Part 13

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

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

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

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

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

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

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

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

_Aids of the Body._

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

_Aids of the Legs._

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

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

ANIMATIONS, SOOTHINGS, AND CORRECTIONS.

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

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

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

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

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

THE WALK.

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

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

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

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

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

_Turns in the Walk._

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

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

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

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

_Stops in the Walk._

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

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

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

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

_Going Backward in the Walk._

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

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

THE TROT.

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

The perfection of the trot consists in its suppleness, giving the horse a free use of his limbs; in its union, distributing his labour more equally, his fore legs having more to sustain than the hind, especially when he is disunited, or on the shoulders; and in its action, which should be true and equal, the liberty of the fore-quarters not exceeding the hind, nor the hind the fore--the knee being up, the haunches bent, springy, and pliant, the step measuring exact distances, and marking a regular time. In the trot, there is a leading foot, either right or left, by which the corresponding side is a little more advanced than the other. This leading with either foot is valuable, as, in horses that have not been thus suppled, if chance or fatigue makes them change their leg for that which they are not accustomed to, the action is stiff, confined, and irregular.

_Kinds of Trot._

There are three kinds of trot--the extended, the supple, and the even.

In the extended trot, the horse steps out without retaining himself, being quite straight, and going directly forwards.

In the supple trot, at every motion he bends and plays the joints of his shoulders, knees, and feet.

In the even trot, he makes all his limbs and joints move so equally and exactly, that his limbs never cover more ground one than the other, nor at one time more than at another.

These three kinds of trot depend upon each other. We cannot pass a horse to the supple trot without having first worked him to the extended trot; and we can never arrive at the even and equal trot without having practised the supple. To pass from the extended to the supple trot, the horse must be gently and by degrees held in. When, by exercise, he has attained sufficient suppleness to manage his limbs readily, he must insensibly be held in more and more, till he is led to the equal trot.

_The Trot in particular._

In performance the rider must apply, for an instant, both legs to his horse’s sides; and at the same time raise the fore hand by drawing the lower finger on each side rather upwards and towards the body, avoiding all jerks or sudden motions.

During the trot he must sit close to the saddle, preserving his seat by the balance of his body, and not by the pressure of the knees; he must neither rise nor stand in the stirrups; his body must incline a little backwards; the whole figure must partake of and accompany the movements of the horse; and he must keep the hands up in their proper situation, steady and pliant, preserving a due correspondence, and just appuy. If the action be too rapid, it must be checked by strengthening the hand. If the action be too slow, it may be quickened by easing the fingers, and giving more animation.

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

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

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

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

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

ROAD RIDING.

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

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

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

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

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