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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





End of Project Gutenberg's The Young Lady's Equestrian Manual, by Anonymous