Read Ebook: 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 Unknown

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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.

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 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.

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.

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.

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; 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.

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."

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.

DIRECTIONS FOR THE LENGTH OF THE STIRRUP.

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.

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.

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