffle and curb may be reversed; indeed, many expert riders always hold their reins with the curb outside and the snaffle inside, especially in jumping, where the curb is not used, and therefore requires a less prominent place in the hand. [illustration: reins in two hands, curb outside, snaffle inside, side view] another position of the reins is to have the middle finger of the left hand separate the snaffle and the little finger the curb, both right reins being above the left ones. however, unless a horse is bridle-wise this plan is not a convenient one, because the right and left reins alternate. a horse so trained may be guided by a turn of the wrist. to turn him to the left the hand should be moved in that direction, pressing the right reins against his neck, and to go to the right the hand should be carried to that side, the thumb turned downward, thus pressing the left reins against the horse's neck. v emergencies although she may ride in good form, and, when her horse goes quietly, feel at home in the saddle, no woman can be considered proficient until she is prepared for any emergency, and knows how to meet it. [sidenote: eagerness to start] many horses show restlessness while being mounted, some carrying it to such an extent as to back and rear or swerve most unpleasantly. the groom at his head should hold him lightly but firmly by the snaffle, or, better still, the cheeks of the bridle; not lugging or jerking at him, but endeavoring to soothe him. if the horse swerves from her, he should be made to stand against a wall. the woman must get settled in the saddle as expeditiously as she can, not taking any unnecessary time in the arrangement of her skirt, which might augment the animal's uneasiness. once mounted she must walk the horse quietly for a few minutes, using the snaffle only, as his restlessness may have come from expecting the spur on starting, as is customary with the horses of those who care for display rather than good manners. before long she should dismount, and, at a different place, repeat the lesson without fighting him, even should he fail to show much progress at first. if he rears, the attendant should let go of his head until he comes down; then, before starting, try to make him stand a few moments. each time the rider mounts she should increase the period of his standing, doing it firmly while talking to him, but without force or harshness, and presently he will obey as a matter of course and without an idea of resistance. [sidenote: shyers] the most common fault of a horse is shying, and though no one who has a secure seat should be inconvenienced thereby, its treatment needs some discrimination. shying often arises from defective vision. if, however, the animal's eyes are in good condition, it may come from timidity, but in either case the horse should be soothed and coaxed up to the object of his aversion and shown its harmlessness. if it is merely a trick, then playing with his mouth and speaking in a warning tone when approaching anything likely to attract his notice will usually make him go straight. as a rule the whip should not be used, because the horse may learn to associate a blow with the object he has shied at, and the next time he sees it is likely to bolt in order to avoid the impending chastisement--thus going from bad to worse. [sidenote: stumblers] for the same reason, i object to a horse being punished for stumbling. disagreeable as it is, the fault usually comes from defective muscular action or conformation, or from not being kept collected by his rider. it is not fair to punish the horse for these causes. the thing to do is to sit well back and give the reins a sharp pull to bring his head up, and then keep him going up to the bit, for if the rider is careless the horse will follow her example. [illustration: hands and seat in rearing] [sidenote: rearers] a rearing horse is not fit for a woman to ride. if she finds herself on one which attempts it, she must throw her weight forward and a little to the right, because she can lean farther forward on this than on the left side, to help the horse preserve his balance, as well as to prevent being struck by his head. if necessary she can clutch his mane, but on no account must she touch his mouth in the slightest degree. as he comes down, a vigorous kick with the heel, a shake of the snaffle, and a harsh exclamation may send him along. i cannot advocate a woman's striking him, for if he has a temper, it may arouse it to such an extent that he will throw himself back. [sidenote: plungers] those with a strong seat have no reason to fear a horse that plunges, if it does not develop into rearing or bucking. they should sit close and urge the horse to a faster pace, as it stands to reason that if he is kept going briskly he cannot so easily begin his antics as he could at a slower gait. [sidenote: buckers] a woman is seldom if ever required to ride a horse which bucks, and if he is known to do it viciously she had better not try any experiments with him, as he will surely exhaust her in a fight. by bucking i do not mean the mild form of that vice which is usually found under that name in the east. here an animal that plunges persistently and comes down hard is said to buck; while if his head is lowered, that settles the question in the minds of those ignorant of what a real bucking horse is capable. in encountering the eastern variety of this species, the woman must elevate the horse's head, sit well back, and firmly too, for even the mild form of bucking is not easy to sustain undisturbed. the genuine article, the real western bucker, is quite another matter. newspapers have published instances of women who have managed to stay on one through all his various and blood-stirring antics; but such cases are in fact unknown outside of buffalo bill's wild west show, and there the animals have been taught to perform to order. when the bronco bucks, he gives no preliminary warning by harmless plunging; he simply throws his head down between his knees, humps his back like a cat, and proceeds to business. he jumps into the air, coming down to one side of where he started, with all four feet bunched and legs stiffened, only to bound into space again. an occasional squeal adds to the general hilarity of the scene, and the alacrity with which that meek-looking mustang can land and go into the air again would astonish one not accustomed to the sight. [sidenote: pullers] in riding a puller, his head must be kept in a correct position, neither low nor high, by lightly feeling his mouth until he gives to the motion. should he have his head up and nose out, elevating the hands and drawing the snaffle across the bars sometimes causes the bit to bear in such a manner that the horse will drop his nose, and at that moment an effort must be made to keep it there. this method is exceptional, however, and should be resorted to only when other means fail, and the horse's head is so high, with the nose protruding, that the bit affords no control. ordinarily, the hands should be low, one on each side of the withers, and quietly feeling the snaffle until he obeys its signal. if he pulls with his head down, almost between his knees, the curb must not be touched, but the snaffle should be felt and the hands held higher than usual and a little farther forward, playing with his mouth. this may make him raise his head; but if not, then several determined pulls, yielding the hand between them, given without temper and with a few soothing words, may stop him. if he has the bit between his teeth, quick give-and-take movements will probably surprise him into releasing it. it is useless for a woman to try to subdue him by force. it is well to have a horse's teeth examined for pulling, as one which has become displaced or sensitive causes excessive pain, and often results in this habit. when a horse shows a tendency to kick, by putting his ears back or a peculiar wriggle of the body, his head must instantly be pulled up and kept there, for in that position he will not attempt it. [sidenote: runaways] a runaway nearly always frightens a woman so that she loses her head. composure will best enable her to escape without accident. as the horse starts she must keep her heel well away from his side and her hands down, and instantly begin sawing his mouth with the reins; then a succession of sharp jerks and pulls should be resorted to--never a dead pull--and possibly he may be brought down. once well in his stride, no woman can stop a horse. she must then be governed by circumstances, and, if in a crowd or park, try to keep him clear of all objects, and not exhaust herself and excite the horse by screaming. some one will try to catch him; and as a terrific jerk will be the result, she must brace herself for it. if the horse runs where there is open country, and she is sure his running is prompted by vice, not fright, she should urge him on when he tires and keep him going up-hill or over heavy ground if possible, using the whip freely, and not permit him to stop until he is completely done. there are some good riders who advise pulling a horse into a fence to stop him, but there is always a chance of his attempting to jump it, while, as the rider tries to prevent this, the horse may be thrown out of his balance or stride and fall over the fence. if he is driven at a high wall or other insurmountable obstruction the horse will stop so suddenly that the rider is likely to be precipitated over the animal's head, even if she have a good seat. again, the horse may miscalculate the distance and run into the object, perhaps seriously hurting himself and his rider. if this method is to be employed, a grassy or sandy embankment should be chosen, if possible, as there will then be fewer chances of injury. others believe in throwing the horse, which may be done by letting him have his head for a few strides, then suddenly giving a violent tug at the reins. if he can thus be made to cross his legs, he will go down. another way is for a woman to put all her strength into pulling one rein, and if she can use enough force he may be twisted so that he will lose his balance and fall. then the danger is that a woman will not get clear of him before he regains his footing and starts off, in which case she might better have remained on his back than risk being dragged at his heels. if some one else's horse is running instead of the one she is on, and it is coming towards her, a woman should instantly, but quietly, wheel her horse, and keep him as much to one side of the road as possible; and if she is sure of her control over him, a brisk canter will be the safest gait. thus, if the runaway strikes her horse, it will not be with the same force as it would had they met from opposite directions. besides, it is almost impossible to tell which way a frightened horse may turn, and in endeavoring to avoid him, if they are facing, a collision may result. if a horse falls, from crossing his legs for instance, to keep hold of the reins must be the first thought, and then to get clear of him as quickly as possible and out of his way if he seems likely to roll. if the rider retains her hold on the reins, he cannot kick her, as his head will be towards her; nor can he get away, leaving her to walk home. [sidenote: punishment] punishment of a horse should never be begun without the certainty that what has given displeasure is really his fault, wilfully committed. even then a battle should always be avoided, if possible, for it is better to spend a half-hour, or even much more, gently but firmly urging a horse to obedience than to fight him. it sometimes drives him to such a state of excitement and temper that the effects of it will be perceptible for days, sometimes weeks, in a nervous, highly strung animal, and he will, perhaps, prepare for a combat whenever the same circumstances again arise. that which comes from misconception on the part of the horse is often treated as though it were vice, and such unjust chastisement, without accomplishing its object, bewilders and frightens the unfortunate victim. therefore one should know positively that it is obstinacy or vice, not dulness or timidity, which has made the horse apparently resist his rider's authority. a horse with much temper may only be made worse by the punishment he undoubtedly deserves; therefore, forbearance and ingenuity should be exercised to bring him into submission. discipline must be administered at the time of insubordination, or it loses its meaning to the horse. it is folly to postpone punishing him, for then he fails to connect it with the act of resistance which has provoked it. another great mistake, and one to be strongly censured, is that of venting one's impatience or temper on the poor brute, which may be doing its best to understand the clumsy and imperfect commands of a cruel taskmaster. having calmly decided that the horse requires punishment, it should be given in a firm and temperate manner, no more severity being employed than is necessary. however, the whip should fall with force and decision, or it is worse than useless; and if a moderate amount of whipping or spurring does not result in victory, it must be increased, as, once begun, the fight must end in the conquest of the animal, or the woman on his back will thenceforth be unable to control him. it must be done dispassionately and continuously, and no time allowed him to become more obstinate by a cessation of hostilities when he might be about to give in. at the first sign of yielding, he should be encouraged, and the punishment cease, until he has had an opportunity to do what is desired of him. while using the whip, the right hand should never be on the reins, as that necessitates jerking the horse's mouth and hitting from the wrist, a weak and ineffectual method. the blow should fall well back of the saddle and with the force given by the full swing of the arm. a woman usually expends her energy in hitting the saddle-flap, making some noise, to be sure, but not producing the desired effect. if these suggestions are followed, there will be comparatively little trouble in learning to properly handle a horse that he may be kept up to the mark. until having laid a solid foundation for one's self, it is useless to hope to obtain the best results from the horse, which will surely appreciate and take advantage of any incompetency on the part of the rider. even if not aspiring to more than ordinary park riding, attention to these hints will add so materially to the comfort and safety of both horse and woman that it will be a subject of wonder to the latter how she could have found the wrong way pleasant enough to admit of any hesitation in giving the correct one at least a fair trial. vi choosing a mount much of a woman's comfort will depend on the horse she chooses. she is too often inclined to procure a showy one, which pleases the eye, even though she cannot control his antics, rather than a trustworthy and less conspicuous mount. [sidenote: an adviser] in choosing a horse, she should not rely exclusively on her own judgment. few women are aware of the artifices resorted to by dishonest dealers to render presentable some animal which in its natural condition she would at once reject; therefore she should enlist the services of some man in whose knowledge of horse-flesh she has reason to place confidence, and of whose disinterestedness she is certain. when a horse is found which appears to fulfil her requirements, she should insist upon a trial of him herself; for, although he may go well and comfortably with her friend, a woman might not possess the qualities which had assured success in the former trial by the man. the horse would recognize the difference, take advantage of her inexperience or lack of skill, and act as he would not think of doing under an expert. furthermore, gaits which would suit a man are often too hard for a woman, and a horse which he might think merely went well up to the bit would to her weaker arms seem a puller. after being approved of by her friend, the woman should try the animal herself, outside, alone and in company. if he proves satisfactory, she should endeavor to have him in her stable for a few days, and during that time to have him examined by a veterinary surgeon, obtaining his certificate of the horse's soundness. an animal absolutely sound and without blemish is a rare sight; but there are many defects which do not lessen the horse's practical value, although their presence lower his price, and may enable her to secure something desirable which would otherwise have been beyond her means. such a horse should be accepted only after a thorough examination by the veterinary, and upon his advice. it is well to avoid purchasing a horse from a friend, unless one is perfectly familiar with the animal, as such transactions frequently lead to strained relations, each thinking bitterly of the other. some, having pronounced their horse sound, would take offence should a veterinary be called; while if he were not consulted the horse might go wrong, and the purchaser would perhaps think the former owner had disposed of him with that expectation, or at least knowing the probability of it, yet their social relations would prevent accusation or explanation. furthermore, a difference of opinion as to the price is awkward, and altogether it requires more tact, discretion, and liberality than most people possess to make a satisfactory horse-trade with a friend. having decided as to whose advice she will take, a woman should not be influenced by the comments and criticisms of others. if she waits until all her friends approve of her choice she will never buy a horse. however, by listening to what the best informed of them say, she may gain much instruction and knowledge. as a woman may wish to know what points are desirable in a horse, and what to look for, a general idea of this may be welcome. it is only by comparison that she will learn to distinguish whether certain parts are long or short, normal or excessive, therefore she should critically notice horses at every opportunity, and observe in what they differ from one another. [sidenote: park hack] if a woman could have a park hack made to order, the following points would be the most prominent: a horse should always be up to more weight than he will have to carry; and as, in the park, appearances are of importance, a woman should buy a horse on which she will look well. much will depend upon her mount being of an appropriate size and build. a woman of medium size will look her best on a horse of about 15.2. no exact height can be fixed upon, as the present system of measurement is so incomplete. [sidenote: measurement] a horse standing 15.2 at the withers, where it is always measured, may be much higher there than anywhere else, his quarters being disproportionately low. on the other hand, the withers might be low and the rump high, giving the strength, power, and stride to a horse of 15 hands which might be expected in one of several inches higher. in races and shows it enables low-withered horses to run and compete against those which, although high at the withers, have not the posterior conformation to justify their being in the same class. the more common-sense and accurate method of measurement, if it would only be generally adopted, is to take the height at the withers and also at the rump, average it, and call that the size of the horse. for instance, a horse 15.3 at the withers and 15.2 at the rump should be registered as measuring 15.2-1/2. the fashionably bred trotting horse often measures higher at the rump than at the withers, while the properly proportioned saddle horse should measure as high, or highest, at the withers. in a saddle horse there are other points than height to be considered. if the woman is stout, the horse should be of substantial build, very compact, and like a cob. if she is slight, she will look best on a horse of light build and possessed of quality. in my opinion, three quarters, or a trifle more, thoroughbred blood makes the pleasantest mount for a woman. five to seven is a good age at which to buy a horse, as he will then have been through the early ailments of young horses and be just entering his prime. [sidenote: conformation] as to his points, his head should be small and clear-cut, with delicately pointed ears, prominent eyes, a fine muzzle, full nostrils, clean-cut angle at the throttle, and the head carried somewhat less than vertical to the ground; the crest curved, and the neck thin and supple, but muscular and well set on to broad shoulders. these should be long and oblique, thus reducing the concussion and making the horse easier to ride as well as safer, because his forelegs are proportionately advanced, giving less weight in front of them to cause a fall should he trip. the true arms (commonly called lower bones of the shoulders), extend from the points of the shoulders to the elbows, and should be short, or the forelegs will be placed too far back. the forearms, extending from the elbows to the knees, should be large and muscular and rather long. broad, flat knees are indicative of strength, and they should have considerably more width than the forearms or the shanks. below the knees and to the fetlocks the legs should be rather short, flat, deep, and fine, no swelling to prevent one from feeling distinctly, especially near the fetlocks, the tendons and ligaments quite separate from the shanks or cannons and the splint-bones. the fetlock-joints much developed give evidence of overwork, therefore any undue prominence is not desirable. long, slanting pasterns give elasticity to a horse's gait and prevent disagreeable concussion; but if the length is excessive, there will be too much strain on the back tendons. the fetlocks reach to the coronet, below which are the feet, which must be of good shape and absolutely sound. the thorax must be either broad or deep and full, so that the lungs and heart may have plenty of room to expand. it should be well supplied with muscle where the forelegs are joined to it, and these should be straight, with the feet pointing straight ahead. the toe should be under the point of the shoulder. high withers are preferred to low ones, but if they are too high they place a side-saddle at an uncomfortable angle, which needs an objectionable amount of padding at the back to rectify the fault. the back should not sink perceptibly, but it may be somewhat longer in a woman's horse than in a man's, as her saddle occupies so much more space; but the ribs should be long in front and short back of the girth, running well up to the hips. this conformation will prevent the saddle from working forward; a tendency to slip back may be checked by using a breast-plate. a horse should be broad across the loins; if these are strong, and the horse well ribbed up, there will be no unsightly sinking of the flanks even in front of hips that are broad, as they should be. the thighs extend from the lower part of the haunches or hips to the stifle-joints, and these and the haunches are covered with powerful muscles, which, when well developed, form strong quarters. a well-placed tail, carried at a correct angle, adds greatly to a horse's appearance. from the stifles to the hocks are found the lower thighs, and these should be long and strong. the hocks should be prominent, clearly defined, and free from all puffiness or swelling. from the hocks to the fetlocks the leg should descend perpendicularly, neither bent under him nor back of him. the same rule applies to these fetlocks as to the fore ones; and the same may be said of the feet, but the latter are too important to dismiss without further comment. the hoofs when on the ground should be at an angle of about forty-five degrees from the toe to the coronet. any unevenness or protrusions on the wall of the hoofs, or a sinking-in at the quarters, should be viewed with suspicion. breadth is desirable at the heels, and the bars should not be cut away. the frog should be nearly on a level with the shoes, and the soles should be slightly concave. [sidenote: hunter] if a hunter is to be chosen, looks are not of so much importance, although i like him to be almost if not quite thoroughbred. however, if the animal can gallop and jump, has good staying qualities and a strong constitution, a kind disposition and a light mouth, good manners and plenty of power, he should not be discarded because he lacks beauty. a large head, ewe neck, ragged hips, rat-tail, poor coat, and other such ungainly points, are not bad enough to condemn him if he has the other qualities i have mentioned; and often a peculiarly shaped animal will out-jump a horse of the most correct conformation. [sidenote: gait and manners] after carefully looking over the horse, a woman should have some one trot and canter him, to see that his action is what she wants. a park hack should have free, easy gaits, with good knee and hock action, and travel evenly and without brushing, cutting, interfering, dishing, or showing any such irregularities of gait. she should watch him from in front, from behind, and at the sides; and, after his trial by a man, the woman should ride him, and find out what his faults are under the saddle. his manners should be perfect: no sign of bolting, or rearing, or other vices; nor should he be a star-gazer, nor lug on the bit, as a good mouth is very essential to her comfort. however, if he is green--that is, unaccustomed to his surroundings and to being ridden--he should not be rejected without a fair trial, to ascertain whether his cramped gait, shying, and other such failings are the result of inexperience under the saddle, or are established traits. the most desirable points are a light but not over-sensitive mouth, even gait, with swinging (not jerky or shuffling) action, a kind disposition--with which quality considerable friskiness need not condemn him--good manners, and freedom from tricks and vices. he should be practically sound and of correct conformation--a more valuable attribute for safety and ease than high action. vii dress simplicity is the rule for the habit. it should be of thibet cloth--black, dark brown, or blue for winter, tan or a medium shade of gray for summer. all conspicuous colors and materials are to be avoided. it is well to have the skirt made of a heavy-weight cloth, which will help to make it set properly without the assistance of straps; while the bodice may be of a medium weight of the same cloth, that it may fit better and be less bulky. for very warm weather in the country a habit made of heavy gingham or white duck is cool and comfortable, and will wash. the skirt and bodice may be of the same material, or a silk or cheviot shirt and leather belt may be worn with the skirt. a straw sailor-hat completes this convenient innovation, but it should be reserved for use out of town. [sidenote: skirt] the skirt should reach only far enough to cover the left foot, and be too narrow to admit of any flowing folds. fashion and safety both demand this. a skittish horse is often frightened by a loose skirt flapping at his side. [sidenote: safety skirt] i should be very glad to see the safety skirt, which is worn in the hunting-field, adopted in general riding. its advantages are manifold. although it appears the same, less cloth is used, therefore it is cooler; there is nothing between the pommel and the breeches, thus improving the hold, and in case of accident it is impossible to be dragged. there are several kinds in use, but the less complicated the more desirable it is. the simplest is made like any other skirt, except that where the pommels come there is a large piece of the cloth cut out, extending in a circle at the top, and then straight down, at both sides, so that there is no cloth near the pommels or where it could catch in case of a fall. this leaves enough to extend under both legs when in the saddle, and looks like an ordinary one. under the right knee, where the skirt is rounded out, a small strip of cloth buttons from this point on to the piece which is under the leg; this and an elastic strap on the foot keep it in place; but neither is strong enough to stand any strain, therefore would not be dangerous in a fall. another pattern has eyelet holes made on each side from where the cloth has been taken, and round silk elastic laced through them, thus preventing the possibility of disarrangement. both of these skirts loop at the back, and can be kept from appearing unlike others if the wearer will immediately fasten them on dismounting. an ordinary skirt may be made safer by having no hem. [sidenote: divided skirt] we hear a great deal now of the divided skirt, and the advisability of women riding astride. the theory is good, as having a leg each side of the animal gives much greater control over his movements. for most women, however, it is impracticable, since they cannot sit down in the saddle and grip with their knees as they should, owing to the fact that their thighs are rounded, instead of flat like a man's. it might be possible for a lean and muscular woman to acquire a secure seat, but not for the average one. being short is another drawback to a strong seat against which most of them would have to contend. this is particularly trying, as so much of her weight is above the waist, making it difficult to ride from balance, which might otherwise replace the deficient leverage of the short thigh. again, if on a large or broad horse, the constant strain on the muscles necessary when astride him must be injurious. aside from any physical reasons, the position for a woman is, in my opinion, most ungraceful and undignified, while few of them possess the strength to profit by the changed seat in forcing the horse up to his bridle or keeping him collected; and i cannot blame those who think it open to the charge of impropriety. [sidenote: bodice] the bodice should be single-breasted, long over the hips, reaching almost to the saddle in the back, and cut away in front to show a waistcoat, the upper edge of which makes a finish between the collar and lapels of the waist and the white collar and ascot or four-in-hand. the waistcoat gives more of an opportunity for the exercise of individual taste. the most desirable, i think, has a white background, on which is a black, brown, blue, or red check. it may be all tan or a hunting pink, plain, figured, or striped, so long as too many colors are not combined; but, as a rule, something quiet and simple will be the most desirable. in summer a piquã© waistcoat is worn, or something similar, that is light, cool, and will wash. a black or white cravat always looks well, or one which, without being glaring, harmonizes with the waistcoat. [sidenote: waistcoat] sense, health, and comfort all demand that the waist shall not be laced to the painful extent endured by many foolish and vain women. they would let out an inch or two if they could realize that the blood is forced from their waists to their faces, making them scarlet at any exertion, while they have difficulty in conversing except in gasps, and are compelled to walk their horses at frequent intervals to catch their breath. [sidenote: corsets] it is so invigorating to feel the lungs expanded by a long, deep breath, and the blood, quickened by the motion of the horse, coursing unrestrained through all the veins, while the muscles of the back and abdomen are allowed full play, that those who go along panting and aching lose half the beneficial effects of riding, and more pleasure than they can possibly derive from trying to make people believe that they have small waists. the corsets are of great importance and must be of good quality and not very stiff, small bones being used instead of large ones or steels. they must be short in front and over the hips, that the movements may not be unnecessarily restricted, or the skin become raw from rubbing against the ends of the bones. a plain corset-cover should be worn over them, as the lining of the habit-waist sometimes discolors the corsets if this precaution is not taken. [sidenote: boots, breeches, tights] considerable latitude is permitted a woman in the choice of what she shall wear under her skirt. boots and breeches are considered better form than shoes and trousers; but there is no reason why the latter should not be used, especially if the shoes lace. boots and tights, however, are the most comfortable of all. breeches are made of stockinette, re-enforced with chamois skin, and reach half-way down the calf, where they should button close to the leg--the buttons being on the left side of each leg, that the right may not be bruised by the buttons pressing against the saddle. chamois skin is sometimes used to make breeches, but it is not very satisfactory. at first they are soft and pliable, but after being worn a few times they become stiff and unyielding, and rain will render them hard as boards. tan box-cloth gaiters, extending from the instep almost to the knee, are sometimes worn with breeches and shoes. they are made exactly like those for men, and take the place of boots. boots may be of calf-skin or patent leather, with wrinkled or stiff legs, the tops reaching a few inches above the bottom of the breeches. in warm weather tan boots are often worn; but, of whatever variety they may be, they should always be large, with broad, thick soles and low, square heels. trousers are of the same material as the skirt, and are also re-enforced. elastic bands passing under the shoes keep the trousers down. tights should be of the color of the habit, and fit smoothly without being stretched. they come in different weights, and either silk, cotton, or wool may be worn. they should have feet woven on them, thus doing away with the necessity for all underclothing below the waist. when breeches or trousers are worn, tights may advantageously be substituted for the other usual garments worn under such conditions. if tights are not worn, whatever replaces them should fit snugly and be without starch or frills. the stockings should be kept up from the waist, as garters chafe the knee when it presses the pommel, and often interfere with the circulation. some women wear union garments, which are practically tights extending from the neck to the feet, taking the place of shirts. however, when a shirt is worn it will be most comfortable if of a light-weight wool. this absorbs the perspiration, and is therefore pleasanter to wear than silk, and more likely to protect from a cold. outside of this should be the corset. when it is cold a chamois-skin waist with long sleeves should be worn under the bodice, as this is much better than a fur cape, which is often used, and which confines the arms. a covert coat is the most convenient, but the former is more readily obtained. a wool shirt, short corsets, plain corset-cover, and tights are all the underclothing needed for riding. some women wear a linen shirt, with collar and cuffs attached, like a man's, except that it is narrowed at the waist. with this the corset-cover is not needed. [sidenote: collars and cuffs] separate collars and cuffs are more generally used, and the scarf should be pinned to the collar at the back, as these have a way of parting company that is most untidy. to make it more certain, a clasp or pin such as men use to hold a four-in-hand tie in place should fasten the ends of the scarf to the shirt-front or corset-cover, thus securing it against slipping. the cuffs should not be pinned to the sleeve, as the lining of the coat will be torn, and the pin will catch on the habit and stretch and roughen it in places. a small elastic band put over a button at the wrist of the sleeve, and attached to the cuff-button, will answer every purpose. [sidenote: gloves] gauntlets should be discarded, and gloves worn large enough to admit of the muscles of the hand being used freely. dogskin of a reddish shade of tan is the best material for gloves. the stitching is such as to form slight ridges of the glove itself on the back of the hand, the red stitches being scarcely perceptible at a little distance. it is difficult to find women's gloves broad enough for comfort in riding, and it is a good plan to buy boys' gloves, which give the desired freedom. they have only one button, an advantage over women's, which have two or three that are in the way under the cuff. should the wrists need more protection from the cold, wristlets may be worn, as they take up but little room. for cold weather, gloves come in a softer kid, like chevrette, and have a fleecy lining, very warm, but too soft and light to make the gloves clumsy. flowers and jewelry are decidedly out of place on horseback, and a handkerchief should never be thrust into the front of the bodice. it should be put in the slit on the off saddle-flap, or in the pocket at the left side of the skirt where it opens. [sidenote: hair and hat] the hair should be firmly coiled or braided on the neck, and not worn on top of the head. a top hat is correct, especially on formal occasions, but it should not be allowed to slip to the back of the head. however, i prefer usually a derby, as being more comfortable and looking more business-like. it should be kept on by an elastic which fastens under the hair. pins through the crown are an uncalled-for disfigurement, and a hat may be made just as secure without them. in fact, they will be of but little use if the hair is not done high. a large hair-pin on each side should pin the hair over the elastic; and if the wind or anything else causes the hat to become displaced, it will not come off entirely, forcing some one to dismount and restore it to the woman, who cannot get it alone. hair-pins should be long and bent half-way up each prong, so that they will not easily slip out. [sidenote: veil] [sidenote: whip or crop] when a veil is worn, it should be of black net or gauze, never white or figured, and the ends should be neatly pinned out of sight, instead of being allowed to float out behind, like smoke from a steam-engine. if a whip is carried for use, it should be a substantial stiff one, held point down, not a flimsy thing that a sound blow will break, nor should it be made absurd by a bow or tassel being tied to it. if for style, then a crop is the correct thing, with the lash-end held up. the handle should be of horn, rather than silver or gold, and the stick quite heavy and somewhat flexible. short bamboo sticks are in favor just now, and are often tipped with gold, and have a gold band a few inches from the end where it is held. [illustration: crop] [sidenote: spur] i do not approve of a spur for women, as it is difficult to use it just right, and its unintentional application often has disastrous results, while should she be dragged by the foot, it will keep hitting the horse, urging him faster and faster. in mounting, the spur sometimes strikes the horse, making him shy just as the rider expects to reach the saddle, and a nasty fall is the consequence. where a man would use it advantageously, a woman cannot produce the same effect, having it only on one side. moreover, a horse suitable for her to ride should not require more than her heel and her whip. [illustration: a good spur] some horses are very cunning, and will shirk their work if they discover that there is no spur to urge them, but such may be taught that a whip in skilful hands is quite as effective. in a crowd a spur is of value, as it may be applied noiselessly, and without danger of startling other horses, as a whip will do. in leaping, a spur on one side of the horse and the whip on the other form a combination which will often compel him to jump when, from sulkiness or indolence, he has been refusing. it requires some practice, however, to use it in the right place and at the right moment; a woman's skirt has an unhappy faculty of intercepting the spur when it should strike him, and her heel of hitting the horse when it should leave him alone. for these reasons i am in favor of women riding without a spur when it is possible, for, although it looks well as a finish to a boot, its adoption by inexpert riders may lead to sad results. if a spur is to be worn, there are several kinds from which to choose. i prefer a box-spur with a rowel, such as men use, but having a guard, which prevents it from catching in the habit, and lessens the probabilities of its unintentionally punishing a horse. when it is applied with force, the rowel comes through the guard, which works on a spring, and upon releasing the pressure the guard again protects the sharp rowel. they may be of the kind that fit in a box which has been put in the heel of the boot, or they may have straps and buckle over the instep. viii leaping [sidenote: requirements] when a woman has attained some degree of proficiency in the saddle, she will probably desire to perfect herself in riding by learning to leap. her equestrian education cannot be considered complete without this, but she should not attempt it until she has learned thoroughly how to ride correctly on the road. a secure seat, light hands, a cool head, quick perception, judgment, and courage form a combination which will enable her in a short time to acquire skill in jumping. few women possess all these qualities, but an effort should be made to obtain as many of them as possible before trying to jump. [sidenote: in the ring] the first lessons should be on a horse which has been well trained to this work and requires no assistance from his rider. he should inspire confidence, and jump easily and surely rather than brilliantly. i think it is well to begin in a school over bars, as there the rider is not under the necessity of choosing a good take-off or landing, and is thus free to give undivided attention to herself. [sidenote: approaching jump] three feet is high enough to put the bars at the start; or they may be even lower should the rider feel timid. as she approaches the jump she must sit firmly in the middle of the saddle (not hanging either to the right or to the left, thereby upsetting the horse's balance), and she must look straight at the obstacle, with her head up and her body thrown a trifle back. the reins should at first be held in both hands, for several reasons. it lessens the chances of sitting crooked, and it prevents throwing up the right arm as the horse jumps--a common and unsightly practice, calculated to frighten him and distract his attention from his work, and to jerk his mouth, while it has no redeeming features. in addition to this, when the horse lands, the reins are not so liable to slip through two hands as through one. approaching the jump, the horse should break into a moderate canter, and the only rule his rider will be likely to remember at the first trial will be to "lean back as he jumps and give him his head." as she becomes accustomed to the action, her attention must be called to details. while nearing the jump, she must keep her hands low, and just feel her horse's mouth with the snaffle without interfering with it or shifting her hold on the reins. quiet, steady hands are indispensable to success. [illustration: taking off] [sidenote: taking off] [sidenote: landing] by watching his stride one can tell when he will take off. at that moment he will stretch out his neck; then she must, by instantly pushing them forward, let her hands yield to his mouth. this must be accurately calculated, for should the pressure on his mouth be varied too suddenly and at the wrong time, it would throw him out of his stride by letting go of his mouth when he needed steadying. some advocate leaning forward before leaning back as the horse takes off, but the slight involuntary motion communicated to the body by thrusting the hands forward will be sufficient to precede the backward movement. before he has finished his effort, she must lean back just enough (but no farther) to avoid being thrown forward by the action of his quarters or by the angle at which he comes down. her left heel should not come in contact with him after he has taken off, although she may strike him with it to urge him on if he goes at the jump too slowly. below the waist she must be firm and immovable; above, yielding and flexible. as the horse lands, she regains her upright position, and should be careful that he does not pull the reins through her fingers. under all circumstances she must have too firm a hold on the reins to admit of such an occurrence. if the horse stumbles at the moment of landing, he needs the support of her hands; or should he bolt, it must not be necessary to pull in the slack rein before being able to check him. [sidenote: lifting] one of the most erroneous theories extant is that it is desirable to "lift" a horse at his fences. doing so only necessitates carrying the weight of his rider's hands on his mouth, and risks pulling the horse into the jump, while he is hindered from stretching his neck, as he must to land safely and correctly. hanging on to his mouth is often the cause of a horse's landing on all four feet at once, or dropping too close to the jump. the pull on the reins holds him back, thus inducing these bad habits, and will often make him refuse or dread to jump, knowing that it entails a sharp jerk on his sensitive mouth. to a casual or ignorant observer it sometimes looks as though a good rider were "lifting" his horse; but it only appears so because, knowing intuitively at just what instant his hands must yield, he so accurately gives to the animal's mouth that the action of the horse's mouth and the rider's hands is simultaneous. [illustration: about to land] [sidenote: out of doors] after some practice in the ring, a woman may try jumping out-of-doors, for inside there is not a sufficient variety of obstacles; and she should then have a breast-plate attached to her saddle. by this time she should, in jumping, hold her reins in one hand, the snaffle inside, curb outside, and quite loose. as she goes towards a jump, her right hand should be placed in front of the left on the snaffle to steady the horse. in this way she can remove it without leaving an uneven pressure on the horse's mouth, as would be the case if, as is customary, her hand had rested on the two right reins, then been suddenly withdrawn in order to urge the horse with the whip, or to protect the face from overhanging branches. [sidenote: pilot] the most favorable conditions under which a woman may begin jumping in the country are when she can go across fields with a capable pilot to give her a lead over some easy timber or walls. she must never forget to see that the horse in front of her is well away from the fence before she jumps, or she will risk landing on top of him if he makes a mistake; or if he refuses, her horse, if too near, would be forced to do likewise. she should not allow herself to become dependent on the services of a pilot, or let her horse become accustomed to jumping only when he has a lead; therefore she must learn to choose a panel of the fence for herself. [sidenote: selecting a panel] supposing the fences to be moderate, she must decide, as she canters towards the first, where she will jump, and there are a number of considerations by which she must be governed. first, to find a panel which is low, for in riding across country it is wise to save one's mount, as all his strength may be needed at a big place later on. then the take-off must be looked to, sound level turf being chosen if possible; and if the landing is plainly visible, so much the better. a moderately thick top rail is often safer to put a horse at than a very thin round one, which is liable to be a sapling, that will not break if a horse tries to crash through it, as he is sometimes tempted to do by its fragile appearance. it is well to send a horse at the middle of a panel; for, should he hit it, this, being the weakest spot, may break, while should he hit nearer the end, where it is strong, he may be thrown. such details as these she will observe instinctively with a little practice. having decided where she will jump, her horse's head must be pointed straight at the place, and her mind must not waver. if the rider is determined to go, and has no misgivings, the horse is sure to be inspired with the same confidence. having once put him at a panel, she should avoid changing her mind without good reason, as her uncertainty will be imparted to him. a fence such as described is jumped just as are the bars in the ring; safely over it, the next obstacle must be examined. [sidenote: stone wall] if it be a stone wall, it may often be taken in one of two places--either where it is high and even, or where it is lower and wide, because of the stones which have fallen from the top. in the first instance it should be jumped in a collected manner, but at a slower pace than the second requires. at the latter some speed is necessary, as the horse must jump wide enough to avoid the rolling stones on both sides. [sidenote: in hand] few riders remember that it is as important to keep a horse collected when going fast as at any other time. when he is hurried along, no chance is given him to measure his stride or get his legs well under him, but he is nevertheless expected to take off correctly and clear the obstacle. a good rider will always have her horse well in hand, and never hustle him at his fences, even if she goes at them with considerable speed. [sidenote: trappy ground and drops] if the take-off looks treacherous, or is ploughed or muddy, the horse should be brought to it at a trot, well collected, and allowed to take his time at it. when the ground approaching the jump is uphill, or descending, the same tactics should be pursued, and unlimited rein given the horse. on encountering a drop on the far side of a fence or wall, a woman must lean back as far as possible, leaving the reins long, but ready to support the horse's head as he lands. at a trappy place, where, for instance, there might be a broken-down fence among some trees, overgrown with vines and bushes, the horse must be taken quietly and slowly and made to crawl through the gap. his rider will even then have enough trouble in keeping her feet clear of the vines, and in preventing the branches from hitting her face, which she could not do if a jump were made with a rush. if her horse carries his head high, she can probably pass where it has been without injury by leaning forward over his withers, to the right, and raising her right arm to ward off the branches with her whip or crop. [sidenote: in-and-out] sometimes she will not notice a limb or other obstruction until almost under it, when it will be necessary for her to lean back, resting her shoulders on the horse's quarters. under these circumstances it is most important that her right arm should guard her eyes from pieces of bark or other falling particles. where two fences are within a few feet of each other, forming an "in-and-out," the pace needs to be carefully regulated. if the horse goes very fast, he will jump so wide that he will land too close to the second fence to take off as he should. therefore if he is rushing, his stride must be shortened and his hind-legs brought well under him. on the other hand, he must not go so slowly that all impetus for the second effort is lost, as he would then be likely to refuse. it is difficult to turn him in so short a space and get him into his stride before he is called upon to jump. at a ditch or stream considerable speed is needed to gain the momentum necessary to cover the distance, and the horse must have plenty of rein given him. [sidenote: picket and slat fences] a picket fence is usually regarded as a very formidable obstacle, but if negotiated properly it is no worse than others. it should be taken at a good rate of speed, for the danger is that the horse will get hung up on it and be cut with the points by not having enough impetus. it is not so dangerous to hit this fence in front, for it is frail and the top of the pickets will snap off at the binder if hit with force. a slat fence is more to be dreaded, on account of the ledge on the top of it formed by the binder. this should be taken with deliberation, as the thing to be guarded against is having the horse hit his knees on the ledge which protrudes a couple of inches beyond the fence. the lower slats give way easily if they are approached from the side where the posts are; if from the opposite direction, they are braced against the posts and offer great resistance. [sidenote: wire] any fence that has wire on it should be avoided if possible, unless the horse has been trained to jump it. when it extends along the top of a fence, the horse should be made to jump a post, as it is not safe to count on his seeing the wire. if the fence is made of strands of wire, with only a binder of timber, it should be taken slowly, so that the horse will not attempt to crash through it, under the impression that it is a single bar. [sidenote: combined obstacles] a stone wall having a rail on top must be taken in the horse's stride, for considerable swing is required, as there is width as well as height to clear. when a ditch is on the near side of a wall or fence, the horse should be allowed time to see it. when it is on the landing side, he should be sent at it fast enough to carry him safely over. thus far i have been supposing that the horse has gone without a mistake. under these circumstances he should not be struck--just to encourage him, as some maintain--or he will grow to dislike jumping if associated with a blow. no woman who rides much can expect to be always so perfectly mounted; therefore, a few suggestions as to what she should do in emergencies may be of practical value. [sidenote: refusing] [sidenote: timidity] the most common fault of the jumper is refusing, and it must be dealt with according to its cause. if it arises from weakness in the hocks, the horse hesitating to propel himself by them, or from weak knees, or corns that cause him to dread the concussion of landing, he should not be forced to jump--it is both cruel and unsafe. if he be sound and well, and the fence not beyond his capabilities, the rider must know whether the disinclination to jump comes from timidity or from temper. she will soon learn to distinguish between the two, but it is difficult to lay down any rule for recognizing the difference. if she thinks it is for the former reason, the cause may be that he was not in his stride when he should have taken off, and was allowed to sprawl as he cantered. she should take him back and keep him well collected, making him take short, quick strides in the canter, measuring the distance, and giving him his head when he should take off. if he seems inclined to swerve or hesitate, the whip, applied just when he should rise, will often prevent his stopping. when over, a caress and a word of praise will greatly encourage him. [sidenote: temper] temper is a very different and a very difficult thing to manage. coaxing and ingenuity may accomplish something; turning him short at another place will often surprise him into jumping before he realizes it. the human voice has great power over animals, and a few loud, sharp exclamations, with a quick use of the whip, may make him take off when otherwise he would have refused. a really obstinate horse, having made up his mind not to jump, needs such a thrashing as a woman is seldom able to give him. if she begins it, she must keep it up until she has conquered him, or he will try the same trick constantly. as a horse almost invariably turns to the left when he refuses, a sharp crack on the near shoulder, being unusual and unexpected, sometimes prevents his turning. when, in one way or another, he finally has been forced to yield, he should be rewarded by a few words of approval. at the next fence a firm hold, keeping his head straight and his legs well under him, will be of more service than a whip, unless he refuses again, when the lesson must be repeated. [sidenote: rider at fault] at least half of the refusals are the fault of the rider, and it is most unjust to punish a horse at such times. unfortunately, conceit is such a common failing that few of us are willing to acknowledge ourselves in the wrong, therefore the poor horse suffers for our error. the timid rider sends the horse at an obstacle in such a half-hearted way that he does not know whether he is expected to jump or not; or, feeling his rider waver, he imagines there must be unknown dangers connected with the place, and so hesitates to encounter them. one of a woman's frequent failings is shifting the reins as she nears a jump. this form of nervousness is very disconcerting to a horse, and takes his mind from the work in front of him. lack of skill makes one lug at a horse's mouth just as he is getting ready to jump, thus throwing him out of his stride and frustrating his effort. after one or two refusals, a woman often puts her horse at the place in a mechanical way, fully expecting the animal to stop, and doing nothing to guard against such an occurrence. if she would instead then summon all her courage, and determine to go either over or through the fence, and ride at it with resolution, the horse would be infected with her spirit and probably clear the obstacle, as he would have done at first had his rider's heart then been in the right place. in such cases it does not seem fair to punish a horse for our own want of nerve. ix leaping--(_continued_) [sidenote: rushers] on a horse which rushes when put at a jump, the use of the whip will only make matters worse. this habit of rushing comes most frequently from the horse having been frightened while being taught to jump, either by extreme harshness and punishment or from having hurt himself severely. even if it comes from viciousness, quiet, kind treatment will do more to eradicate the tendency than coercive measures. such a horse should be walked towards a fence until within half a dozen strides of it. this can best be achieved by not indicating that he will be expected to jump, but by approaching it as though by chance. otherwise the restraint will make him the more unmanageable when he does start. he should be induced to stand a few moments, while his rider strokes him and talks to him in a soothing way. the snaffle should then be gradually and quietly shortened until there is a light but firm feeling on the reins, when a pressure of the leg (not of the heel, which might suggest a spur) will put him to a trot. if the hands be held low and steady and the voice be soft and pacifying, they will probably prevail upon him to trot all the way, although he may break into a canter a stride before the jump. when over it he should be gently, not sharply, pulled up, and coaxed to walk again, or, better still, to trot slowly. when he has learned to jump from the trot he will soon do so from a slow canter, which will be more trying for him, as it has a closer resemblance to the gait at which he has been in the habit of rushing, and he will therefore be inclined to return to his old failing. [sidenote: balkers] sometimes a horse will not go near a fence, and on being urged will back or rear. if he persists in backing, his head should be turned away from the jump, and when he finds his movements only bring him nearer the fence, he will stop. if then he is made to wheel suddenly, and can be kept going by whip or spur, he will be likely to jump. should he, instead, face the direction in which he should go, and rear whenever an attempt is made to urge him forward, the whip only inciting him to rear higher, the woman who hopes to triumph over him must resort to strategy; she must not whip him, at the risk of his falling back on her. a ruse which may prove successful is to occupy his attention by playing with his mouth while he is allowed to go diagonally towards the fence. he will be apt to concede this point, in the hope of bolting alongside of it; but when he has been inveigled into a closer proximity to the jump, even if he be parallel to it, and before he has time to divine his rider's intention, he should be turned sharply to the fence. he must be ridden at it resolutely and with a firm hand, while a determined swing of the body, corresponding to his stride, conveys to his mind the impression that he will be forced to jump. if he can be kept moving forward, he cannot rear; therefore, should he attempt to swerve or bolt, a blow from the whip will keep him straight, and when he should take off, another will guard against a refusal. [sidenote: sluggards] a sluggish animal calls for constant watching, as he cannot be trusted at small places any more than at large ones. he is always liable to rap, or even fall, at his fences, because of the careless, slovenly manner in which he moves. he should be forced up to the bit, and kept active by the whip, the noise of which is desirable in his case, as it will assist in rousing him. if his laziness or sulkiness is such that he will endeavor to crash through fences, he is not suitable for any woman to ride. he may miscalculate his power and come in contact with a rail which withstands his weight, when a fall will ensue. in this case the lunging-rein should be resorted to, and, either in a ring or out-of-doors, the horse should be put over some stiff bars, that he may learn he will be hurt if he touches them. i do not approve of intentionally throwing him by pulling him in the jump; there are too many chances of his being injured, even though he has no weight to carry. the bars should be strong enough to sustain his weight, without breaking, so that if he hits them hard he will have a tumble and a lesson. the top bar should, if possible, be covered with straw, to protect the knees from sharp edges. some forcible raps and a few tumbles will teach the horse the necessity of exerting himself, and how to bend his knees and lift his hind-legs over a jump. [sidenote: falls] a fall is, at the best, a dangerous and often a disastrous affair for a woman, whose very position on a horse lessens the chance of escape from such a predicament without injury. a safety skirt will prevent her being dragged; but much harm may result from the fall, even though she be clear of the horse when he gets up. if she is not hurt, there is still danger that the shock to her nerves will weaken her pluck. should such symptoms appear, she should remount at once; for the longer she waits the greater will be her apprehension, and it might end in her never regaining her nerve. she should make as light of the casualty as possible, and not regard it seriously if she has been only somewhat bruised or shaken up. it is marvellous how many and what ugly falls one can encounter without being any the worse for them; nevertheless, no precaution should be neglected to prevent exposure to them. when a woman has experienced several, she will know instinctively what to do; but at first she should try to bear in mind some points which may help her on such occasions. a rider not accustomed to jumping will probably lose her seat if the horse hits a fence with much force; as she feels herself going she should try to grasp the animal's neck, and not attempt to keep on by the aid of the reins, for by so doing she might throw him. even if she has gone farther than the saddle, if she can fling her weight, above the waist, to the off side of the horse's neck, she will balance there for a moment, and that will give her time to grasp the saddle and pull herself back. should she find herself beyond that, then as she slips off she can keep her head from the ground by seizing hold of the breast-plate with one hand, but without letting go of the reins. these must always be retained, as their possession renders it impossible for the horse to reach her with his heels, and precludes the chance of his getting away. if the horse bungles the jump, or comes down on his knees without disturbing his rider's equilibrium, and seems likely to fall, a woman cannot disentangle herself from him in time to get away. if he should go down, therefore, she must sit evenly, leaning back, that her weight may be taken from his fore-legs, while he is allowed plenty of rein. he may thus regain his balance or his footing after a scramble; but it will be impossible, in a slow fall like this, for a woman to be thrown clear of him. as he will not roll immediately, the closer she sits the better; so that if he tumbles on his near side, the force of the blow will be broken by the pommels, which, if she be sitting close, will hit the ground first, thus protecting her legs from the concussion. moreover, if she were half out of the saddle, the pommels might strike her chest or crush a rib, and she would be more likely to be kicked. as the horse makes an effort to get up, she must be ready to extricate herself from him and scramble as far away as possible, as the danger then is that he will not regain his feet, but will sink down a second time and thus roll over his prostrate rider. if he should fall on his off side, a woman must strive to get clear on that side as he lands, and not where the horse's feet are. where a ditch has caused a fall, it is usually from unsound banks; therefore, in attempting to climb out, firmer ground should be chosen. if the woman has been thrown and the horse has landed on top of her, the ditch being deep or narrow, she must try to keep his head down until help arrives, so that he cannot strike her, as he might do, because of the limited space, in his struggles to get up. in a stream, if she has preserved her seat, she must keep the horse moving, or he will be inclined to lie down. if she has been thrown into the water, she must obtain a hold on the saddle and the reins, but use only the former to support herself until the horse reaches the shore. in all of these events a cool head and presence of mind will be of the greatest assistance; but when a horse turns completely over at a fence, or falls heavily and without warning, to drop her stirrup, relax her muscles, and get clear of him as best she may is all a woman can do. occasionally, after a number of jumps, the girths become loosened and the saddle begins to turn. in such an emergency the horse's mane should be firmly grasped and the foot taken out of the stirrup. the horse should be quieted and stopped, if he is not too much startled by the turning saddle. with a breast-plate it will probably not turn all the way, and her hold of the mane will enable a woman to keep her head up until some one comes to the rescue. it will probably be a long time before such a variety of contingencies as i have mentioned will happen to any one rider. a well-mounted woman may jump a great deal and escape with only a few tumbles. if she perseveres, there will be so many delightful experiences to counterbalance each mishap that she will gladly risk the consequences of indulging in a sport which, to so great an extent as leaping, develops her nerve, skill, and self-possession. x riding to hounds whether hounds are running on the scent of a fox or a drag, a woman who is following them should always remember certain points to guide her in her conduct and in the management of her horse while in the field. [sidenote: courtesy] many a beginner renders herself objectionable by striving to take a place among the hard riders of the first flight. it is not to be expected that a woman without experience in the hunting-field can keep up with those who have followed hounds for several seasons; and should she attempt it, the probable result would be a fall not only endangering herself and her horse, but compelling some man to come to her assistance, and thereby perhaps lose the remainder of the run. even though too well mounted to have this occur, there are countless ways in which a novice, in endeavoring to keep on even terms with the leaders, may unwittingly call down anything but blessings on her head from those for whose good opinion she most cares. it is a mistake for her to suppose that people are watching her, ready to admire her pluck and dash, when she crashes through fences because her horse was not collected, or rides so close to the hounds as to risk hitting them. if she flatters herself that she is cutting out the work, it is pretty certain she has no business to be so far forward, and that she will add to the number of men who consider the hunting-field no place for women. [sidenote: the novice] a beginner should be content to stay behind the first flight until, by experience and skill, she has earned the right to take a better place. at first she should find out which of the men go straight, yet ride cautiously and manage to keep the hounds in sight. such a one she should choose as her pilot, rather than a reckless rider or one who shirks his fences. unless she is very well acquainted with him, a woman should not let a man know that she is following him. it annoys him to think that some one is "tagging on behind," or that he is responsible for the jumps she takes. above all things, she must invariably give him or any one in front of her time to get well away from a jump before she takes it. this is of the utmost importance, and is a point neglected by men and women alike in the excitement and impatience of a run. if she desires to be looked upon otherwise than as a nuisance, she must be as unobtrusive and cool-headed as possible, always courteous to and considerate of others, patient when waiting for her turn at a narrow place, and not try to take jumps that well-mounted, hard-riding men deem impracticable. [sidenote: hard riding] women seldom need to be urged on in the hunting-field; they require rather to be cautioned and restrained. if they are new at it, they do not know the dangers to which they are exposed, so go recklessly; if they appreciate the chances they take, they grit their teeth and go desperately; if they are timid they nevertheless resolve not to be outdone, and, trusting all to their horse, go blindly, even closing their eyes at a critical moment. therefore hard riding does not prove that a woman has either pluck or skill. she is an exception who goes straight and keeps with the hounds without taking foolish risks, unnecessarily tiring her mount, or interfering with others, for this requires judgment, discretion, skill, and nerve. [sidenote: jealous riding] an undesirable trait observed in many instances is jealous riding. this cannot be too strongly condemned, not only for the unsportsmanlike spirit it betrays, but because it often threatens the safety of others than those who ride in that manner. a jealous rider crowds past people, jumps too close to them, and is constantly trying to be among the first, regardless of the consequences to those he or she hurries by. the motive that usually actuates a woman in such a case is vanity. she cannot bear to see another woman ahead of her, so she dashes along unmindful of the rules of etiquette and the hunting-field, until by pushing, crowding, and taking big chances for herself and against others, she reaches the object of her jealousy, thinking to wrest from her the admiration of the field. if the other woman is of the same mind and objects to being passed, a steeple-chase will ensue that may end in accidents, disabled hounds, and bad feelings. admiration is far from the minds of the spectators, who do not fail to see that jealousy and vanity, not eagerness for sport, are the incentives to such hard riding. [sidenote: desirable qualities] when a woman begins riding to hounds, she should already have had some experience in larking a horse across country, and be acquainted with the way to take the different kinds of jumps she will encounter during a run. if she starts with a good seat and hands, pluck and nerve, a little time and practice will add composure, judgment, and discretion, and the experience necessary to cross a stiff country without mishap. she may then discard the services of a pilot and ride her own line. [sidenote: getting away] when hounds are thrown in, she must watch them, and, although not interfering with their work, be ready to get away on good terms with them when they begin to run. indecision at the first two jumps may cost one dearly, for during that moment of hesitation hounds slip away, horses crowd one another and begin to refuse, while the few who make the most of their opportunities ride on ahead with the hounds. much hard galloping may retrieve the lost ground, but a stern chase is always disheartening to horse and rider. by getting away in front, both are encouraged, and start with mutual good-will and satisfaction--relations which should always exist between a hunter and his rider. [sidenote: indecision] if, after pointing her horse's head at a certain part of a jump, she thinks another place is more inviting, she must not change her course, unless certain that she can do so without inconveniencing some one else who may have been going straight at it. it is inexcusable to turn from one place to another by cutting in ahead of following riders. it throws their horses out of their stride, and may force them to pull up in order to avoid a collision. therefore, in suddenly changing her direction, a woman must assure herself that she is at least half a dozen lengths in front of her follower, who is going straight, or she must wait until she has been passed. [sidenote: right of way] when a horse refuses, the rule is that the rider shall immediately pull out and give the next a chance to jump. this is so often overlooked in the field, that a few words seem desirable to impress its importance upon the minds of those who hunt. women particularly seem to consider themselves privileged to keep their horse at a fence while he refuses at each trial, blocking the way, if there is no other place to jump, of those in their rear. frequently, when her horse refuses, his rider thinks there is time to try it again before the next one reaches the place; she puts him at the fence, in her hurry turning him so short he could not jump if he wanted to, and the result is that he stops just as the other horse arrives, whose rider is thereby obliged to pull up. had the woman pulled to one side in the first place, and waited until her follower had given her horse a lead, which would probably have induced him to jump, both would have been in the next field much sooner than her impatience in the first instance eventually permitted. [sidenote: funk] a horse should not be ridden behind one that is likely to refuse, or he may be inclined to imitate the misdoings of his predecessor. in the same way, it is injudicious to take a horse to a place where others are refusing, either from their own or their riders' timidity. he is liable to be infected with their faint-heartedness; for it needs an unusually sensible, reliable horse to be the first to jump out from a crowd at a place that has stopped those in front of him. it is far better for a woman to choose another way of reaching the hounds than to risk adding to the number of refusers, unless she be so well mounted as to be sure of giving the rest a lead. [sidenote: excitable and sluggish horses] a hot-headed, excitable horse will go more quietly if he can be made to think he is ahead of the others. therefore his rider should choose a line for herself, apart from the others, and if he is a good performer it will be safer to put him at a big jump where he can take it coolly than to trust him at a smaller place where other horses are crowding and goading him into a state of such impatience that in his anxiety to overtake any one in front of him he will jump without calculation, and endanger all in his vicinity by kicking, rearing, or rushing. a sluggish horse, on the contrary, should be kept near others, that their lead and example may arouse his ambition and keep up his heart. it will not do to allow such a horse to fall far behind, as he will probably get discouraged and refuse to jump without a fight, at the end of which the hunt may have disappeared in the distance. [sidenote: proximity to hounds] it is never wise to ride on the line of hounds, but rather to the right or left of them. horses directly behind them frighten the hounds and interfere with their hunting. it also makes a few run very fast to keep from being galloped over, while many others sneak away or get behind the horses, of whose heels they stand in terror. it is a nuisance to be obliged to stop and give some slow hound a chance to get by, or, if not considerate enough to do this, no rider likes to see a hound going through a fence with the probability of having a horse jump on him, should he pause for a moment on the other side. a woman will escape these occurrences if she will keep to one side of the pack. in this position it is permissible to ride farther up than when so doing would bring her too near the pack; but the leading hounds must be watched closely, and should always be allowed plenty of room to turn sharp to the side where she is, without bringing them in contact with her horse. the instant they check, or even hover, for a moment, a woman must stop, and for two reasons: in the first place, because she does not want to be in the way should it be necessary to cast the hounds in her direction; and, secondly, because she should seize every opportunity of giving her horse a few moments' respite, which she can afford to do if well enough up to notice what the hounds are doing. [sidenote: choosing a line] she must be guided as to her course by the character of the country over which she is riding. if the hounds run over a succession of small hills, much unnecessary exertion may often be spared the horse by galloping around the base of them, instead of over their crest. but the hounds must not be lost sight of too long, or a sharp turn may hide them from view and conceal the line they have taken. when a very steep hill is to be descended, it should be done by going down sideways in a zig-zag course, so that in case of a slip or stumble the horse will not roll over, as he might if attempting to make the descent in a straight line. if the going is rough or through furze or some low growth of underbrush, a woman should sit well back in her saddle, and although guiding her horse, allow him plenty of rein to stretch his neck and see where he is putting his feet. should he stumble or step into a hole, she will in this way have the best chance of keeping her seat, and he of regaining his balance. if riding in a district where wire is extensively used for fencing, it will not do for a woman to go very far to one side of the hounds or to try to cut out a line for herself, unless she knows the country. otherwise she may get pocketed by the wire, which few horses here are trained to jump, and which, therefore, should not be ridden at. in this case she would have to go back the way she came until she could get clear of it. in jumping towards the sun, extra precautions should be taken. a horse is often quite blinded, and unable to accurately gauge the size of the jump he is to take, especially if it is timber. when the rays are directly in his eyes, the best thing to do is to walk him up to and alongside of the fence for a few yards, giving him a chance to measure it, then take him back and put him at it. this must not be done where it will interfere with any one else, but in any case such a jump must be approached slowly. wide ditches and streams are probably shirked as often as any kind of jump. too much preparation for them excites the horse's suspicions and makes him hesitate, then refuse. a horse must be kept collected, yet sent along too fast to admit of any faltering on his part, and there must be no involuntary checking of his stride as the rider tries to see the depth or width of ditch or stream. when such are in sight, it is well to quicken the horse's pace, that he may reach the place before he sees any horse refusing, or before the banks have been made unsound by the jumping of the others. each horse will probably widen the distance as the ground gives way beneath him, so a woman must use her own judgment in deciding where she will jump, instead of following some one else. a bog or swamp is a most disagreeable place in which to be caught, and calls for calmness to get out without a wetting or fall. to quiet the horse is the first thing, and prevent his plunging into it deeper and deeper, as he will with every struggle. should he be sinking, his rider must get off, keeping hold of the reins, for, although their combined weight would cause the bog to give beneath them, they might separately be able to keep on the surface, and quietly and gradually work their way to firm ground. whenever one comes upon something that cannot be seen at a distance, such as a hole, a drop, or a wire, the first person who discovers it should warn those behind by shouting back what it is, and, if possible, motioning where it is, that those in the rear may avoid it, each person cautioning the next one. xi sympathy between horse and woman the advantages derived from the existence of sympathy between horse and rider cannot be too highly estimated. when a woman gives her horse to understand that he will be ruled by kindness, he is very certain to serve her far more willingly and faithfully than if she tried to control him by force. if he has learned to be fond of her voice, it will calm and reassure him in moments of excitement which might otherwise result in a runaway; it will stimulate him to expend his best energies at her command, when force or punishment would fail, and will do more to establish a mutual understanding in a few weeks than would be gained in as many months of silent control. a horse soon learns to distinguish the intonation of words of praise from those of censure, terms of endearment from admonition, and will often respond to them more readily than to severe discipline. few horses are so dull as not to be susceptible to kindness, or so vicious as not to be influenced by gentle treatment. [sidenote: talking to horse] i do not approve of a woman, once she is in the saddle, entering upon a lengthy address of endearment to her horse if she is riding with friends. they may care for a little of her attention themselves; it is just as well not to show them the horse is the more interesting, even if she feels so. moreover, incessant chatter becomes after a little time so familiar to the animal that the voice loses its power when intended to convey a definite meaning, and he fails to distinguish the difference between commands and idle pettings. it is only necessary to reprove him, to give words of command, such as "walk," "trot," "canter," "whoa," which he may easily be taught to obey, and a few words accompanied by a caress to soothe, encourage, or command him when the occasion presents itself. when living in the country, with a stable near the house, a woman is afforded the most favorable opportunity of making friends with her horse. a good way to begin will be to dismount at the stable after a ride and take off the saddle and bridle. it is very simple, for it is only to unbuckle the outside leather girth, stirrup leather, two inside girths, and perhaps a balance strap, and take off the saddle, unfasten the throat latch, lip strap, and curb chain on the bridle, throw the reins over his head, and take hold of the headstall, when he will withdraw his head. she must have his halter ready to put on at once, or he might pull away. this will give him a pleasant impression of her, which is an important point gained. should she through some mistake find no one in the stable, and the horse in a heat at the end of her ride, she should not hesitate to scrape him herself, brush the mud off his legs, put a light blanket on him, give him only a mouthful of water, and put him in his stall with a little hay. if she will rub his ears, and sponge out his mouth, it will be a great relief to him. all this should be accomplished in a quiet manner, nothing done to alarm or excite him; and she may talk to him most of the time, and thus become quite friendly with him. [sidenote: in the stall] when she visits him in the stall, she should always speak before touching him or entering, otherwise he might be startled and kick or plunge from fright. if in a standing stall, entrance should always be made at the near side of the horse. i greatly prefer a loose box in which the horse may turn at his pleasure. if he eats too much of his bedding, it is better to keep a leather muzzle on him than to tie his head up. before opening the door of the box, he should be induced to face it, to avoid the possibility of his kicking. this can be managed by offering him some sugar, carrots, or oats, which he will come for, held quietly on the palm of the hand, with the fingers out of his reach. it is well for a woman, at first, to keep a light hold of the halter, so that he cannot crush her against the wall or hit her with his head. she should never put her head above his, or a severe knock may be the result. she should pet him, avoiding all sudden movements, and accustom him to her voice; when it has become familiar to him, he will listen for it, and neigh at her approach. if he seems inclined to kick, the closer she keeps to him the better, as then she will receive only a shove, instead of the full force of the blow. if he shows a tendency to nip or bite, from play or mischief, he should be muzzled until, by coaxing and kindness, he has been made to give it up. to strike him would be to turn his playful though dangerous prank into a vicious habit. in petting him she should begin by stroking his neck, and gradually work down and backwards with a firm, light touch, until he does not resent being handled. he must be taught to let her lean on any part of him, and not to fear her skirts. this is often of value in case a woman is thrown and her habit catches on the saddle; for if the horse were accustomed to her weight and skirt being against him, he would not become frightened. knowing her voice, he might be quieted by it, and had he learned the important lesson of stopping at the word "whoa," she might escape being dragged. [sidenote: on the road] if in the course of a ride a woman dismounts at a house or stable, she should always be sure that a light blanket is immediately thrown over her horse. she should not start for a ride until some time after her horse has been fed, or his digestion will become impaired, as would hers under similar circumstances. after mounting, it is always well, by a light hold of the snaffle, to make a horse walk a short while; it is most annoying to have him start with a series of plunges or an inclination to bolt. if he is so fresh that he will not walk without restraint likely to irritate him, perhaps spoiling his temper for the rest of the ride, it will be better to let him indulge in a brisk trot, after which he may be brought back to a walk. the next time, if having had more work, he will walk at first, while had his mouth been jerked the previous time, or a fight ensued, he would remember it, and prepare for a repetition of the performance. a horse should not of his own will be allowed to change his gaits, but his rider must think to vary them; for if the horse is kept on one too long, it tires him unnecessarily and causes him to travel carelessly. whatever gait she makes him adopt, it should be distinct and regular, and he should be kept collected and not urged beyond the pace at which he can comfortably travel. [sidenote: cautions] a jog-trot, trotting in front and cantering behind, and other such eccentricities, should not be permitted in a park hack. in turning a corner, the horse should always be somewhat supported, and have his hind-legs brought well under him, or he will be liable to slip. he should never be cantered around a corner unless leading with the foot towards which he will turn. he should not be pulled up abruptly, unless to avoid sudden obstacles, but his pace should be gradually decreased until it is as required. a sharp stop entails considerable strain on the back tendons and hocks, and if done too often would be apt to make the horse throw a curb. in going downhill, a walk is the gait which should be taken, or the horse's fore-legs will suffer. should the ground be uneven and rough, or covered with rolling stones, the horse ought to be permitted to walk. his head should not be held too tightly, or he will be unable to see where he is going, while if the reins are slack he will appreciate that he must pick his way, and then will seldom put a foot wrong. it is most undesirable to canter where there is a hard road; nothing will more quickly use up a horse than pounding along, each stride laying the foundation of windgalls and stiffness, if nothing more serious results from this ill-advised practice. if a horse is at all warm, he must never be allowed to stand in a draught; five minutes of it might founder him, so that he would be ruined, or thrown into pneumonia. if, while on her ride, a woman should be forced to wait, she must keep her horse moving in a circle or any other way, keeping his chest from the wind as much as possible. before reaching home, the horse should be walked for some time, so that he may enter the stable cool, and not be endangered by draughts if not attended to at once. when riding with others, their horses should be regarded; and as the woman sets the pace, she should not make it faster than that which her companions' horses can easily maintain. xii practical knowledge of the stable [sidenote: stabling] the woman should visit her horse in the stable, and there she cannot talk to him too much. if it be a private one, i assume that it is constructed on hygienic principles; but as horses are frequently boarded at livery-stables, a woman should not leave the choice of a stall to her groom. she should see that of those procurable it is the best drained and ventilated, though free from draughts, and well lighted. if these conditions are not obtained, sickness and incapacity may be looked for in the horse. she should notice the feed occasionally, and see that her horse is supplied with all he requires, and of the best quality, and that he has an abundance of good bedding. a frequent or indiscriminate use of physics is to be deprecated. pure air, good food, careful grooming, and regular, moderate exercise are the best tonics. [sidenote: picking up feet] she must learn to pick up her horse's feet, as she should examine his shoes personally, and ascertain that they have been made to fit the feet, instead of the horn being rasped away to fit the shoes. the soles must be pared, but the frogs and bars should not be interfered with. she cannot expect to have the shoes on more than a month; although, if the horse has not had enough work to wear them down, they may be removed and put on again, for were they worn too long, corns and inflammation, causing lameness, would be the result. another reason for knowing how to lift his feet is that he might pick up a stone on the road, and if alone she would be obliged to take it out, or run the risk of seriously laming him. while a woman is playing with him is an excellent opportunity for her to look at her horse's feet, which should be taken up in the following manner. she must stand on his near side, a trifle back of his fore-legs, and facing his hind ones. she should run her left hand from his knee to his fetlock, behind, and inside of his near fore-leg, grasping just below his fetlock, with the fingers on the coronet and the thumb above on the pastern. a horse which has been broken will yield his foot, bending his knee at once, but sometimes with such force that she must keep her head held up, so that there be no chance of contact with his heel. with the right hand she can examine his foot, after which she may pass to his off fore-foot, and then to the near hind-leg. for this she must stand close to his side, and stroke him firmly from the quarters to the hock. passing her right hand under his hock to his fetlock, and grasping his foot as she did the fore one, she must raise it, letting the hock rest in the angle of her arm, while with her right hand she turns up the foot for inspection. she must not lean too far over or get back of the horse, or she is likely to be kicked if he offers any resistance. then, too, she may unfasten the roller and throw back his blanket, that she may be sure the saddle has not rubbed his back. a slight abrasion of the skin, if treated at once, will require only a day or two to heal; but if neglected for some days, the time will be greatly prolonged. if any soreness is detected, the saddle should be looked to immediately and the cause of the trouble remedied. [sidenote: grooming] a shining coat is not positive proof that the horse is properly groomed. the hair should be rubbed the wrong way, and if the skin leaves a whitish deposit on the fingers, it will be well for the horse's owner to watch the groom the next time the horse is dressed, and to insist upon its being thoroughly done. [sidenote: bitting] much of what seems to be vice in a horse comes from his having been imperfectly bitted when young, or from subsequently having his mouth roughly handled. he should always be ridden in as easy a bit as possible, as some horses go well and quietly in a plain snaffle, and will pull, bolt, or run in a curb or any severe contrivance. no rule can be given as to what bit will best control certain tendencies. experimenting with each kind will be the only means of finding out, but pulling is as likely to arise from an over-sensitive mouth as from a hard one, in which case a rubber snaffle might prove efficacious where a chifney would fail. sometimes certain parts of the mouth become callous, and a bit bearing on a different place might produce the desired result. most horses will go well in a bit and bridoon, varied to suit their peculiarities by the height of the port, the length of the branches, and the pressure of the curb-chain. there are certain points which should always be regarded. the mouth-piece must fit the horse's mouth exactly, being neither so narrow as to pinch him, nor so wide as to lose its power. the port should be the same width as the tongue-channel, and no higher than required to leave room for the tongue. the curb-chain must be sufficiently tight to furnish leverage for the branches, yet not so tight as to pinch the jaw when no force is applied. [sidenote: clipping] clipping horses in winter i have heard objected to on the ground of its being unsafe to deprive them of the thick coat which affords protection from the cold. if their coat is thick and long, it is, in my opinion, much wiser to clip them, and for several very good reasons. their work is rarely continuous, and the alternating of the heated with the cooling-off condition is very liable to work more or less injury. a heavy-coated horse which has been driven until very warm, and then left for half an hour to stand outside of a shop or house and become chilled by the wind striking the heavy wet coat, which frequently does not dry for hours, is likely to become a subject for the veterinary. on the other hand, if the horse is clipped, he does not get so warm in the first place, and, in the second, would cool off more quickly and without danger of becoming chilled. in very cold weather quarter blankets will furnish all the protection necessary, and prevent the wind from striking the horse while standing. with saddle horses, although not so important, it is an advantage to have them clipped, because a cold day is certain to make the rider go steadily to keep warm, and the horse, becoming overheated (if his coat is heavy), is in great danger of taking cold if permitted to stand for a moment in a draught. [sidenote: bridling] no woman who rides should be without a practical knowledge of how to saddle and bridle her horse, as the groom often turns him out imperfectly bitted or girthed; and unless she knows how to do it herself, she will not perceive that anything is wrong until too late to prevent mischief. she should learn to hold the bridle by the headstall, in her left hand, as with the right she slips off the horse's halter, and throws the reins over his head. then change it to the right hand, putting her left on the bits, which she gently inserts between his jaws. with the right she must pull his ears under the headstall, and then turn her attention to fitting the bridle. she must see that the headstall fits, that the forehead-band is not too tight, and that there is plenty of room between the throat-latch and the throat. the snaffle-rein is fitted by the buckles of the cheek-piece, and should fall a trifle below the angle of the mouth. the curb needs careful adjustment, that the mouth-piece may rest exactly on the bars of the mouth. then the chain must be hooked when quite flat on the chin-groove, but not tight enough, unless used vigorously, to inconvenience the horse. the lip-strap should pass through the small ring attached to the curb-chain, thus keeping it in place. i like a bridle with buckles, or billets as they are called, rather than one which is stitched to the rings. in the first place, it is frequently desirable to change the bits, especially in a large stable, and being sewed would necessitate a bridle for each bit. furthermore, when the bits are washed, the leather gets wet, and the stitching is apt to become rotten, and unexpectedly give way at a critical moment, when some unusual strain is put on it. [illustration: double bridle for general use] [sidenote: noseband] a noseband furnishes additional control over a horse; but it should not be attached to the bridle, or it may interfere with the action of the bit. it should have a headstall and cheek-pieces, and be buckled tight enough to prevent the horse from opening his mouth too wide, but it must not restrain his breathing. [sidenote: martingale] if a martingale is used, i much prefer a running to a standing one. it is useful with star-gazers or horses that get their noses out too far. some horses need one to steady them in hunting, but the running martingale is the only one which should be tolerated in jumping, and then not be used unless necessary. it is attached to a girth, and at the two upper ends are sewed rings through which the snaffle passes. with a running martingale there must be a stop on each snaffle, considerably larger than the rings of the martingale; otherwise there is danger of these rings getting caught in the bits, frightening the horse, and making him rear or back, as there is no way to release the pressure thus brought on his mouth. the length should be carefully regulated, so that it will keep the horse's head at the desired height. this admits of considerable play to the horse, but within control of the rider, while with a standing martingale no liberty is attainable. once mounted, the rider cannot influence its bearing; and should the horse trip, he cannot fling up his head, as he must to regain his balance. [sidenote: breast-plate] for ordinary riding a breast-plate is not always used, but in hunting it is almost indispensable, and is always a safeguard against a woman's saddle slipping back. it is put on over the horse's head with the reins, and one strap passes between his fore-legs, through the loop of which one of the girths passes. two other ends buckle, one on each side of the saddle, near the horse's withers, and it should be loose enough to admit of free movement in galloping and jumping. [illustration: correct saddle] [illustration: undesirable saddle] [sidenote: the saddle] the saddle should be very plain in appearance. it must have a level seat, which can only be obtained in those having the tree cut away above the withers; otherwise, to clear them, the saddle must be so elevated in front that it is sometimes six inches higher than the cantle, placing the knee in an awkward and fatiguing position, and it is impossible to rise without an unusual amount of exertion, which will lead to arching the back, thrusting the head forward, and probably galling the horse's withers. there should be no third pommel, such as there formerly was on the right side of the saddle, bending to the left over the right leg. the two pommels must fit the knees exactly, or the circulation will be impeded, and a cramp brought on which renders the muscles powerless to grip the pommels. the seat must extend about an inch beyond the line of the spine, and, although i usually object to it, for a child the seat should be covered with buckskin. no more padding should be used than is required to fit the horse's back, as it looks badly for the top of the saddle to be several inches above the horse. moreover, the nearer one is to the animal's back, the greater will be the control. it enables one more readily to detect the stiffening of the muscles when mischief is contemplated, and to be prepared to thwart it. it should not have any superfluous straps, stitching, or attempts at ornamentation: the simpler the style the better; even the slit on the saddle-flap for the pocket is now frequently dispensed with. a safety pommel-band is sometimes fastened from the extreme upper forward end of the right saddle-flap to the top of the right pommel, thence to the left. this lessens the likelihood of a skirt becoming caught. [sidenote: stirrup] on no account should a slipper stirrup be used, but a safety stirrup without any padding, and one which does not work by having the bottom drop out, as these are apt to come to pieces when least desired, leaving the foot without any support. the best kind have the inner half-circle jointed in the middle and working on a hinge at both sides, so that it can open only on being pulled from below, as in case of a fall. next to this in safety comes a plain, small racing stirrup. [illustration: safety stirrup, closed] [sidenote: girths] the fitz-william web girths are the best for a woman's saddle, white being used in preference to darker shades. there are braided raw-hide and also cord girths, the former being very serviceable, but they do not look so well as either of the others. [illustration: safety stirrup, open] [sidenote: saddling] when the saddle is in position, free from the play of the shoulders, the first girth is taken up, then the back one, and kept clear of the horse's elbows, that his action may not be impeded. although pulling the girths excessively tight is to be avoided, it will not do to leave them loose, as a woman's unevenly distributed weight might cause the saddle to turn. any wrinkles in the skin caused by the girthing should be smoothed away by passing the fingers between the girths and the horse. then the stirrup-leather is buckled, after this the outside leather strap that keeps the saddle-flap in place, and finally the balance-strap, which must be fairly tight, assists in keeping the saddle in position. before mounting she should always glance at the saddle and bridle, and be sure that they are properly put on; otherwise her ride may be rendered uncomfortable, if not dangerous. xiii something on driving [sidenote: desirability of instruction] ninety-nine women out of every hundred are firmly convinced that instruction is by no means necessary to their driving safely and in good form. four men out of five labor under the same delusion. it is a sad error, that leads to numberless failures, and many accidents which might so easily be avoided if the services of a competent teacher were employed at the beginning. having seen others drive without any apparent difficulty, the novice conceives the notion that there is nothing to learn which cannot be mastered without assistance after one or two attempts. if such a one escapes a bill of damages, it should be credited to the ministering care of her guardian angel. she may indeed escape accident; she may learn to start without dislocating the neck of every one in the trap, and get around the corner without an upset; but she will never learn to _drive_. there is something more for her to know than that she must pull the off rein to turn to the right and the near one to go to the left, though this appears to be the extent of knowledge deemed necessary. women, even more than men, require a thorough understanding of what they are doing, for they lack the strength to rectify a miscalculation at the last moment. the ignorance, indecision, and weakness frequently displayed by women in driving are what so often render them objects of apprehension to experienced whips. it is folly for any woman to flatter herself that she needs only a little practice, and that the rest "will come." if she has not begun correctly, practice will only wed her to the faults she must have acquired. assuming, however, for the sake of argument, that, after having discounted her call on an all-protecting providence and stricken with terror her long-suffering friends, she manages to guide the family nag along the turnpike without the aid of a civil escort to clear the road before her--what of it? she hasn't learned anything; her form is execrable; and in case of an emergency she is quite as unprepared as when she took up the reins weeks before, with the ill-conceived notion that she was not of the common clay, and that, a whip, rather than a rattle, had been the insignia of her infantile days. how much better, safer, and more sensible to acquire good form than by its neglect to become an object of ridicule to those who, by their knowledge of driving and exposition of superior horsemanship, are entitled to criticise others who have disregarded proper instruction, and, wise in their own conceit, relied on their ignorance for guidance. [sidenote: vulgar display] some women there are who drive only because they consider it the "proper thing." absorbed in the opportunity for display, and ignorant of the fitness of things, they array themselves in the treasures of their wardrobe, more likely than not to be a gay silk, and, with every discordant ribbon and flounce of their _bizarre_ costume loudly challenging the attention of the on-lookers, they sally forth perched on the box of a spider phaeton, tilbury, or dog-cart, indifferent to, because ignorant of, the incongruity of their turnout, unconscious of the signal they have flung to the breeze, which unmistakably proclaims their lack of early instruction. [sidenote: bad form] these are they who in the handling of their animals instantly call to mind the puppet-shows of our childhood days, and fill us with an almost irresistible desire to look under the box-seat and discover who is working the invisible wires. every movement is spasmodic--the arms work as though an alternating electric current were constantly being turned through them--the hands finger the reins nervously; and if the vehicle happens to be a two-wheeler, the unhappy driver looks as though every jolt of the poorly balanced cart would send her into the road from her very insecure seat. another harrowing spectacle is that of the woman leaning forward, a rein in each hand, with her arms dragged almost over the dash-board by her horse's mouth, a look of direful expectancy in her eyes, and a much be-flowered and be-ribboned hat occupying unmolested a rakish position over one ear, where it has fallen during her hopeless struggle with the reins. [illustration: a well-balanced cart] [sidenote: costume] it is strange women should not have a sufficiently clear idea of the fitness of things to realize that elaborate toilets of silks, laces, and flowers, and large hats, although appropriate in a victoria, are inconvenient and totally out of place when driving a sporting-trap, such as a dog-cart. a plain, neatly fitting, but not tight cloth suit, with a small hat, which will not catch the wind, is far more serviceable and in better taste. however, she should avoid the other extreme affected by the woman who desires to appear masculine and "sporty," and who, showing a large expanse of shirt front, wears a conspicuous plaid suggestive of a horse-blanket. this specimen of feminine "horsy-ness" invariably drives with her hands held almost under her chin, and her whip in as vertical a position as herself. she is as powerless to control her animal as is the one who leans over the dash-board. [sidenote: cockade] this is the sort of woman who compels her groom, if she have one, to wear a cockade in his hat, in ignorance of the fact that we in this country have no claim to its use. in great britain it is the distinguishing mark of either the royal family or the military, naval, or civil officers of the government; but used here it is only a meaningless affectation. [sidenote: confidence] to achieve success, and to obtain a business-like appearance in driving, a woman must possess confidence in her power to control her horses, and it must be the confidence derived from knowledge and skill, and not that born of ignorance or fool-hardiness. she must know what to do, and how to do it promptly, under all circumstances, and this necessitates a thorough comprehension of the sport she is pursuing. it is to be hoped she will gain this from competent instruction, and that she will embrace every opportunity of adding to her information on the subject. [sidenote: the "family-horse" fallacy] a quiet, steady old horse, such as one might expect to see doing farm-work, cannot always be recommended even to a beginner, for he generally requires so little management that when he does occasionally become unruly it is so unusual that the woman is taken unawares. moreover, it makes one careless and slovenly always to drive a horse which goes along in a leisurely manner, without any display of life. a woman who has been accustomed to such an animal will be at a loss to manage a spirited pair, should she be called upon to do so. if she begin with a horse which goes well into his collar and does his work generously, she will learn twice as much as she would in the same time with a lazy horse, and will sooner be able to drive a pair. [sidenote: on the box] the position on the driving seat should be comfortable and firm, which cannot be the case when it is used merely to lean against, instead of to sit upon. from the knee down, the leg should be but slightly bent, with the feet together and resting against the foot-rail. the elbows should be held near the body, and the reins in the left hand, with the little finger down, and the knuckles pointing straight ahead, about on a line with or a trifle below the waist, and in the middle of the body. whether driving one or two horses, the manner of holding the reins is the same; but more strength and decision, as well as the judgment which, of course, experience will bring, are required for the pair. [sidenote: position of reins] the near rein belongs on top of the first finger, held there firmly by the thumb, and the off rein should be between the second and third fingers. the gloves should be large, broad across the knuckles, and long in the fingers; otherwise cold, stiff hands will result from the impeded circulation. the right hand, close to the left, should contain the whip, which must be held at an angle of a little less than forty-five degrees, and at the collar, about eight to ten inches from the butt, so that it balances properly. [sidenote: handling reins] when about to start, the reins should be tightened, to feel the horse's mouth, and a light touch of the whip will suffice to send him forward. the hand should then yield, so that as he straightens the traces there will be no jerk on his mouth. in turning to the right or to the left, the reins must not be separated. the right hand should be placed on the rein, indicating the desired direction, until the turn has been made; but a slight pressure on the opposite rein should keep the horse from going too near a corner. the left hand must not relax its hold, so that when the right is removed the reins will be even, as they were before. in stopping, the body is not to be bent backwards, suggestive of an expected shock, and the hands raised to the chin. it cannot be too strongly impressed on the woman's mind that the less perceptible effort she makes, the more skilful will she appear. therefore, if she take hold of the reins with her right hand as far in front of the left as she can handily reach, and then draw them back, she will have accomplished her purpose in a quiet and easy manner. [sidenote: a pair] driving a pair is much the same as driving one horse; but allowances should be made for the peculiarities of each, and they should not be treated as though machines of identical construction. frequently a woman driving a nervous horse with a quiet one will hit them both with the whip, when, should she touch the quiet one only, the sound of it would urge the other as much as the blow does the dull one. here is another objection to clucking to horses: one of them needs it much more than the other, yet they hear it with equal clearness, and simultaneously; therefore the high-mettled horse increases his pace sooner and more than his sluggish companion, and does more than his share of the work. several noiseless touches of the whip, administered in quick succession to the laggard, will do more to equalize their pace than would a sharp, loud cut or any amount of clucking. sometimes a woman will experience great inconvenience from not having her horses properly bitted and harnessed. this should always be seen to, either by herself or some one who is competent to judge for her. when she has more than one horse to control, she will soon become tired if one of them pulls and the other will not go into his collar. a judicious readjustment of the curb-chain and the coupling-rein will often make the difference between discomfort and ease. xiv something more on driving [sidenote: management] while a horse is doing his work in a satisfactory manner he should not be irritated by having his mouth jerked and the whip applied for the driver's amusement. it is a pity all women do not realize that a horse will accomplish, with less fatigue, much more work when taken quietly than he will if fretted and tormented by needless urging or restraint. constant nagging affects an animal in the same way as it does a human being; and though a horse is usually subjected to such treatment through want of thought, it is none the less exasperating to him. one result of this ordeal is that it prompts him to break into a canter as he becomes restless; and then he must be brought back to a trot by decreasing the speed and keeping the hands steady. [sidenote: stumbling] a stumbling horse must be kept awake and going at a medium rate of speed. in either a very fast trot or a slow one he is likely to trip, and unless his driver is prepared for it, and ready to keep him up, he will probably fall, and she may be pulled over the dash-board. a bearing-rein may assist in keeping him on his feet, but an habitual stumbler can never be considered safe. such a horse must not be driven with loose reins, as a feeling on his mouth is necessary at all times. [sidenote: backing] when a horse persistently backs, there are two great dangers: first, he may upset the carriage, unless it cuts under; and, secondly, he may back into something or over an embankment. if the road be level, a woman must try to keep the horse from backing to one side, although in case of a steep declivity it may be necessary to pull him sideways, and risk an overturn rather than a fall over a bank. in all events, the whip should be vigorously applied, in the hope of starting the horse forward; if the woman have a groom with her, he should go to the horse's head at once and lead him. occasionally, backing may arise from sore shoulders caused by an ill-fitting collar; but if there is no such excuse for his action, and it should become a habit, the horse is not suitable for any woman to drive. if desirous of making a turn in a narrow lane, it will often be necessary to back off the road, between trees or on to a foot-path, to obtain room. some horses will not back under these circumstances, nor from a shed where they have been tied. in most instances all that will be required is to get out, take the horse by his bridle, and by lightly tapping one foot make him raise it, at the same time pushing him back by the bit. the other foot should be moved in the same way, and this repeated until he has gone far enough. after a few steps the woman may resume her seat, with the probability of the horse backing without further resistance. [sidenote: rearing and kicking] if the horse is nervous, the pull at his mouth may make him back so fast that in his excitement he will rear. in this event the reins should be loosened a moment and the animal quieted, after which the backing process may be continued. if the rearing comes from temper, and takes place when he has been going forward, there should be no weight on his mouth while he seems in danger of falling backward, but a cut of the whip administered as he comes down may prevent his trying it again. it is important to feel his mouth at this juncture, as the whip will make him plunge forward, and the hold on his mouth must be firm enough to keep the traces loose as he lands; otherwise there would be a sudden strain on them, and consequently an unpleasant jerk, which might bring the carriage on to his hocks, as he stopped to gather himself for another effort, and, even if it did not make him kick or run, he would probably be bruised. a determined kicker needs to have his head kept up, and for this purpose a bearing-rein will be found of great service. he should be driven with a kicking-strap, but it must not be too tight, or it will induce the habit it is intended to cure. he may kick if the crupper is too tight, so this also should be looked to. [sidenote: rein under tail] when a rein gets under the tail of a horse, under no circumstances should an attempt be made to pull it away. it should be pushed forward, and the horse spoken to in a reassuring manner. if he does not then release it, a slight cut of the whip may divert his attention; he will whisk his tail, and at this instant the rein must be allowed to fall to one side, as were it pulled directly up, it would be likely to be caught again. if these methods do not prove efficacious, a woman must try to keep the horse straight, and prevail upon him to walk until some one sees her predicament and comes to her assistance. in some traps she might be able to reach forward and remedy the difficulty, meanwhile watching for any symptoms of kicking. but whether she does it herself or directs some one else, she must see that the tail is lifted, instead of an effort being made to pull the rein away. many mishaps come from this seemingly trivial occurrence, and a horse frightened by improper treatment is liable to bolt or run. it is always an excellent plan to have a horse trained to stop short at the word "whoa!" this expression is usually misapplied, being made to do duty for "steady" or "quiet," and it will be difficult to teach a horse its true significance unless he is never driven without this end in view, and the term employed only when it is meant. [sidenote: bolting and running] in the event of a horse bolting, the chances are very great against a woman's checking him. if she can do it at all, it will be by sawing his mouth, and giving a succession of sharp jerks, while endeavoring to control his course. the most dangerous and irrational thing she can do is to jump out of the trap. severe injuries almost invariably attend such a proceeding; and if it be possible to stay in, she should do so, never relinquishing her hold on the reins. if from the swaying of the carriage she seems in danger of being thrown out, a woman must make sure that her skirts are not caught on anything, and that her feet are clear of the reins. men sometimes pull a runaway horse into a ditch or up a steep bank, which stops him; but a smash or an overturn is inevitable; and should a woman attempt this, there is great danger of her being unable to extricate herself from the tangle. she is handicapped by her skirts, which are more than likely to cause her to be dragged should the horse manage to start off again. besides this, after a struggle such as she will have had, a woman will seldom have enough strength left to force a horse from the direction he has chosen. [sidenote: crowded driveways] in whatever pranks horses indulge, the dangers are multiplied and intensified when encountered by a woman who ventures to drive in a crowded park or avenue during the afternoon. women of culture and refinement, realizing this, and wishing to avoid making themselves conspicuous on public highways, are content to be driven at this hour, reserving the mornings for the pleasure of handling the reins themselves. some women there are who drive better than most coachmen, and a few of these may desire to display their skill and their well-appointed traps when the spectators are most numerous. they may be competent to make their way through such a maze as one finds on popular carriage roads, but they do it in defiance of the condemnation they will receive from people of more refined ideas. the majority of women who drive are unable to control their horses, and they need not flatter themselves that their immunity from accidents is the result of their skill. they owe their safety to the fact that men, appreciating the uncertainty of their movements, give them plenty of room, and keep as far as they can from anything driven by a woman. [sidenote: road courtesy] such women would be less objectionable if they were more considerate of others. for example, they should keep on their own side of the drive, and, if they are going slowly, as much to the right of it as possible, that those who desire to pass may not have their way blocked. again, they should remember that some one is behind them, and that they should not endeavor to turn or stop abruptly without having intimated their intention to those in the rear. another heedless thing they do is, in passing a leading trap to turn in ahead of it so sharply that a more careful driver is forced to pull up rather than endanger his horses by having the wheels swing against them. women seem to forget now and then that they must always pass to the left of a vehicle in front of them, and not try to get through a small space on its right. if they would only take a few lessons in driving, pay attention to the instruction they receive, and cultivate consideration for others, their presence on the box might be welcomed more frequently and with greater warmth than it now is. it would be well if equestrians rode with more regard for the convenience of those who are driving. when a bridle-path is provided for them, there is no reason why they should usurp any of the road intended for carriages. they would feel outraged, and justly so, if one vehicle should appear on their road; yet swarms of them daily use the drive, occupying much-needed space, and clattering and darting along, unmindful of startled horses and the narrow escapes of their own mounts from collisions with many wheels. [sidenote: tandems and teams] comparatively few women are so fortunate as to have an opportunity to drive tandem or four-in-hand. if they are so situated that they would be likely to do so frequently, they should not hesitate to take lessons, as otherwise they would slowly learn from many dangerous and costly experiences what a trustworthy teacher could have shown them with safety and expedition. however, it is well to be prepared for all contingencies, and therefore many women may desire to know something about these branches of driving, in case they should in some unforeseen manner have an opportunity to essay them. if, for instance, she were driving with a friend who offered to let her take the reins, a woman would not be expected to look to the harnessing and bitting, but there are a few points she might be glad to know. [sidenote: reins] the reins are held the same in tandem and team-driving. the first finger separates the leaders' reins, and the second those of the wheelers, with each near rein above the off one. thus over the first finger will be the near leader, under it the off leader, and between this rein and the second finger the near wheeler, with the off wheeler between the second and third fingers. the right hand must be free to hold the whip and to manipulate the reins. the off-wheel rein will often need attention, as the third finger is not so strong as the other two used, and therefore this rein will more readily slip through. in changing a rein it must always be done by pushing it back from in front of the hand, instead of pulling it through from behind. [illustration: position in tandem] the correct handling of the whip can be mastered only after much patience and constant practice, but its proper use is of paramount importance. women will find driving tandem easier than driving four, because, although it requires more skill to keep the horses straight, it does not call for the amount of muscle needed to manage four horses, the brake, and whip. [sidenote: unruly leader] at first the weight alone of the reins would tire her, and of course there are more chances of mishaps with four horses than with two. in the latter the leader has no horse at his side to steady him; but if well trained he will travel straight, and not attempt to turn around and join the wheeler. should he do this, and not respond to the reins, the whip should hit his neck with force sufficient to make him change his mind. as a last resort, the wheeler must be turned to follow him, and then they must both be made to proceed in the direction desired by the driver. if the leader, instead of being exactly in front of the wheeler, gets too far to the right, his near rein should be shortened; but the wheeler must be made to meet him half-way by pulling his off rein at the same time. in the opposite case the off-lead and near-wheel reins must be shortened. [sidenote: turning] to turn a corner, say to the left, with a tandem or a four, the near-lead rein should be looped by taking up several inches, pushing it back of the forefinger, and holding it there in this shape with the thumb. the right hand must be placed on both off reins, to guard against the turn being made too sharply, and the cart or coach being brought into contact with the corner. to turn to the right, the reverse tactics are employed, but it is more difficult to loop the off rein. when the corner has been successfully rounded, the right hand should be taken away and the left thumb raised, thus leaving the horses in a position to go straight. in going downhill all the reins should be shortened, and care taken that the leaders' traces particularly are loose, or they may pull the wheelers down when these should be holding back the coach. the wheelers should always, if possible, start and stop the load. in going uphill the leaders must do their full share, and on the level each horse must be kept up to his work. an unnecessary nervous fingering of the reins should be avoided, as, besides being most unworkmanlike, it irritates the horses. it is the height of folly for a woman to attempt to drive a tandem or a four-in-hand until she is thoroughly familiar with one horse and a pair. she may understand the theory of it, but until she has had some practice under proper instruction she should not take the reins, unless some one is near to assist her, or she will endanger not only her own safety, but jeopard that of those who may accompany her. finis * * * * * blaikie's how to get strong. how to get strong, and how to stay so. by william blaikie. illustrated. 16 mo, cloth, $1 00. mr. blaikie has treated his theme in a practical common-sense way that appeals at once to the judgment and the understanding. a complete and healthful system of exercise is given for boys and girls; instructions are set down for the development of every individual class of muscles, and there is sound advice for daily exercise for children, young men and women, business men and consumptives. there are instructions for home gymnastics, and an easy routine of practice laid out.--_saturday evening gazette_, boston. every word of it has been tested and confirmed by the author's own experience. it may be read with interest and profit by all.--_christian instructor_, chicago. a successful performance, everything in the line of gymnastic exercise receiving copious illustrations by pen and pencil. the author's aim is genuinely philanthropic, in the right sense of the word, and his work is a useful contribution to the cause of physical culture.--_christian register_, boston. published by harper & brothers, new york. _the above work will be sent by mail, postage prepaid, to any part of the united states, canada, or mexico, on receipt of the price._ blaikie's sound bodies. sound bodies for our boys and girls. by william blaikie. with illustrations. 16 mo, cloth, 40 cents. a manual of safe and simple exercises for developing the physical system. mr. william blaikie's new manual cannot fail to receive a warm welcome from parents and teachers, and should be introduced as a working text-book into thousands of schools throughout the country.--_boston herald._ a book which ought to be placed at the elbow of every school-teacher.--_springfield union._ the directions are so simple and sensible that they appeal to the reason of every parent and teacher.--_philadelphia press._ the influence of judicious exercise upon mind as well as body cannot be overestimated, and this will be a safe guide to this end, requiring no costume nor expensive apparatus.--_presbyterian_, philadelphia. published by harper & brothers, new york. _the above work will be sent by mail, postage prepaid, to any part of the united states, canada, or mexico, on receipt of the price._ * * * * * transcriber's note: obvious typographical errors were corrected. hyphenation variants were retained as in the original. illustration list: "hands and seat in rearing ... facing p. 66." the illustration was actually facing p. 64; it has been moved to p. 66. transcriber's notes : (1) typos, spelling mistakes and punctuation errors have been corrected. (2) italic text is marked with _underlining_; bold text is marked with =equals signs=. (3) footnotes are marked as [a], [b] and so on, placed at the end of the relevant paragraph. [illustration: mr. baucher, upon partisan.] new method of horsemanship, including the breaking and training of horses, with instructions for obtaining a good seat. illustrated. by f. baucher. _translated from the ninth paris edition._ new york: albert cogswell, publisher, no. 139 eighth street. translator's preface. the author's introduction to his "method of horsemanship" is omitted in this edition, because containing much that would be uninteresting to the american reader. it mentions the great difficulties he had in attracting the attention of the public to his system, and the complete success with which it was crowned when once this attention was attracted. one paragraph from it, which contains the principle upon which his whole method is founded, is here given: "however favored by nature the horse may be, he requires a preparatory exercise to enable his forces to afford each other mutual assistance; without this everything becomes mechanical and hazardous, as well on his part as on that of the rider. "what musician could draw melodious sounds from an instrument without having exercised his fingers in handling it? he would certainly, if he attempted such a thing, produce only false discordant sounds; and the same thing occurs in horsemanship when we undertake to make a horse execute movements for which he has not been prepared." m. baucher presents the official documents upon the subject of the introduction of his method into the french army with the following introductory remarks: "since the first publication of my method, indisputable facts have attested the truth of the principles therein contained. field-marshal the minister of war has appointed a commission, presided over by lieutenant-general the marquis oudinot, to examine into its advantages.[a] "fifty horses, some from the troop, and others belonging to officers, which had not yet commenced their education, or which were considered difficult to manage, or vicious, were subjected to the experiment, which commenced on the 21st march, 1842. the demands of the service of the garrison of paris permitting only a small number of cuirassiers, municipal guards, and first-class lancers to be put at the disposition of the commission, nearly all the horses were intrusted to riders who were by no means intelligent, or else whose education was not very much advanced. the riders themselves exercised their horses. on the 9th of april--that is to say, after fifteen lessons--field-marshal the minister of war wished to witness the results of the system he had ordered to be tried. his excellency was accompanied by the members of the committee of cavalry, and many other general officers. the men being completely armed and equipped, and the horses caparisoned, they executed, individually and in troop, at all the paces, movements that, up to this time, had only been required of horses that had been exercised for five or six months under experienced riders. the minister of war followed all the trials with the greatest interest, and before retiring expressed his complete satisfaction, and announced his intention of having a general application of it made in the army." [a] "the commission was composed of lieutenant-general oudinot, col. carrelet, commander of the municipal guard, the chef d'escadrons de novital, commanding the cavalry riding-school, and the captain-instructors degues, of the 5th cuirassiers, and de mesanges, of the 3d lancers." among the official documents in favor of baucher's method is a letter from m. champmontant, lieutenant-colonel of the staff, secretary of the committee of cavalry, in which he requests m. baucher to fix a convenient time to appear before the committee and explain his system more completely, that they may consider its adoption in the army; another from lieutenant-general marquis oudinot to m. baucher. in this letter the general informs m. baucher that the minister of war has decided that a series of experiments shall be made upon his method of breaking new horses and such as were considered difficult to manage. then follows the report upon the trials of baucher's method, and a recapitulation of the daily operations by the _chef d'escadrons_ de novital, commanding the royal school at saumur. the complete success of the trial is mentioned above, and an extract only from the report will be here given: "but, it may be objected, will not this species of captivity to which the new method will subject the horse, prevent his lasting? will it not be the source of his premature decay? to this it is easy to answer by a comparison, which to us appears conclusive. when all the wheel work of a machine fits well together, so that each part furnishes its share of action, there is harmony, and consequently need of a less force; so when, in an organized body, we are enabled to obtain suppleness and pliability in all the parts, the equilibrium becomes easy, there is suppleness and lightness, and in consequence, a diminution of fatigue. "far from injuring the horse, the new method has the advantage of being a great auxiliary in developing the muscles, particularly in a young subject." extract from the report to lieutenant-general oudinot, by m. carrelet, colonel of the municipal guard of paris: "to shorten this narration, i would say that the officers of the municipal guard are unanimous in their approval of m. baucher's proceedings, applied to the breaking of young horses. "we have assisted at the education of forty troop horses, all more or less difficult to manage; and we are convinced that, by baucher's system, they have been more advanced in fifteen days than they would have been in six months, by the proceedings we have been accustomed to follow. "i am so convinced of the efficiency of the means practised by m. baucher, that i am going to subject to them all the horses of my five squadrons." extract from the report of lieutenant-general marquis oudinot to his excellency the marshal the minister of war: "that the system of m. baucher may produce in the army all the advantages expected from it, it would be necessary to have a certain number of instructors initiated in it as completely as possible, that they may be able to teach it afterwards. "in consequence of which, i have the honor to propose to you to order: "1st. that upon the return to saumur of the commanding officer of the riding-school, the young horses be broken after baucher's method, and observations made upon the advantages or disadvantages that it presents. "2d. that in the fifth cuirassiers and the third lancers, the application of this method be continued. "3d. that the different bodies of cavalry within a circle of twenty-five leagues around paris detach, for about two months, their captain-instructor and one officer, who should come to study the system of m. baucher." the minister of war immediately issued these three orders, and also three additional ones: "4th. m. baucher, jr., will repair to the camp at luneville and sojourn there during the months of june, july and august. the captain-instructors and one lieutenant from the troops of horse stationed in the neighborhood of paris will be ordered to luneville during those months to study the baucher system. "5th. m. baucher, jr., will receive an indemnity of five hundred francs a month. "6th. each of the bodies of troops of horse and establishments of unbroken horses will receive two copies of the work entitled 'a new method of horsemanship, by m. baucher.'" extract from the report of the chef d'escadrons grenier, appointed to the command of the officers detached to paris, by ministerial decision of the 20th of may, 1842, to study the method of horsemanship of m. baucher: "the officers detached to paris were of the number of twenty-two, the captain-instructor and a lieutenant from each regiment. * * * they exercised for thirty-nine days. * * * these officers did not all arrive at paris with the belief that they could be taught anything. one-half were captain-instructors, the rest, lieutenants, intended to become the same. thus, in the beginning, there was very little confidence, on the part of the officers, in their new professor, sometimes even opposition, but always zeal and good will. "little by little, confidence came, opposition disappeared; but only at the end of the first month, after about twenty-five lessons, did all the officers, without exception, understand the method and recognize the superiority of m. baucher's principles over those previously known. "before leaving, they all approved of the new method, and desired its application in their regiments. "the method of horsemanship of m. baucher is positive and rational; it is easy to understand, especially when studied under the direction of some one who knows it. it is attractive to the rider, gives him a taste for horses and horsemanship, tends to develop the horse's qualities, especially that of lightness, which is so delightful to discover in a saddle-horse. * * applied to the breaking of young horses, it develops their instinct, makes them find the domination of the rider easy and pleasant; it preserves them from the premature ruin that an improper breaking often brings with it; it may shorten the time devoted to the education of the horse; and it interests the riders employed in it." m. desondes, lieutenant of the ninth cuirassiers, winds up a long and highly favorable report upon the breaking of young horses for the army with the words, "to baucher the cavalry is grateful." extracts from the sixth and last report upon the trials of the new method of horsemanship of m. baucher: "the first trials are concluded. the principal movements of the platoon-drill on horseback, the running at the head and charging, have completed the exercises. thus, thirty-five lessons have sufficed to perfect the instruction of the tractable as well as the intractable horses confided to me. the first rough work with the horse--that is to say, the exercises with the snaffle prescribed by the orders--used to take up as much time as this, and then we scarcely dared to touch the curb-rein. in this view, the new system is of great utility for cavalry. "but the promptness with which we can put new horses in the ranks is not the only advantage the new method presents; it guarantees, besides, the preservation of the horse; it develops his faculties and his powers; these increase by the harmony and proper application of the forces among themselves and by their rational and opportune use. it is not the immoderate employment of force which conquers a rebellious horse, but the well-combined use of an ordinary force. the baucher system ought to be considered eminently preservative, since the breaking, being well graduated and well combined, cannot have an injurious influence upon the horse's _physique_; and his forces being at the disposition of the rider, it is he, the absolute dispenser of these forces, who is responsible for their duration or premature destruction. * * * i repeat it, that the new method would be a great benefit, an indisputable improvement for cavalry. * * * i pray then for its adoption, and ardently desire its prompt introduction into the cavalry. (signed) de novital." extract from the _spectateur militaire_: "passionately fond of a science that, from his childhood, has been the object of studies as productive as they were persevering, m. baucher, after having obtained from the horse a submission almost magical, has not been willing to be the only one to profit by his meditations; he has put them cleverly together, and his written method is now in the hands of all those who occupy themselves with horsemanship. * * * the division of dragoons, and the instructors of the different bodies of troops of horse that composed a part of the camp of luneville, intended to execute, after the principles of the new method, and in the presence of their royal highnesses, the dukes of orleans and nemours, equestrian exercises that would have had thousands of spectators. the mournful event that deprived france of the prince royal did not allow of this performance having the _éclat_ that was intended. nevertheless, m. the duke de nemours, wishing to judge for himself of the results, has had part of these exercises performed in his presence." the death of the duke of orleans, and the indifference and afterwards opposition of the duke de nemours, were the principal causes of the system of m. baucher not being adopted for the whole cavalry of the french army. the former was an ardent admirer of the system, while the latter was an equally ardent admirer of a rival professor of horsemanship. extract from a letter of m. de gouy, colonel of the first hussars, to m. baucher: "so far from the muscular power being lessened by the repetition of the flexions, is it not increased by having all the advantage of exercise over repose, of work over indolence? does not the muscular system, in reason, develop itself, physiologically speaking, in proportion to these conditions? will not address and vigor be the result of these gymnastics? has the habitual difference between the forces of the right and left arm any other cause than the difference in the daily use of the one to the prejudice of the other?" baucher says: "to prove the complete success of my mission to saumur, i will back, according to my custom, my assertions by positive facts. the officers present at my course of instruction were of the number of seventy-two; of this number sixty-nine have sent in reports favorable to my method. there were but _three dissenting voices_." this statement is followed by letters from general prévost, de novital, etc., all highly commending the system. baucher's method has been reprinted in belgium and translated into dutch and german. in the latter language, several different translations have been written, one by m. ritgen, lieutenant of the fourth regiment of _houlans_ (prussian), and the other by m. de willisen, lieutenant-colonel of the seventh cuirassiers (prussian). the translator will give some extracts from the preface to m. de willisen's translation, as it shows that some of the difficulties met with by the former were not altogether escaped by his german _confrère_. "after the most positive results had proved to me most convincingly that, of all existing methods, that of m. baucher was the best, i thought that it would be useful to translate it. this translation seemed at first much easier than it proved in the sequel; above all, it was actually impossible for me to render in german, as i wished, such technical french expressions as _attaques_, _acculement_, _assouplissement_, _ramener_, _rassembler_, etc., retaining their clearness and conciseness. in german i could only find expressions that were incomplete. on this account i have put all the words for which i could not find a clear equivalent in german in the original french. "horses may be broken with much success upon other principles--they have been broken before m. baucher's time--but no work has thrown so much light upon horse education; no other method has taught such simple and sure means, nor presented a like result with certainty. he who would ride with safety and satisfaction, ought to be completely master of an obedient and correct horse. to obtain this result, m. baucher gives the surest means and points out the shortest road: "the exact knowledge of the obstacles that the horse presents to dispose him to obey easily; the simple manner, easy to understand and easy to execute, of making these obstacles disappear, distinguish this method from all preceding ones, and render it of the greatest importance to all riders. "the close relations that are established between rider and horse give the former such a certainty of hand and legs, and the latter such suppleness and obedience, that a like result has never previously been obtained. "until now, no horseman has ever had such clear and sure means for breaking a horse given him, even approximatively, as are contained in this book. the trial will give the most convincing proofs of this when we undertake to apply the principles therein contained; but that can only be considered a trial when made by following strictly what is prescribed in the method. there is no other method that can put the horse so certainly in the hand and in the legs of the rider; no other method succeeds in developing so much address and assurance in horse or rider: the horse feels at his ease, the rider is absolute master of him, and both are at their ease. * * * this new method teaches, further, what is of very great importance, the most certain means of making the rider perfectly in harmony with his horse, so that they can understand and mutually trust one another, in such a way that the horse obeys as punctually as the rider guides him skilfully. in place of being obliged to break every horse after our own particular fashion, we will only, thanks to this method, have to occupy ourselves with one horse, for it teaches us that the same means are applicable to all horses. it is unnecessary to enumerate the advantages the instruction of the rider gains from it, for he escapes the martyrdom of the lessons being given him on awkward, badly-broken horses. riders will sooner become masters of these managed horses, and will acquire in six weeks a seat that will come of itself, and their touch will be developed much more quickly. "finally, men learn very quickly to put in practice means that are applied on foot, and there is a great advantage in it; it is that they can see better the moment that the neck becomes flexible and the jaw without contraction; besides this, their hand becomes much more delicate than it would have become in a much greater space of time, if the application took place in the saddle. "until now, only men of great talent were able to break horses; now, by practising this new method, which demonstrates clearly the means of breaking, every rider, in a very short time, can acquire the knowledge necessary to render a horse fit for use. * * * a person commencing to learn this method, and who is obliged to work from the book, ought to proceed slowly and cautiously in the application of principles that are not familiar to him. he ought first to endeavor to perfect his seat, his position, his touch, the obedience of his horse, and his paces; he will thus make great progress in the breaking, and be enabled to undertake the application of the new method. "de willisen, "_lieut.-col. of the seventh cuirassiers_." m. baucher received from the king of prussia a magnificent snuff-box of elegantly carved gold, as a token of the satisfaction of his majesty with our author's system. if anybody has read all this, they will be pleased to hear that there will be no more proofs of the excellence of the system brought from across the atlantic. in consequence of the opposition mentioned above, baucher's system was discontinued in the french army, in spite of the almost unanimous wish of the officers. but he has gained a name as the first horseman of this or any other age--the first who could not only manage horses himself, but teach others to do so equally well. this has been proved under the translator's own eyes. a gentleman of philadelphia purchased a horse, four years old, long, _gangling_, ewe-necked; such a brute as no one but a confident disciple of baucher would have had anything to do with. had he hunted the country for a horse with but one merit, that of soundness, and possessing that only because nothing had ever been done to injure it, he could not have been better suited. mounted upon this animal, it was painful to see a good rider in such a quandary; but a quiet, confident smile showed what was intended to come of it. in six weeks from that time, without the horse ever having crossed the threshold of the stable-yard, the writer saw him splendid, with his neck arched like the steed in holy writ, his haunches well under him, obedient to the lightest touch of hand or heel, ready to do anything that was demanded of him, because he had been put in a position that enabled him to do it. since that, the same person has broken two other horses of greater natural capabilities, and the success was proportionately greater. every one who takes any interest in horses recollects the horse may-fly, when first introduced to an american audience, by sands, of welsh's circus. this horse, a thoroughbred, belonging to the racing stud of baron rothschild, was so vicious that he had to be brought upon the race-course in a van, so that he could see nothing till the moment to start arrived. with even this and similar precautions, he was considered dangerous and unmanageable. the master hand was required, and, under its influence, all such things as vice and being unmanageable disappeared. instead of violent force on the part of man, which would only have produced more violent force on the part of the brute, baucher sought out the sources of these resistances, and conquered them in detail. is it not worth a few weeks' pleasant labor with your horse to be able to make him move with the grace, elegance and majesty of this one, or of those we have since seen ridden by derious, and that french amazon, caroline loyo? it is within the power of every one to do this to a certain extent; and as the education of the man as a rider advances progressively with that of the horse, there are, as baucher himself says, no limits to the progress of horsemanship, and no performance, _equestrianly_ possible, that a horseman, who will properly apply his principles, cannot make his horse execute. __________________________ baucher's new method of horsemanship. -------------------------- chapter i. new means of obtaining a good seat it may undoubtedly be thought astonishing that, in the first editions of this work, having for its object the horse's education, i should not have commenced by speaking of the rider's seat. in fact, this, so important a part of horsemanship, has always been the basis of classical works on this subject. nevertheless, it is not without a motive that i have deferred treating of this question until now. had i had nothing new to say on this subject, i might very easily have managed, by consulting old authors, by transposing a sentence here and changing a word there, to have sent forth into the equestrian world another inutility. but i had other ideas; i wished to make a thorough reform. my system for giving a good seat to the rider, being also an innovation, i feared lest so many new things at one time should alarm even the best intentioned amateurs, and give a hold to my adversaries. they would not have failed to say that my means of managing a horse were impracticable, or that they could not be applied without recourse to a seat still more impracticable. but now i have proved the contrary--that, upon my plan, horses have been broken by troops without regard to the men's seat. to give more force to my method, and render it more easily comprehensible, i have divested it of all accessories, and said nothing about those new principles that concern the rider's seat. i reserved these last until after the indisputable success of the official trials. by means of these principles, added to those i have published upon the art of horse-breaking, i both shorten the man's work, and establish a system not only precise, but complete in these two important parts of horsemanship, hitherto so confused. by following my new instructions relating to the man's seat on horseback, we will promptly arrive at a certain result; they are as easy to understand as to demonstrate. two sentences are sufficient to explain all to the rider, and he will get a good seat by the simple advice of the instructor. _the seat of the rider._--the rider will expand his chest as much as possible, so that each part of his body rests upon that next below it, for the purpose of increasing the adhesion of his buttocks to the saddle; the arms will fall easily by the sides. the thighs and legs must, by their own strength, find as many points of contact as possible with the saddle and the horse's sides; the feet will naturally follow the motion of the legs. you see by these few lines how simple the rider's seat is. the means which i point out for quickly obtaining a good seat, remove all the difficulties which the plan pursued by our predecessors presented. the pupil used to understand nothing of the long catechism, recited in a loud voice by the instructor, from the first word to the last, consequently he could not execute it. here one word replaces all those sentences; but we previously go through a course of supplings. this course will make the rider expert, and consequently intelligent. one month will not elapse without the most stupid and awkward recruit being able to seat himself properly without the aid of the word of command. _preparatory lesson (the lesson to last an hour, two lessons a day for a month)._--the horse is led upon the ground, saddled and bridled. the instructor must take two pupils; one will hold the horse by the bridle, all the while watching what the other does, that he may be able to perform in his turn. the pupil will approach the horse's shoulder and prepare to mount; for this purpose he will lay hold of and separate, with the right hand, a handful of mane, and pass it into the left hand, taking hold as near the roots as possible, without twisting them; he will seize the pommel of the saddle with the right hand, the four fingers in, and the thumb outside; then springing lightly, will raise himself upon his wrists. as soon as his middle is the height of the horse's withers, he will pass the right leg over the croup, without touching it, and place himself lightly in the saddle. this vaulting being very useful in making the man active, he should be made to repeat it eight or ten times, before letting him finally seat himself. the repetition of this will soon teach him what he is able to do, using the powers of his arms and loins. _exercise in the saddle._--(this is a stationary exercise on horseback; an old, quiet horse to be chosen in preference; the reins are knotted, and hang on his neck.) the pupil being on horseback, the instructor will examine his natural position, in order to exercise more frequently those parts which have a tendency to give way or stiffen. the lesson will commence with the chest. the instructor will make use of the flexions of the loins, which expand the chest, to straighten the upper part of the pupil's body; he whose loins are slack will be made to hold himself in this position for some time, without regard to the stiffness which this will bring along with it the first few times. it is by the exertion of force that the pupil will become supple, and not by the _abandon_ so much and so uselessly recommended. a movement at first obtained by great effort, will, after a while, not require so much, for he will then have gained skill, and skill, in this case, is but the result of exertions combined and employed properly. what is first done with twenty pounds of force, reduces itself afterwards to fourteen, to ten, to four. skill will be the exertion reduced to four pounds. if we commenced by a less, we would not attain this result. the flexions of the loins will be often renewed, allowing the pupil often to let himself down into his natural relaxed position, in order to make him properly employ the force that quickly gives a good position to the chest. the body being well placed, the instructor will pass: 1st. to the lesson of the arm, which consists in moving it in every direction, first bent, and afterwards extended; 2d. to that of the head; this must be turned right and left without its motions reacting on the shoulders. when the lessons of the chest, arms, and head give a satisfactory result, which ought to be at the end of four days (eight lessons), they will pass to that of the legs. the pupil will remove one of his thighs as far as possible from the quarters of the saddle; and afterwards replace it with a rotatory movement from without inwards, in order to make it adhere to the saddle by as many points of contact as possible. the instructor will watch that the thigh does not fall back heavily; it should resume its position by a slowly progressive motion, and without a jerk. he ought, moreover, during the first lesson, to take hold of the pupil's leg and direct it, in order to make him understand the proper way of performing this displacement. he will thus save him fatigue, and obtain the result more quickly. this kind of exercise, very fatiguing at first, requires frequent rests; it would be wrong to prolong the exercise beyond the powers of the pupil. the motions of drawing in (_adduction_, which makes the thigh adhere to the saddle), and putting out (_abduction_, which separates it from the saddle), becoming more easy, the thighs will have acquired a suppleness which will admit of their adherence to the saddle in a good position. then comes the flexion of the legs. _flexion of the legs._--the instructor will watch that the knees always preserve their perfect adherence to the saddle. the legs will be swung backward and forward like the pendulum of a clock; that is, the pupil will raise them so as to touch the cantle of the saddle with his heels. the repetition of these flexions will soon render the legs supple, pliable and independent of the thighs. the flexions of the legs and thighs will be continued for four days (eight lessons). to make each of these movements more correct and easier, eight days (or sixteen lessons), will be devoted to it. the fifteen days (thirty lessons), which remain to complete the month, will continue to be occupied by the exercise of stationary supplings; but, in order that the pupil may learn to combine the strength of his arms, and that of his loins, he will be made to hold at arm's length, progressively, weights of from ten to forty pounds. this exercise will be commenced in the least fatiguing position, the arm being bent, and the hand near the shoulder, and this flexion will be continued to the full extent of the arm. the chest should not be affected by this exercise, but be kept steady in the same position. _of the knees._--the strength of pressure of the knees will be judged of, and even obtained, by the aid of the following method: this, which at first sight will perhaps appear of slight importance, will, nevertheless, bring about great results. the instructor will take a narrow piece of leather about twenty inches long; he will place one end of this strap between the pupil's knee and the side of the saddle. the pupil will make use of the force of his knees to prevent its slipping, while the instructor will draw it towards him slowly and progressively. this process will serve as a dynamometer to judge of the increase of power. the strictest watch must be kept that each force which acts separately does not put other forces in action; that is to say, that the movement of the arms does not influence the shoulders; it should be the same with the thighs, with respect to the body; the legs, with respect to the thighs, etc., etc. the displacement and suppling of each part separately, being obtained, the chest and seat will be temporarily displaced, in order to teach the rider to recover his proper position without assistance. this will be done as follows: the instructor being placed on one side, will push the pupil's hip, so that his seat will be moved out of the seat of the saddle. the instructor will then allow him to get back into the saddle, being careful to watch that, in regaining his seat, he makes use of his hips and knees only, in order to make him use only those parts nearest to his seat. in fact, the aid of the shoulders would soon affect the hand, and this the horse; the assistance of the legs would have still worse results. in a word, in all the displacements, the pupil must be taught not to have recourse in order to direct the horse, to the means which keep him in his seat, and, _vice versâ_, not to employ, in order to keep his seat, those which direct the horse. here, but a month has elapsed, and these equestrian gymnastics have made a rider of a person, who at first may have appeared the most unfit for it. having mastered the preliminary trials, he will impatiently await the first movements of the horse, to give himself up to them with the ease of an experienced rider. fifteen days (thirty lessons) will be devoted to the walk, trot and gallop. here the pupil should solely endeavor to follow the movements of the horse; therefore, the instructor will oblige him to occupy himself only with his seat, and not attempt to guide the horse. he will only exact that the pupil ride, at first, straight before him, then in every direction, one rein of the snaffle in each hand. at the end of four days (eight lessons), he may be made to take the curb-rein in his left hand. the right hand, which is now free, must be held alongside of the left, that he may early get the habit of sitting square (with his shoulders on a level); the horse will trot equally to the right and to the left. when the seat is firmly settled at all the paces, the instructor will explain simply, the connection between the wrist and the legs, as well as their separate effects. _education of the horse._--here the rider will commence the horse's education, by following the progression i have pointed out, and which will be found farther on. the pupil will be made to understand all that there is rational in it, and what an intimate connection exists between the education of the man and that of the horse. _recapitulation and progression._- days. lessons. 1. flexion of the loins to expand the chest 4 8 2. extending and replacing of the thighs, and flexion of the legs 4 8 3. general exercise of all the parts in succession 8 16 4. displacement of the man's body, exercise of the knees and arms with weights in the hands 15 30 5. position of the rider, the horse being at a walk, trot and gallop, in order to fashion and settle the seat at these different paces 15 30 6. education of the horse by the rider 75 150 --- --- total 121 242 chapter ii. of the forces of the horse. _of their causes and effects._--the horse, like all organized beings, is possessed of a weight and a force peculiar to himself. the weight inherent to the material of which the animal is composed, renders the mass inert, and tends to fix it to the ground. the force, on the contrary, by the faculty it gives him of moving this weight, of dividing it, of transferring it from one of his parts to another, communicates movement to his whole being, determines his equilibrium, speed and direction. to make this truth more evident, let us suppose a horse in repose. his body will be in perfect equilibrium, if each of its members supports exactly that part of the weight which devolves upon it in this position. if he wishes to move forward at a walk, he must first transfer that part of the weight resting on the leg he moves first to those that will remain fixed to the ground. it will be the same thing in other paces, the transfer acting from one diagonal to the other in the trot, from the front to the rear, and reciprocally in the gallop. we must not then confound the weight with the force; the latter determines, the former is subordinate to it. it is by carrying the weight from one extremity to the other that the force puts them in motion, or makes them stationary. the slowness or quickness of the transfers fixes the different paces, which are correct or false, even or uneven, according as these transfers are executed with correctness or irregularity. it is understood that this motive power is subdivided _ad infinitum_, since it is spread over all the muscles of the animal. when the latter himself determines the use of them, the forces are instinctive; i call them transmitted when they emanate from the rider. in the first case, the man governed by his horse remains the plaything of his caprices; in the second, on the contrary, he makes him a docile instrument, submissive to all the impulses of his will. the horse, then, from the moment he is mounted, should only act by transmitted forces. the invariable application of this principle constitutes the true talent of the horseman. but such a result cannot be attained instantaneously. the young horse, in freedom, having been accustomed to regulate his own movements, will, at first, submit with difficulty to the strange influence which comes to take the entire control of them. a struggle necessarily ensues between the horse and his rider, who will be overcome unless he is possessed of energy, patience, and, above all, the knowledge necessary to gain his point. the forces of the animal being the element upon which the rider must principally work, first to conquer, and finally to direct them, it is necessary he should fix his attention upon these before anything else. he will study what they are, whence they spring, the parts where they contract the most for resistance, the physical causes which occasion these contractions. when this is discovered, he will proceed with his pupil by means in accordance with his nature, and his progress will then be rapid. unfortunately, we search in vain in ancient or modern authors, on horsemanship, i will not say for rational principles, but even for any data in connection with the forces of the horse. all speak very prettily about resistances, oppositions, lightness and equilibrium; but none of them have known how to tell us what causes these resistances, how we can combat them, destroy them, and obtain this lightness and equilibrium they so earnestly recommend. it is this gap that has caused the great doubts and obscurity about the principles of horsemanship; it is this that has made the art stationary so long a time; it is this gap that, i think, i am able to fill up. and first, i lay down the principle that all the resistances of young horses spring, in the first place, from a physical cause, and that this cause only becomes a moral one by the awkwardness, ignorance and brutality of the rider. in fact, besides the natural stiffness peculiar to all these animals, each of them has a peculiar conformation, the more or less of perfection in which constitutes the degree of harmony that exists between the forces and the weight. the want of this harmony occasions the ungracefulness of their paces, the difficulty of their movements; in a word, all the obstacles to a good education. in a state of freedom, whatever may be the bad structure of the horse, instinct is sufficient to enable him to make such a use of his forces as to maintain his equilibrium; but there are movements it is impossible for him to make until a preparatory exercise shall have put him in the way of supplying the defects of his organization by a better combined use of his motive power. a horse puts himself in motion only in consequence of a given position; if his forces are such as to oppose themselves to this position, they must first be annulled, in order to replace them by the only ones which can lead to it. now, i ask, if before overcoming these first obstacles, the rider adds to them the weight of his own body, and his unreasonable demands, will not the animal experience still greater difficulty in executing certain movements? the efforts we make to compel him to submission, being contrary to his nature, will they not find in it an insurmountable obstacle? he will naturally resist, and with so much the more advantage, that the bad distribution of his forces will of itself be sufficient to paralyze those of the rider. the resistance then emanates, in this case, from a physical cause: which becomes a moral one from the moment when, the struggle going on with the same processes, the horse begins of his own accord to combine means of resisting the torture imposed on him, when we undertake to force into operation parts which have not previously been supplied. when things get into this state, they can only grow worse. the rider, soon disgusted with the impotence of his efforts, will cast back upon the horse the responsibility of his own ignorance; he will brand as a jade an animal possessing the most brilliant resources, and of whom, with more discernment and tact, he could have made a hackney as docile in character, as graceful and agreeable in his paces. i have often remarked that horses considered indomitable are those which develop the most energy and vigor, when we know how to remedy those physical defects which prevent their making use of them. as to those which, in spite of their bad formation, are by a similar system made to show a semblance of obedience, we need thank nothing but the softness of their nature; if they can be made to submit to the simplest exercises, it is only on condition that we do not demand anything more of them, for they would soon find their energy again to resist any further attempts. the rider can then make them go along at different paces to be sure; but how disconnected, how stiff, how ungraceful in their movements, and how ridiculous such steeds make their unfortunate riders look, as they toss them about at will, instead of being guided by them! this state of things is all perfectly natural, unless we destroy the first cause of it: _the bad distribution of their forces, and the stiffness caused by a bad conformation_. but, it is objected, since, you allow that these difficulties are caused by the formation of the horse, how is it possible to remedy them? you do not possibly pretend to change the structure of the animal and reform the work of nature? undoubtedly not; but while i confess that it is impossible to give more breadth to a narrow chest, to lengthen too short a neck, to lower too high a croup, to shorten and fill out long, weak, narrow loins, i do not the less insist that if i prevent the different contractions occasioned by these physical defects, if i supply the muscles, if i make myself master of the forces so as to use them at will, it will be easy for me to prevent these resistances, to give more action to the weak parts, and to moderate those that are too vigorous, and thus make up for the deficiencies of nature. such results, i do not hesitate to say, were and still are forever denied to the old methods. but if the science of those who follow the old beaten track finds so constant an obstacle in the great number of horses of defective formation, there are, unfortunately, some horses who, by the perfection of their organization, and the consequent facility of their education, contribute greatly to perpetuate the impotent routines that have been so unfavorable to the progress of horsemanship. a well constituted horse is one, all of whose parts being regularly harmonized, induce the perfect equilibrium of the whole. it would be as difficult for such a subject to leave this natural equilibrium, and take up an improper position for the purpose of resistance, as it is at first painful for the badly formed horse to come into that just distribution of forces, without which no regularity of movement can be hoped for. it is then only in the education of these last that the real difficulties of horsemanship consist. with the others the breaking ought to be, so to say, instantaneous, since all the springs being in their places, there is nothing to be done but to put them in motion; this result is always obtained by my method. yet the old principles demand two or three years to reach this point, and when by feeling your way without any certainty of success, the horseman gifted with some tact and experience, ends by accustoming the horse to obey the impressions communicated to him, he imagines that he has surmounted great difficulties, and attributes to his skill a state so near that of nature that correct principles would have obtained it in a few days. then as the animal continues to display in all his movements the grace and lightness natural to his beautiful formation, the rider does not scruple to take all the merit to himself, thus showing himself as presumptuous in this case as he was unjust when he would make the badly formed horse responsible for the failure of his attempts. if we once admit these truths: that the education of the horse consists in the complete subjection of his powers; that we can only make use of his powers at will by annulling all resistances; and that these resistances have their source in the contractions occasioned by physical defects; the only thing will be to seek out the parts where these contractions operate, in order to endeavor to oppose and destroy them. long and conscientious observations have shown me that, whatever be the fault of formation that in the horse prevents a just distribution of his forces, it is always in the neck that the most immediate effect is felt. there is no improper movement, no resistance that is not preceded by the contraction of this part of the animal; and as the jaw is intimately connected with the neck, the stiffness of the one is instantly communicated to the other. these two points are the prop upon which the horse rests, in order to annul all the rider's efforts. we can easily conceive the immense obstacle they must present to the impulsions of the latter, since the neck and head, being the two principal levers by which we direct the animal, it is impossible to obtain anything from him until we are master of these first and indispensable means of action. behind, the parts where the forces contract the most for resistance, are the loins and the croup (the haunches). the contractions of these two opposite extremities are, mutually the one to the other, causes and effects, that is to say, the stiffness of the neck induces that of the haunches, and reciprocally. we can combat the one by the other; and as soon as we have succeeded in annulling them, as soon as we have re-established the equilibrium and harmony that they prevented between the fore and hind-parts, the education of the horse will be half finished. i will now point out the means of infallibly arriving at this result. chapter iii. the supplings. this work being an exposition of a method which upsets most of the old principles of horsemanship, it is understood that i only address men already conversant with the art, and who join to an assured seat a sufficiently great familiarity with the horse, to understand all that concerns his mechanism. i will not, then, revert to the elementary processes; it is for the instructor to judge if his pupil possesses a proper degree of solidity of seat, and is sufficiently a part of the horse; for at the same time that a good seat produces this identification, it favors the easy and regular play of the rider's extremities. my present object is to treat principally of the education of the horse; but this education is too intimately bound up in that of the rider, for him to make much progress in one without the other. in explaining the processes which should produce perfection in the animal, i will necessarily teach the horseman to apply them himself; he will only have to practise tomorrow what i teach him today. nevertheless, there is one thing that no precept can give; that is, a fineness of touch, a delicacy of equestrian feeling that belongs only to certain privileged organizations, and without which, we seek in vain to pass certain limits. having said this, we will return to our subject. we now know which are the parts of the horse that contract the most in resistances, and we feel the necessity of suppling them. shall we then seek to attack, exercise and conquer them all at once? no; this would be to fall back into the old error, of the inefficiency of which we are convinced. the animal's muscular power is infinitely superior to ours; his instinctive forces, moreover, being able to sustain themselves the one by the others, we will inevitably be conquered if we set them in motion all at once. since the contractions have their seat in separate parts, let us profit by this division to combat them separately, as a skillful general destroys, in detail, forces which, when together, he would be unable to resist. for the rest, whatever the age, the disposition, and the structure of my pupil, my course of proceeding at the start will be always the same. the results will only be more or less prompt and easy, according to the degree of perfection in his nature, and the influence of the hand to which he has been previously subjected. the suppling, which will have no other object in the case of a well-made horse than that of preparing his forces to yield to our impulsions, will re-establish calm and confidence in a horse that has been badly handled, and in a defective formation will make those contractions disappear, which are the causes of resistances, and the only obstacles to a perfect equilibrium. the difficulties to be surmounted will be in proportion to this complication of obstacles, and will quickly disappear with a little perseverance on our part. in the progression we are about to pursue in order to subject the different parts of the animal to suppling, we will naturally commence with the most important parts, that is to say, with the jaw and neck. the head and neck of the horse are at once the rudder and compass of the rider. by them he directs the animal; by them, also, he can judge of the regularity and precision of his movements. the equilibrium of the whole body is perfect, its lightness complete, when the head and neck remain of themselves easy, pliable and graceful. on the contrary, there can be no elegance, no ease of the whole, when these two parts are stiff. preceding the body of the horse in all its impulsions, they ought to give warning, and show by their attitude the positions to be taken, and the movements to be executed. the rider has no power so long as they remain contracted and rebellious; he disposes of the animal at will, when once they are flexible and easily handled. if the head and neck do not first commence the changes of direction, if in circular movements they are not inclined in a curved line, if in backing they do not bend back upon themselves, and if their lightness is not always in harmony with the different paces at which we wish to go, the horse will be free to execute these movements or not, since he will remain master of the employment of his own forces. from the time i first noticed the powerful influence that the stiffness of the neck exercises on the whole mechanism of the horse, i attentively sought the means to remedy it. the resistances to the hand are always either sideways, upward or downward. i at first considered the neck alone as the source of these resistances, and exercised myself in suppling the animal by flexions, repeated in every direction. the result was immense; but, although, at the end of a certain time, the supplings of the neck rendered me perfectly master of the forces of the fore-parts of the horse, i still felt a slight resistance which i could not at first account for. at last i discovered that it proceeded from the jaw. the flexibility i had communicated to the neck even aided this stiffness of the muscles of the lower jaw, by permitting the horse in certain cases to escape the action of the bit. i then bethought me of the means of combating these resistances in this, their last stronghold; and, from that time, it is there i always commence my work of suppling. _first exercise on foot._--means of making the horse come to the man, of making him steady to mount, etc., etc. before commencing the exercises of flexions, it is essential to give the horse a first lesson of subjection, and teach him to recognize the power of man. this first act of submission, which might appear unimportant, will have the effect of quickly rendering him calm, of giving him confidence, and of repressing all those movements which might distract his attention, and mar the success of the commencement of his education. two lessons, of a half hour each, will suffice to obtain the preparatory obedience of every horse. the pleasure we experience in thus playing with him will naturally lead the rider to continue this exercise for a few moments each day, and make it both instructive to the horse and useful to himself. the mode of proceeding is as follows: the rider will approach the horse, his whip under his arm, without roughness or timidity; he will speak to him without raising the voice too much, and will pat him on the face and neck; then with the left hand will lay hold of the curb-reins, about six or seven inches from the branches of the bit, keeping his wrist stiff, so as to present as much force as possible when the horse resists. the whip will be held firmly in the right hand, the point towards the ground, then slowly raised as high as his chest, in order to tap it at intervals of a second. the first natural movement of the horse will be to withdraw from the direction in which the pain comes; it is by backing that he will endeavor to do this. the rider will follow this backward movement without discontinuing the firm tension of the reins, nor the little taps with the whip on the breast, applying them all the time with the same degree of intensity. the rider should be perfectly self-possessed, that there may be no indication of anger or weakness in his motions or looks. becoming tired of this constraint, the horse will soon seek by another movement to avoid the infliction, and it is by coming forward that he will arrive at it; the rider will seize this second instinctive movement to stop and caress the animal with his hand and voice. the repetition of this exercise will give the most surprising results, even in the first lesson. the horse having discovered and understood the means by which he can avoid the pain, will not wait till the whip touches him, he will anticipate it by rushing forward at the least gesture. the rider will take advantage of this to effect, by a downward force of the bridle hand, the depression of the neck, and the getting him in hand; he will thus early dispose the horse for the exercises that are to follow. this training, besides being a great recreation, will serve to make the horse steady to mount, will greatly abridge his education and accelerate the development of his intelligence. should the horse, by reason of his restless or wild nature, become very unruly, we should have recourse to the cavesson, as a means of repressing his disorderly movements, and use it with little jerks. i would add that it requires great prudence and discernment to use it with tact and moderation. _flexion of the jaw._--the flexions of the jaw, as well as the two flexions of the neck which follow, are executed standing still, the man on foot. the horse will be led on the ground saddled and bridled, the reins on his neck. the man will first see that the bit is properly placed in the horse's mouth, and that the curb-chain is fastened so that he can introduce his finger between the links and the horse's chin. then looking the animal good-naturedly in the eyes, he will place himself before him near his head, holding his body straight and firm, his feet a little apart to steady himself, and dispose himself to struggle with advantage against all resistances.[b] [b] i have divided all the flexions into two parts, and, in order to facilitate the understanding of the text, i have added to it plates representing the position of the horse at the moment the flexion is about to commence, and at the moment it is terminated. 1st. in order to execute the flexion to the right, the man will take hold of the right curb-rein with the right hand, at about six inches from the branch of the bit, and the left rein with the left hand, at only three inches from the left branch. he will then draw his right hand towards his body, pushing out his left hand so as to turn the bit in the horse's mouth. the force employed ought to be entirely determined by and proportioned to the resistance of the jaw and neck only, in order not to affect the _aplomb_, which keeps his body still. if the horse backs to avoid the flexion, the opposition of the hands should still be continued. if the preceding exercise has been completely and carefully practised, it will be easy by the aid of the whip to prevent this retrograde movement, which is a great obstacle to all kinds of flexions of the jaw and neck. (plate i.) 2d. as soon as the flexion is obtained, the left hand will let the left rein slip to the same length as the right, then drawing the two reins equally will bring the head near to the breast, in order to hold it there oblique and perpendicular, until it sustains itself without assistance in this position. the horse by champing the bit will show his being in hand as well as his perfect submission. the man, to reward him, will cease drawing on the reins immediately, and after some seconds will allow him to resume his natural position. (plate ii.) [illustration: plates i. and ii.] the flexion of the jaw to the left is executed upon the same principles and by inverse means to the flexion to the right, the man being careful to pass alternately from one to the other. the importance of these flexions of the jaw is easily understood. the result of them is to prepare the horse to yield instantly to the lightest pressure of the bit, and to supple directly the muscles that join the head to the neck. as the head ought to precede and determine the different attitudes of the neck, it is indispensable that the latter part be always in subjection to the other, and respond to its impulsions. that would be only partially the case with the flexibility of the neck alone, which would then make the head obey it, by drawing it along in its movements. you see, then, why at first i experienced resistances, in spite of the pliability of the neck, of which i could not imagine the cause. the followers of my method to whom i have not yet had an opportunity of making known the new means just explained, will learn with pleasure that this process not only brings the flexibility of the neck to a greater degree of perfection, but saves much time in finishing the suppling. the exercise of the jaw, while fashioning the mouth and head, brings along with it the flexion of the neck, and accelerates the getting the horse in hand. this exercise is the first of our attempts to accustom the forces of the horse to yield to ours. it is necessary, then, to manage it very nicely, so as not to discourage him at first. to enter on the flexion roughly would be to shock the animal's intelligence, who would not have had time to comprehend what was required of him. the opposition of the hands will be commenced gently but firmly, not to cease until perfect obedience is obtained, except, indeed, the horse backs against a wall, or into a corner; but it will diminish or increase its effect in proportion to the resistance, in a way always to govern it, but not with too great violence. the horse that at first will, perhaps, submit with difficulty, will end by regarding the man's hand as an irresistible regulator, and will become so used to obeying it, that he will soon obtain, by a simple pressure of the rein, what at first required the whole strength of our arms. at each renewal of the lateral flexions some progress will be made in the obedience of the horse. as soon as his first resistances are a little diminished, we will pass to the perpendicular flexions or depression of the neck. _depression of the neck by the direct flexion of the jaw._-1. the man will place himself as for the lateral flexions of the jaw; he will take hold of the reins of the snaffle with the left hand, at six inches from the rings, and the curb-reins at about two inches from the bit. he will oppose the two hands by effecting the depression with the left and the proper position with the right. (plate iii.) 2. as soon as the horse's head shall fall of its own accord and by its own weight, the man will instantly cease all kind of force, and allow the animal to resume his natural position. (plate iv.) [illustration: plates iii. and iv.] this exercise being often repeated, will soon bring about the suppling of the elevating muscles of the neck, which play a prominent part in the resistances of the horse, and will besides facilitate the direct flexions and the getting the head in position, which should follow the lateral flexions. the man can execute this, as well as the preceding exercise, by himself; yet it would be well to put a second person in the saddle, in order to accustom the horse to the exercise of the supplings with a rider. this rider should just hold the snaffle-reins, without drawing on them, in his right hand, the nails downward. the flexions of the jaw have already communicated suppleness to the upper part of the neck, but we have obtained it by means of a powerful and direct motive power, and we must accustom the horse to yield to a less direct regulating force. besides, it is important that the pliability and flexibility, especially necessary in the upper part of the neck, should be transmitted throughout its whole extent, so as to destroy its stiffness entirely. the force from above downward, practised with the snaffle, acting only by the headstall on the top of the head, often takes too long to make the horse lower his head. in this case, we must cross the two snaffle-reins by taking the left rein in the right, and the right rein in the left hand, about six or seven inches from the horse's mouth, in such a way as to cause a pretty strong pressure upon the chin. this force, like all the others, must be continued until the horse yields. the flexions being repeated with this more powerful agent, will put him in a condition to respond to the means previously indicated. if the horse responded to the first flexions represented by plate iv., it would be unnecessary to make use of this one. (plate v.) [illustration: plate v.] we can act directly on the jaw so as to render it prompt in moving. to do this, we take the left curb-rein about six inches from the horse's mouth and draw it straight towards the left shoulder; at the same time draw the left rein of the snaffle forward, in such a way that the wrists of the person holding the two reins shall be opposite and on a level with each other. the two opposed forces will soon cause a separation of the jaws and end all resistance. the force ought to be always proportioned to that of the horse, whether in his resistance, or in his lightness. thus, by means of this direct force a few lessons will be sufficient to give a pliability to the part in question that could not have been obtained by any other means. (plate vi.) [illustration: plate vi.] _lateral flexions of the neck._-1. the man will place himself near the horse's shoulder as for the flexions of the jaw; he will take hold of the right snaffle-rein, which he will draw upon across the neck, in order to establish an intermediate point between the impulsion that comes from him and the resistance the horse presents; he will hold up the left rein with the left hand about a foot from the bit. as soon as the horse endeavors to avoid the constant tension of the right rein by inclining his head to the right, he will let the left rein slip so as to offer no opposition to the flexion of the neck. whenever the horse endeavors to escape the constraint of the right rein by bringing his croup around, he will be brought into place again by slight pulls of the left rein. (plate vii.) 2. when the head and neck have entirely yielded to the right, the man will draw equally on both reins to place the head perpendicularly. suppleness and lightness will soon follow this position, and as soon as the horse evinces, by champing the bit, entire freedom from stiffness, the man will cease the tension of the reins, being careful that the head does not take advantage of this moment of freedom to displace itself suddenly. in this case, it will be sufficient to restrain it by a slight support of the right rein. after having kept the horse in this position for some seconds, he will make him resume his former position by drawing on the left rein. it is most important that the animal in all his movements should do nothing of his own accord. (plate viii.) [illustration: plates vii. and viii.] the flexion of the neck to the left is executed after the same principles, but by inverse means. the man can repeat with the curb what he has previously done with the snaffle-reins; but the snaffle should always be employed first, its effect being less powerful and more direct. when the horse submits without resistance to the preceding exercises, it will prove that the suppling of the neck has already made a great step. the rider can, henceforward, continue his work by operating with a less direct motive power, and without the animal's being impressed by the sight of him. he will place himself in the saddle, and commence by repeating with the full length of the reins, the lateral flexions, in which he has already exercised his horse. _lateral flexions of the neck, the man on horseback._-1. to execute the flexion to the right, the rider will take one snaffle-rein in each hand, the left scarcely feeling the bit; the right, on the contrary, giving a moderate impression at first, but which will increase in proportion to the resistance of the horse, and in a way always to govern him. the animal, soon tired of a struggle which, being prolonged, only makes the pain proceeding from the bit more acute, will understand that the only way to avoid it is to incline the head in the direction the pressure is felt. (plate ix.) 2. as soon as the horse's head is brought round to the right, the left rein will form opposition, to prevent the nose from passing beyond the perpendicular. great stress should be laid on the head's remaining always in this position, without which the flexion would be imperfect and the suppleness incomplete. the movement being regularly accomplished, the horse will be made to resume his natural position by a slight tension of the left rein. (plate x.) [illustration: plates ix. and x.] the flexion to the left is executed in the same way, the rider employing alternately the snaffle and curb-reins. i have already mentioned that it is of great importance to supple the upper part of the neck. after mounting, and having obtained the lateral flexions without resistance, the rider will often content himself with executing them half-way, the head and upper part of the neck pivoting upon the lower part, which will serve as a base or axis. this exercise must be frequently repeated, even after the horse's education is completed, in order to keep up the pliability, and facilitate the getting him in hand. it now remains for us, in order to complete the suppling of the head and neck, to combat the contractions which occasion the direct resistances, and prevent your getting the horse's head in a perpendicular position. _direct flexions of the head and neck, or ramener.[c]_- [c] _ramener_ means to place the horse's head in a perpendicular position.--translator. 1. the rider will first use the snaffle-reins, which he will hold together in the left hand as he would the curb-reins. he will rest the outer edge of the right hand (see plate xi.) on the reins in front of the left hand in order to increase the power of the right hand; after which he will gradually bear on the snaffle-bit. as soon as the horse yields, it would suffice to raise the right hand to diminish the tension of the reins and reward the animal. as the hand must only present a force proportioned to the resistance of the neck, it will only be necessary to hold the legs rather close to prevent backing. when the horse obeys the action of the snaffle, he will yield much more quickly to that of the curb, the effect of which is so much more powerful. the curb, of course, needs more care in the use of it than the snaffle. (plate xi.) 2. the horse will have completely yielded to the action of the hand, when his head is carried in a position perfectly perpendicular to the ground; from that time the contraction will cease, which the animal will show, as in every other case, by champing his bit. the rider must be careful not to be deceived by the feints of the horse--feints which consist in yielding one-fourth or one-third of the way, and then hesitating. if, for example, the nose of the horse having to pass over a curve of ten degrees to attain the perpendicular position (plate xi.), should stop at the fourth or sixth and again resist, the hand should follow the movement and then remain firm and immovable, for a concession on its part would encourage resistance and increase the difficulties. when the nose shall descend to no. 10, the perpendicular position will be complete and the lightness perfect. the rider can then cease the tension of the reins, but so as to keep the head in this position, if it should offer to leave it. if he lets it return at all to its natural situation, it should be to draw it in over again, and to make the animal understand that the perpendicular position of the head is the only one allowed when under the rider's hand. he should, at the outset, accustom the horse to cease backing at the pressure of the legs, as all backward movements would enable him to avoid the effects of the hand or create new means of resistance. (plate xii.) [illustration: plates xi. and xii.] this is the most important flexion of all; the others tended principally to pave the way for it. as soon as it is executed with ease and promptness, as soon as a slight touch is sufficient to place and keep the head in a perpendicular position, it will prove that the suppling is complete, contraction destroyed, lightness and equilibrium established in the fore-hand. the direction of this part of the animal will, henceforward, be as easy as it is natural, since we have put it in a condition to receive all our impressions, and instantly to yield to them without effort. as to the functions of the legs, they must support the hind-parts of the horse, in order to obtain the _ramener_, in such a way that he may not be able to avoid the effect of the hand by a retrograde movement of his body. this complete getting in hand is necessary to drive the hind-legs under the centre. in the first case, we act upon the fore-hand; in the second, upon the hind-parts; the first serves for the _ramener_, the second for the _rassembler_, or gathering the horse.[d] [d] the full meaning of the word _rassembler_ will be understood after reading the chapter, further on in this work, under that head. with regard to the other word, _ramener_, to avoid the constant circumlocution of saying, "placing the horse's head in a perpendicular position," it will be used in future wherever it occurs.--translator. _combination of effects._--i published four editions of my method, without devoting a special article to the combination of effects. although i myself made a very frequent use of it, i had not attached sufficient importance to the great necessity of this principle in the case of teaching; later experiments have taught me to consider it of more consequence. the combination of effects means the continued and exactly opposed force of the hand and legs. its object should be to bring back again into a position of equilibrium all the parts of the horse which leave it, in order to prevent him from going ahead, without backing him, and _vice versâ_: finally, it serves to stop any movement from the right to the left, or the left to the right. by this means, also, we distribute the weight of the mass equally on the four legs, and produce temporary immobility. this combination of effects ought to precede and follow each exercise within the graduated limit assigned to it. it is essential when we employ the aids (i.e. the hand and legs), in this, that the action of the legs should precede the other, in order to prevent the horse from backing against any place, for he might find, in this movement, points of support that would enable him to increase his resistance. thus, all motion of the extremities, proceeding from the horse himself, should be stopped by a combination of effects; finally, whenever his forces get scattered, and act inharmoniously, the rider will find in this a powerful and infallible corrective. it is by disposing all the parts of the horse in the most exact order, that we will easily transmit to him the impulsion that should cause the regular movements of his extremities; it is then also that we will address his comprehension, and that he will appreciate what we demand of him; then will follow caresses of the hand and voice as a moral effect; they should not be used, though, until after he has done what is demanded of him by the rider's hand and legs. _the horse's resting his chin on his breast._--although few horses are disposed by nature to do this, it is not the less necessary, when it does occur, to practise on them all the flexions, even the one which bends down the neck. in this position, the horse's chin comes back near the breast and rests in contact with the lower part of the neck; too high a croup, joined to a permanent contraction of the muscles that lower the neck, is generally the cause of it. these muscles must then be suppled in order to destroy their intensity, and thereby give to the muscles that raise the neck, their antagonists, the predominance which will make the neck rest in a graceful and useful position. this first accomplished, the horse will be accustomed to go forward freely at the pressure of the legs, and to respond, without abruptness or excitement, to the touch of the spurs (_attaques_); the object of these last is to bring the hind legs near the centre, and to lower the croup. the rider will then endeavor to raise the horse's head by the aid of the curb-reins; in this case, the hand will be held some distance above the saddle, and far from the body[e]; the force it transmits to the horse ought to be continued until he yields by elevating his head. as these sorts of horses have generally little action, we must take care to avoid letting the hand produce an effect from the front to the rear, in which case it would take away from the impulse necessary for movement. the pace commencing with the walk, must be kept up at the same rate, while the hand is producing an elevating effect upon the neck. this precept is applicable to all the changes of position that the hand makes in the head and neck; but is particularly essential in the case of a horse disposed to depress his neck. [e] this position of the hand at a distance from the saddle and the body will be criticised; but let the rider be reassured, eight or ten lessons will suffice to make the horse change the position of his head, and allow the hand to resume its normal position. it should be remembered that the horse has two ways of responding to the pressure of the bit; by one, he yields but withdraws himself at the same time by shrinking and coming back to his former position; this kind of yielding is only injurious to his education, for if the hand is held too forcibly, if he does not wait till the horse changes of his own accord the position of his head, the backward movement of his body would precede and be accompanied by a shifting of the weight backwards. in this case, the contraction of his neck remains all the while the same. the second kind of yielding, which contributes so greatly to the rapid and certain education of the horse, consists in giving a half or three-quarter tension to the reins, then to sustain the hand as forcibly as possible without bringing it near the body. in a short time the force of the hand, seconded by the continued pressure of the legs, will make the horse avoid this slight but constant pressure of the bit, but by means of his head and neck only. then the rider will only make use of the force necessary to displace the head. it is by this means that he will be able to place the horse's body on a level, and will obtain that equilibrium,[f] the perfect balance of which has not hitherto been appreciated. [f] the word equilibrium, so often repeated in the course of this work, must be categorically explained. people have never rightly understood what it means, this true equilibrium of a horse, which serves as the basis of his education, and by which he takes instantly, at the rider's will, such a pace, or such a change or direction. it is not here a question of the equilibrium which prevents the horse from falling down, but of that upon which depends his performance, when it is prompt, graceful and regular, and by means of which his paces are either measured or extended at will. _equilibrium of baucher._ _croup_------------------------------------------------_head._ here the weight and the forces are equally distributed. by means of this just distribution the different positions, the different paces, and the equilibriums that belong to them, are obtained without effort on the part of man or horse. resuming what we have just explained in the case of a horse who rests his chin on his breast, we repeat that it is by producing one force from the rear to the front with the legs, and another from below upwards with the hand, that we will soon be enabled to improve the position and movements of the horse. so that whatever may be his disposition at first, it is by first causing the depression of the neck that we will quickly gain a masterly and perfect elevation of it. i will close this chapter by some reflections on the supposed difference of sensibility in horses' mouths, and the kind of bit which ought to be used. _of the horse's mouth and the bit._--i have already treated this subject at length in my comprehensive dictionary of equitation; but as in this work i make a complete exposition of my method, i think it necessary to repeat it in a few words. i cannot imagine how people have been able so long to attribute to the mere difference of formation of the bars,[g] those contrary dispositions of horses which render them so light or so hard to the hand. how can we believe that, according as a horse has one or two lines of flesh, more or less, between the bit and the bone of the lower jaw, he should yield to the lightest impulse of the hand, or become unmanageable in spite of all the efforts of two vigorous arms? nevertheless, it is from remaining in this inconceiveable error, that people have forged bits of so strange and various forms, real instruments of torture, the effect of which is to increase the difficulties they sought to remove. [g] the bars are the continuations of the two bones of the lower jaw between the masticating and the front teeth. it is on these that the bit rests. had they gone back a little further to the source of the resistances, they would have discovered that this one, like all the rest, does not proceed from the difference of formation of a feeble organ, like the bars, but from a contraction communicated to the different parts of the body, and, above all, to the neck, by some serious fault of constitution. it is, then, in vain that we attach to the reins, and place in the horse's mouth a more or less murderous instrument; he will remain insensible to our efforts as long as we do not communicate suppleness to him, which alone can enable him to yield. in the first place, then, i lay down as a fact, that there is no difference of sensibility in the mouths of horses; that all present the same lightness when in the position called _ramener_, and the same resistances in proportion as they recede from this position. there are horses hard to the hand; but this hardness proceeds from the length or weakness of their loins, from a narrow croup, from short haunches, thin thighs, straight hocks, or (a most important point) from a croup too high or too low in proportion to the withers; such are the true causes of resistances; the contractions of the neck, the closing of the jaws are only the effects; as to the bars, they are only there to show the ignorance of self-styled equestrian theoricians. by suppling the neck and the jaw, this hardness completely disappears. experiments a hundred times repeated give me the right to advance this principle boldly; perhaps it may, at first, appear too arbitrary, but it is none the less true. consequently, i only allow one kind of bit, and this is the form and the dimensions i give it, to make it as simple as it is easy. the branches straight and six inches long, measuring from the eye of the bit to the extremity of the branch; circumference of the canon,[h] two inches and a half; port, about two inches wide at the bottom, and one inch at the top. the only variation to be in the width of the bit, according to the horse's mouth. [h] the mouth-piece of the bit consists of three parts: the port, to give freedom to the tongue, and the two canons, which are the parts that come in contact with the bars.--translator. i insist that such a bit is sufficient to render passively obedient all horses that have been prepared by supplings; and i need not add that, as i deny the utility of severe bits, i reject all means not coming directly from the rider, such as martingales, piliers, etc. chapter iv. continuation of supplings. _the hind-parts._--in order to guide the horse, the rider acts directly on two of his parts: the fore-parts and the hind-parts. to effect this, he employs two motive powers: the legs, which give the impulse by the croup; and the hand, which directs and modifies this impulse by the head and neck. a perfect harmony of forces ought then to exist always between these two motive powers; but the same harmony is equally necessary between the parts of the animal they are intended particularly to impress. in vain would be our labor to render the head and neck flexible, light, obedient to the touch of the hand; incomplete would be the results, the equilibrium of the whole imperfect, as long as the croup remained dull, contracted and rebellious to the direct governing agent. i have just explained the simple and easy means of giving to the fore-parts the qualities indispensable to a good management thereof: it remains to tell how we will fashion, in the same way, the hind-parts, in order to complete the suppling of the horse, and bring about a uniform harmony in the development of all his moving parts. the resistances of the neck and croup mutually aiding one another, our labor will be more easy, as we have already destroyed the former. _the flexions of the croup, and making it movable._-1. the rider will hold the curb-reins in the left hand, and those of the snaffle, crossed, in the right, the nails of the right hand held downward; he will first bring the horse's head into a perpendicular position, by drawing lightly on the bit; after that, if he wishes to execute the movement to the right, he will carry the left leg back behind the girths and fix it near the flanks of the animal, until the croup yields to this pressure. the rider will at the same time make the left snaffle-rein felt, proportioning the effect of the rein to the resistance which is opposed to it. of these two forces transmitted thus by the left leg and the rein of the same side, the first is intended to combat the resistance, and the second, to determine the movement. the rider should content himself in the beginning with making the croup execute one or two steps only sideways. (plate xiii.) 2. the croup having acquired more facility in moving, we can continue the movement so as to complete to the right and the left reversed pirouettes.[i] as soon as the haunches yield to the pressure of the leg, the rider, to cause the perfect equilibrium of the horse, will immediately draw upon the rein opposite to this leg. the motion of this, slight at first, will be progressively increased until the head is inclined to the side towards which the croup is moving, as if to look at it coming. (plate xiv.) [i] see note, page 63. [illustration: plates xiii. and xiv.] to make this movement understood, i will add some explanations, the more important as they are applicable to all the exercises of horsemanship. the horse, in all his movements, cannot preserve a perfect and constant equilibrium, without a combination of opposite forces, skillfully managed by the rider. in the reversed pirouette, for example, if when the horse has yielded to the pressure of the leg, we continue to oppose the rein on the same side as this leg, it is evident that we will shoot beyond the mark, since we will be employing a force which has become useless. we must then establish two motive powers, the effect of which balances, without interfering; this, the tension of the rein on the opposite side from the leg will produce in the pirouette. so, we will commence with the rein and the leg of the same side, until it is time to pass to the second part of the work, then with the curb-rein in the left hand, and finally, with the snaffle-rein opposite to the leg. the forces will then be kept in a diagonal position, and in consequence, the equilibrium natural, and the execution of the movement easy. the horse's head being turned to the side where the croup is moving, adds much to the gracefulness of the performance, and aids the rider in regulating the activity of the haunches, and keeping the shoulders in place. for the rest, tact alone will be able to show him how to use the leg and the rein, in such a way that their motions will mutually sustain, without at any time counteracting one another. i need not remind you that during the whole of this exercise, as on all occasions, the neck should remain supple and light; the head in position (perpendicular) and the jaw movable. while the bridle hand keeps them in this proper position, the right hand, with the aid of the snaffle, is combating the lateral resistances, and determining the different inclinations, until the horse is sufficiently well broken to obey a simple pressure of the bit. if, when combating the contraction of the croup, we permitted the horse to throw its stiffness into the fore-parts, our efforts would be vain, and the fruit of our first labors lost. on the contrary, we will facilitate the subjection of the hind-parts, by preserving the advantages we have already acquired over the fore-parts, and by keeping separated those contractions we have yet to combat. the leg of the rider opposite to that which determines the rotation of the croup, must not be kept off during the movement, but remain close to the horse and keep him in place, while giving from the rear forward an impulse which the other leg communicates from right to left, or from left to right. there will thus be one force which keeps the horse in position, and another which determines the rotation. in order that the pressure of the two legs should not counteract one another, and in order to be able to use them both together, the leg intended to move the croup will be placed farther behind the girths than the other, which will remain held with a force equal to that of the leg that determines the movement. then the action of the legs will be distinct, the one bearing from right to left, the other from the rear forwards. it is by the aid of the latter that the hand places and fixes the fore legs. to accelerate these results, at first, a second person may be employed who will place himself at the height of the horse's head, holding the curb-reins in the right hand, and on the side opposite to which we wish the croup to go. he will lay hold of the reins at six inches from the branches of the bit, so as to be in a good position to combat the instinctive resistances of the animal. the one in the saddle will content himself with holding lightly the snaffle-reins, acting with his legs as i have already shown. the second person is only useful when we have to deal with a horse of an intractable disposition, or to aid the inexperience of the one in the saddle; but, as much should be done without assistance as possible, in order that the practitioner may judge by himself of the progress of his horse, seeking all the while for means to increase the effects of his touch. even while this work is in an elementary state, he will make the horse execute easily all the figures of the _manège de deux pistes_.[j] after eight days of moderate exercise, he will have accomplished, without effort, a performance that the old school did not dare to undertake until after two or three years' studying and working at the horse. [j] "_la piste_ is an imaginary line upon which the horse is made to walk. when the hind legs follow the same line as the fore ones, the horse is said to go _d'une piste_, or on one line. he goes _de deux pistes_, or on two lines, when his hind legs pass along a line parallel to that traced by the fore legs."--_baucher's dictionnaire d'equitation._ when the rider has accustomed the croup of the horse to yield promptly to the pressure of the legs, he will be able to put it in motion, or fix it motionless at will, and can, consequently, execute ordinary pirouettes.[k] for this purpose he will take a snaffle-rein in each hand, one to direct the neck and shoulders towards the side to which we wish to wheel, the other to second the opposite leg, if it is not sufficient to keep the croup still. at the beginning, this leg should be placed as far back as possible, and not be used until the haunches bear against it. by careful and progressive management the results will soon be attained; at the start, the horse should be allowed to rest after executing two or three steps well, which will give five or six halts in the complete rotation of the shoulders around the croup. [k] "the _pirouette_ is executed on the fore or hind legs, by making the horse turn round upon himself, in such a way, that the leg on the side he is going, acts as a pivot, and is the principal support around which the other three legs move."--_baucher's dictionnaire d'equitation._ _pirouettes_ are either _ordinary_ or _reversed_. in the ordinary _pirouette_, one of the hind legs is the pivot on which the horse moves; in the reversed, one of the fore legs.--translator.] here the stationary exercises cease. i will now explain how the suppling of the hind-parts will be completed, by commencing to combine the play of its springs with those of the fore-parts. _backing._--the retrograde movement, otherwise called backing, is an exercise, the importance of which has not been sufficiently appreciated, and which yet ought to have a very great influence upon his education. when practised after the old erroneous methods, it would have been without success, since the thread of exercises that ought to precede it were unknown. backing properly differs essentially from that incorrect backward movement which carries the horse to the rear with his croup contracted and his neck stiff; that is, backing away from and avoiding the effect of the reins. backing correctly supples the horse, and adds grace and precision to his natural motions. the first of the conditions upon which it is to be obtained, is to keep the horse in hand; that is to say, supple, light in the mouth, steady on his legs, and perfectly balanced in all his parts. thus disposed, the animal will be able with ease to move and elevate equally his fore and hind legs. it is here that we will be enabled to appreciate the good effects and the indispensable necessity of suppling the neck and haunches. backing, which at first is tolerably painful to the horse, will always lead him to combat the motions of our hand, by stiffening his neck, and those of our legs, by contracting his croup; these are the instinctive resistances. if we cannot obviate the bad disposition of them, how will we be able to obtain that shifting and re-shifting of weight, which alone ought to make the execution of this movement perfect? if the impulsion which, to back him, ought to come from the fore-parts, should pass over its proper limits, the movement would become painful, impossible in fact, and occasion, on the part of the animal, sudden, violent movements which are always injurious to his organization. on the other hand, the displacements[l] of the croup, by destroying the harmony which should exist between the relative forces of fore and hind-parts, would also hinder the proper execution of the backing. the previous exercise to which we have subjected the croup will aid us in keeping it in a straight line with the shoulders, in order to preserve the necessary transferring of the forces and weight. [l] these displacements of the croup mean sideway displacements, or the horse's croup not being in a line with the shoulders.--translator. to commence the movement, the rider ought first to assure himself that the haunches are on a line with the shoulders, and the horse light in hand; then he will slowly close his legs, in order that the action they will communicate to the hind-parts of the horse may make him lift one of his hind legs, and prevent the body from yielding before the neck. it is then that the immediate pressure of the bit, forcing the horse to regain his equilibrium behind, will produce the first part of the backing. as soon as the horse obeys, the rider will instantly give the hand to reward the animal, and not to force the play of his fore-parts. if his croup is displaced, the rider will bring it back by means of his leg, and if necessary, use for this purpose the snaffle-rein on that side. after having defined what i call the proper backing (_reculer_), i ought to explain what i understand by backing so as to avoid the bit (_l'acculement_). this movement is too painful to the horse, too ungraceful, and too much opposed to the right development of his mechanism, not to have struck any one who has occupied himself at all with horsemanship. we force a horse backwards in this way, whenever we crowd too much his forces and weight upon his hind-parts; by so doing we destroy his equilibrium, and render grace, measure and correctness impossible. lightness, always lightness! this is the basis, the touchstone of all beautiful execution. with this, all is easy, as much for the horse as the rider. that being the case, it is understood that the difficulty of horsemanship does not consist in the direction to give the horse, but in the position to make him assume--a position which alone can smooth all obstacles. indeed, if the horse executes, it is the rider who makes him do so; upon him then rests the responsibility of every false movement. it will suffice to exercise the horse for eight days (for five minutes each lesson), in backing, to make him execute it with facility. the rider will content himself the first few times with one or two steps to the rear, followed by the combined effect of the legs and hand, increasing in proportion to the progress he makes, until he finds no more difficulty in a backward than in a forward movement. what an immense step we will then have made in the education of our pupil! at the start, the defective formation of the animal, his natural contractions, the resistances we encountered everywhere, seemed as if they might defy our efforts forever. without doubt they would have been vain, had we made use of a bad course of proceeding, but the wise system of progression that we have introduced into our work, the destruction of the instinctive forces of the horse, the suppling, the separate subjection of all the rebellious parts, have soon placed in our power the whole of the mechanism to such a degree as to enable us to govern it completely, and to restore that pliability, ease, and harmony of the parts, which their bad arrangement appeared as if it would always prevent. as i shall point out hereafter in classing the general division of the labor, it will be seen that eight or ten days will be sufficient to obtain these important results. was i not right then in saying that if it is not in my power to change the defective formation of a horse, i can yet prevent the evil effect of his physical defects, so as to render him as fit to do everything with grace and natural ease, as the better formed horse? in suppling the parts of the animal upon which the rider acts directly, in order to govern and guide him, in accustoming them to yield without difficulty or hesitation to the different impressions which are communicated to them, i have, by so doing, destroyed their stiffness and restored the centre of gravity to its true place, namely, to the middle of the body. i have, besides, settled the greatest difficulty of horsemanship: that of subjecting, before everything else, the parts upon which the rider acts directly, in order to prepare for him infallible means of acting upon the horse. it is only by destroying the instinctive forces, and by suppling the different parts of the horse, that we will obtain this. all the springs of the animal's body are thus yielded up to the discretion of the rider. but this first advantage will not be enough to make him a complete horseman. the employment of these forces thus abandoned to him, demand, in order to execute the different paces, much study and skill. i will show in the subsequent chapters the rules to be observed. i will conclude this one by a rapid recapitulation of the progression to be followed in the supplings. _stationary exercise, the rider on foot. fore-parts._-1. flexions of the jaw to the right and left, using the curb-bit. 2. direct flexions of the jaw, and depression of the neck. 3. lateral flexions of the neck with the snaffle-reins and with the curb. _stationary exercise, the rider on horseback._-1. lateral flexions of the neck with the snaffle-reins, and with the curb-reins. 2. direct flexions of the head or placing it in a perpendicular position with the snaffle, and with the curb-reins. _hind-parts._-3. lateral flexions, and moving the croup around the shoulders. 4. rotation of the shoulders around the haunches. 5. combining the play of the fore and hind legs of the horse, or backing. i have placed the rotation of the shoulders around the haunches in the nomenclatere of stationary exercise. but the ordinary pivoting, or _pirouettes_, being a pretty complicated movement, and one difficult for the horse, he should not be completely exercised in it until he has acquired the measured time of the walk, and of the trot, and will easily execute the changes of direction. chapter v. of the employment of the forces of the horse by the rider. when the supplings have subjected the instinctive forces of the horse, and given them up completely into our power, the animal will be nothing more in our hand than a passive, expectant machine, ready to act upon the impulsion we choose to communicate to him. it will be for us, then, as sovereign disposers of all his forces, to combine the employment of them in correct proportion to the movements we wish to execute. the young horse, at first stiff and awkward in the use of his members, will need a certain degree of management in developing them. in this, as in every other case, we will follow that rational progression which tells us to commence with the simple, before passing to the complicated. by the preceding exercise, we have made our means of acting upon the horse sure. we must now attend to facilitating his means of execution, by exercising all his forces together. if the animal responds to the aids of the rider by the jaw, the neck and the haunches; if he yields by the general disposition of his body to the impulses communicated to him, it is by the play of his extremities that he executes the movement. the mechanism of these parts ought then to be easy, prompt and regular; their application, well directed in the different paces, will alone be able to give them these qualities, indispensable to a good education.[m] [m] it must not be forgotten that the hand and legs have their vocabulary also; and a very concise one. this mute, laconic language consists of these few words. _you are doing badly; this is what you should do; you do well now._ it is sufficient for the rider to be able to translate, by his mechanism, the meaning of these three remarks, to possess all the equestrian erudition, and share his intelligence with his horse. _the walk._--this pace is the mother of all the other paces; by it we will obtain the cadence, the regularity, the extension of the others. but to obtain these brilliant results, the rider must display as much knowledge as tact. the preceding exercises have led the horse to bear the combined effect of hand and legs, which could not have been done previously to the destruction of the instinctive resistances; we have now only to act on the inert resistances which appertain to the animal's weight; upon the forces which only move when an impulse is communicated to them. before making the horse go forward, we should first assure ourselves of his lightness; that is to say, of his head being perpendicular, his neck flexible, his hind-part straight and plumb. the legs will then be closed lightly, to give the body the impulse necessary to move it. but we should not, in accordance with the precepts of the old method, give the bridle hand at the same time; for then the neck, being free from all restraint, would lose its lightness; would contract, and render the motion of the hand powerless. the rider will remember that his hand ought to be to the horse an insurmountable barrier, whenever he would leave the position of _ramener_. the animal will never attempt it, without pain; and only within this limit will he find ease and comfort. by the application of my method, the rider will be led to guide his horse all the time with the reins half tight, except when he wishes to correct a false movement, or determine a new one. the walk, i have said, ought to precede the other paces, because the horse having three supports upon the ground, his action is less, and consequently easier to regulate than in the trot and gallop. the first exercises of the supplings will be followed by some turns in the riding-house at a walk, but only as a relaxation, the rider attending less to animating his horse than to making him keep his head, while walking in a perpendicular position. little by little he will complicate his work, so as to join to the lightness of the horse that precision of movement indispensable to the beauty of all his paces. he will commence light oppositions of the hand and legs to make the forces of the fore and hind-parts work together in harmony. this exercise, by accustoming the horse always to yield the use of his forces to the direction of the rider, will be also useful in forming his intelligence, as well as in developing his powers. what delights the expert horseman will experience in the progressive application of his art! his pupil at first rebellious will insensibly yield himself to his every wish; will adopt his character, and end by becoming the living personification of him. take care, then, rider! if your horse is capricious, violent, fantastic, we will have the right to say that you yourself do not shine by the amenity of your disposition, and the propriety of your proceedings. in order to keep the measure and quickness of the walk equal and regular, it is indispensable that the impulsive and governing forces which come from the rider, should themselves be perfectly in harmony. we will suppose, for example, that the rider to move his horse forward, should make use of a force equal to twenty pounds, fifteen for the impulse forward, and five to bring his head into position. if the legs increase their motion without the hands increasing theirs in the same proportion, it is evident that the surplus of communicated force will be thrown into the neck, cause it to contract, and destroy all lightness. if, on the contrary, it is the hand which acts with too much violence, it will be at the expense of the impulsive force necessary to move the horse forward; on this account, his forward movement will be slackened and counteracted, at the same time that his position will lose its gracefulness and power. this short explanation will suffice to show the harmony that should exist between the legs and hands. it is understood that their motion should vary according as the formation of the horse renders it necessary to support him more or less before or behind; but the rule is the same, only the proportions are different. as long as the horse will not keep himself supple and light in his walk, we will continue to exercise him in a straight line; but as soon as he acquires more ease and steadiness, we will commence to make him execute changes of direction to the right and left, while walking. _changes of direction._--the use of the wrists, in the changes of direction, is so simple that it is unnecessary to speak of it here. i will only call attention to the fact, that the resistances of the horse ought always to be anticipated by disposing his forces in such a manner that they all concur in putting him in the way of moving. the head will be inclined in the direction we wish to go by means of the snaffle-rein of that side, the curb will then complete the movement. general rule: the lateral resistances of the neck are always to be opposed by the aid of the snaffle, being very careful not to commence to wheel until after destroying the obstacle that opposed it. if the use of the wrists remains very nearly the same as formerly, it is not so with the legs; their motion will be diametrically opposite to that given them in the old style of horsemanship. this innovation is so natural a one, that i cannot conceive why some one never applied it before me. it is by bearing the hand to the right, and making the right leg felt, people have told me, and i have myself at first repeated it, that the horse is made to turn to the right. with me, practice has always taken the precedence of reasoning; and this is the way i first perceived the incorrectness of this principle. whatever lightness my horse had in a straight line, i remarked that this lightness always lost some of its delicacy when moving in small circles, although my outside leg came to the assistance of the inside one. as soon as the hind leg put itself in motion to follow the shoulders in the circle, i immediately felt a