PRACTICAL HINTS.
HOW TO MOUNT.
Previous to mounting, the lady should make a practice of critically
looking the horse over, in order to satisfy herself that he is properly
saddled and bridled. Particular attention should be paid to the
girthing. Though ladies are not supposed to girth their own horses,
occasion may arise, in the Colonies especially, when they may be called
upon to perform that office. Information on this essential and too
oft-neglected point may not be out of place. Odd as it may sound, few
grooms know how to girth a horse properly, and to explain myself I
must, for a few lines, quit the side-saddle for the cross-saddle. Men
often wonder how it is that, on mounting, the near stirrup is almost
invariably a hole or more the longer of the two. The reason is this:
the groom places the saddle right in the centre of the horse's back and
then proceeds to tighten the girths from the near or left side. The
tension on the girth-holder, all from one side, cants the saddle over
to the left, to which it is still further drawn by the weight of the
rider in mounting and the strain put upon it by the act of springing
into the saddle. This list to port can easily be obviated by the groom
placing the heel of his left hand against the near side of the pommel,
guiding the first or under-girth with the right hand till the
girth-holder passes through the buckle and is moderately tight, then,
with both hands, bracing it so that room remains for one finger to be
passed between it and the horse. The same must be done in the case of
the outer girth.
In a modified degree the side-saddle is displaced by the common mode of
girthing. The surcingle should lie neatly over the girths, and have an
equal bearing with them. When the "Fitzwilliam girth" is used--and its
general use is to be advocated, not only on account of its safety and
the firmness of the broad web, but for its freedom from rubbing the
skin behind the elbow--the leather surcingle of the saddle will take
the place of the usual leather outside strap supplied with this girth.
For inspection the horse should be brought up to the lady, off side on.
She should note that the throat-lash falls easily, but not dangling, on
the commencement of the curve of the cheek-bone, and that it is not
buckled tight round the throttle, like a hangman's "hempen-tow." The
bridoon should hang easily in the mouth, clear of the corners or
angles, and not wrinkling them; the curb an inch or so above the tusk,
or, in the case of a mare, where that tooth might be supposed to be
placed. She will see that the curb-chain is not too tight, that the
lip-strap is carried through the small ring on the chain, also that the
chain lies smooth and even. In fixing the curb, if the chain be turned
to the right, the links will unfold themselves. It is taken for granted
that by frequent personal visits to the stable, or by trusty deputy,
she is satisfied that the horse's back and withers are not galled or
wrung. A groom withholding information on this point should, after one
warning, get his _conge_. That the bits and stirrup be burnished as
bright as a Life Guardsman's cuirasse, the saddle and bridle perfectly
clean, and the horse thoroughly well groomed, goes without saying. All
the appointments being found in a condition fit for Queen's escort
duty, we now proceed to put the lady _in_, not _into_, her saddle. She
should approach the horse from the front, and not from behind.
After a kind word or two and a little "gentling," she, with her whip,
hunting crop, or riding cane in her right hand, picks up the bridoon
rein with her left, draws it through the right smoothly and evenly,
feeling the horse's mouth very lightly, until it reaches the crutch,
which she takes hold of. In passing the rein through the hand, care
must be taken that it is not allowed to slacken so that touch of the
mouth is lost. Attention to this will keep the horse in his position
whilst being mounted; for should he move backward or forward or away as
the lady is in the act of springing into the saddle, he not only makes
the vaulting exceedingly awkward, but dangerous. Many horses sidle away
as the lady is balanced on one foot and holding on to the pommel with
the right hand, in which case she must at once quit her hold or a fall
will follow.
Having adjusted the rein of the bridoon to an equal length, the whip
point down with the end of the rein on the off side, she stands looking
in the direction the horse is standing--_i.e._, to her proper front,
her right shoulder and arm in contact with the flap of the saddle near
side. The mounter advances facing her, and, close to the horse's
shoulder, can perform his office in three different ways. Stooping
down, he places his right hand, knuckles downwards, on his right knee,
and of it the lady makes a sort of mounting block, whence, springing
from the left foot, she reaches her saddle. When she springs she has
the aid of her grip on the crutch, supplemented by the raising power of
her left hand resting on the man's shoulder. Or the groom aids the
spring by the uplifting of both the hand and the knee. The third method
is, for the mounter--his left arm, as before, touching the horse's
shoulder--to stoop down till his left shoulder comes within easy reach
of the lady's left hand, which she lays on it. He at the same time
advances his left foot till it interposes between her and the horse and
makes a cradle of his hands, into which she places her left foot. Her
grip is still on the crutch, and she still feels the horse's mouth.
One, two, three! she springs like feathered Mercury, and he,
straightening himself, accentuates the light bound, and straightway she
finds herself in the saddle.
[Illustration: PREPARING TO MOUNT.]
It is dangerous to face the mounter in such a position that the spring
is made with the rider's back to her horse's side, for in the event of
his starting suddenly or "taking ground to her right," an awkward
full-length back-fall may result. The foot must be placed firmly in the
mounter's hand; during the lift it must not be advanced, but kept under
her, and he must not attempt to raise her till her right foot be clear
of the ground. The best plan that can be adopted with a horse in the
habit of moving away to one side is to stand him against a low wall or
paling, or alongside another horse. A quiet, well-trained horse may
stand as firm as one of the British squares at Waterloo, or "the thin
red line" at Balaclava, for times without number, but from some
unforeseen alarm may suddenly start aside. The spring and lift must go
together, or the lady may, like Mahomet's coffin, find herself hanging
midway. Practice alone can teach the art of mounting lightly and
gracefully, and to an active person there is no difficulty.
There is yet another method of mounting which requires considerably
more practice--doing away with the services of a mounter,--and that is
for the lady to mount herself. In these days, when so many ladies
practise gymnastics and athletic exercises generally, there ought to be
no difficulty in acquiring this useful habit. The stirrup is let out
till it reaches to about a foot from the ground, the pommel is grasped
with the right hand, and with a spring the rider is in her seat. The
stirrup is then adjusted to its proper length. Unless the horse be very
quiet the groom must stand at his head during this process of mounting.
Mounting from a chair or a pair of steps is certainly not an
accomplishment I should recommend ladies to indulge in; still, there
are occasions when the friendly aid of a low wall, a stile, the bar of
a gate, or even a wheelbarrow, comes handy. In such a predicament, take
the bridoon across the palm of the left hand, and drawing the bit rein
through on each side of the little or third finger till the horse's
mouth be felt, place the right foot in the stirrup, grasp the
leaping-head with the left and the upright pommel with the right hand,
and spring into the saddle, turning round, left about, in so doing.
When in the saddle, disengage the right foot from the stirrup and throw
the right leg over the upright head.
[Illustration: MOUNTING--SECOND POSITION.]
When the lady is in the saddle, that is, seated on it, not in riding
position but before throwing her right leg over the crutch, the groom,
without releasing the hold of her foot altogether, adjusts the folds of
the habit, care being taken that there is no crease or fold between the
right knee and the saddle. This, in the case of a Zenith, is a matter
speedily arranged, and, the adjustment being to her satisfaction, she
at once pivots on the centre, and raises her right leg into its place
over the crutch. The foot is then placed in the stirrup. When a good
seat has been acquired, and the rider does not encumber herself with
needless underclothing, this arrangement of habit had best be deferred
till the horse is in motion; she can then raise herself in the saddle
by straightening the left knee, and, drawing herself forward by
grasping the pommel with the right hand, arrange the folds to her
entire satisfaction with the left.
Attention must be paid to the length of the stirrup, for on it depends
greatly the steadiness of the seat. Many ladies are seen riding with a
short stirrup; but this is an error, for it destroys the balance,
without which there can be no elegance, invariably causes actual cramp
and gives a cramped appearance, forces the rider out of the centre of
the saddle, so that the weight on the horse's back is unevenly
distributed, and displays too much daylight when rising in the trot. On
the other hand, too long a stirrup is equally objectionable, as it
causes the body to lean unduly over to the near side in order to retain
hold of it, depresses and throws back the left shoulder, and destroys
the squareness of position. The length of stirrup should be just
sufficient that the rider, by leaning her right hand on the pommel,
can, without any strain on the instep, raise herself clear of the
saddle; this implies that the knee will be only bent sufficiently
to maintain the upward pressure of the knee against the concave
leaping-head. The stirrup is intended as a support to the foot, not
as an _appui_ to ride from; it is not intended to sustain the full
weight of the body, and when so misapplied is certain to establish a
sore back. I am strongly of opinion that to be in all respects perfect
in the equestrian art, a lady should learn, in the first instance, to
ride without a stirrup, so as, under any circumstances that may arise,
to be able to do without this appendage. Those who aspire to honours in
the hunting-field certainly should accustom themselves to dispense with
the stirrup, as by so doing they will acquire a closer and firmer seat;
moreover, its absence teaches the beginner, better than any other
method, to ride from balance, which is the easiest and best form of
equitation for both horse and rider. Many horsewomen are under the
impression that it is impossible to rise without the aid of the
stirrup, but that such is not the case a course of stirrupless training
will soon prove. I do not suggest that riding thus should be made a
habit, but only strenuously advocate its practice.
A very general fault, and an extremely ugly one among lady riders, is
the habit of sticking out the right foot in front of the saddle. It is
not only unsightly, but loosens the hold, for if the toe be stuck out
under the habit like a flying jib-boom, the leg becomes the bowsprit,
and it is impossible for a straightened leg to grip the crutch. Bend
the knee well, keep the toe slightly down, and this ugly habit is
beyond the pale of possibility. This ungraceful posture may be caused
by the pommels being placed so near together that there is not
sufficient room for the leg to lie and bend easily, but this excuse
will not hold good in the case of the straight-seat-safety-side-saddle,
for it has only one pommel or crutch and one leaping-head.
Having got the lady into her saddle, we next attempt so to instruct her
that it may be remarked--
"The rider sat erect and fair."--SCOTT.
THE SEAT.
Hitherto, during the process of mounting and settling herself
comfortably, the reins have been in the rider's right hand. Now that
women can sit square and look straight out and over their horses' ears,
much more latitude is permitted in the hold of the reins. It is no
longer essential to hold them only in the left hand, for as often as
not--always in hunting or at a hand-gallop--both hands are on the
bridle. But, as a rule, the left should be the bridle hand, for if the
reins be held in the right, and the horse, as horses often will, gets
his head down or bores, the right shoulder is drawn forward, and the
left knee, as a matter of course, being drawn back from under, loses
its upward pressure against the leaping-head, and the safety of the
seat is jeopardized. Were the rein to give way the rider would probably
fall backwards off the horse over his off-quarter. On the other hand,
when the reins are all gathered into the left hand, the harder the
horse may take the bit in his teeth, and the lower he may carry his
head, the firmer must be the grip of the crutch and the greater the
pressure against the leaping-head.
[Illustration: MOUNTED--NEAR SIDE.]
As the reins must not be gathered up all in a bunch, I give the
following directions for placing them in the hand. If riding with a
snaffle, as always should be the case with beginners, the reins ought
to be separated, passing into the hands between the third and fourth
fingers, and out over the fore or index-finger, where they are held by
the thumb. In the case of bit and bridoon (the bridoon rein has
generally a buckle where it joins, whereas that of the bit is
stitched), take up the bridoon rein across the inside of the hand, and
draw the bit rein through the hand on each side of the little or third
finger until the mouth of the horse be gently felt; turn the remainder
of the rein along the inside of the hand, and let it fall over the
forefinger on to the off-side; place the bridoon rein upon those of the
bit, and close the thumb upon them all.
A second plan equally good is, when the horse is to be ridden mainly on
the bridoon: the bridoon rein is taken up by the right hand and drawn
flatly through on each side of the second finger of the bridle-hand,
till the horse's mouth can be felt, when it is turned over the first
joint of the forefinger on to the off-side. The bit rein is next taken
up and drawn through on each side of the little finger of the
bridle-hand, till there is an equal, or nearly equal, length and
feeling with the bridoon, and then laid smoothly over the bridoon rein,
with the thumb firmly placed as a stopper upon both, to keep them from
slipping. A slight pressure of the little finger will bring the bit
into play.
Thirdly, when the control is to be entirely from the bit or curb; the
bit rein is taken up by the stitching by the right hand _within_
the bridoon rein, and drawn through on each side of the little finger
of the left or bridle-hand, until there is a light and even feel on the
horse's mouth; it is then turned over the first joint of the forefinger
on the off-side. The bridoon rein is next taken up by the buckle, under
the left hand, and laid smoothly over the left bit rein, leaving it
sufficiently loose to hang over each side of the horse's neck. The
thumb is then placed firmly on both reins, as above.
These different manipulations of the reins may be conveniently
practised at home with reins attached to an elastic band, the spring of
the band answering to the "feel" on the horse's mouth. But, in addition
to these various systems of taking up the reins, much has to be learnt
in the direction of separating, shortening, shifting, and so forth.
With novices the reins constantly and imperceptibly slip, in which
case, the ends of the reins hanging over the forefinger of the
bridle-hand are taken altogether into the right, the right hand feels
the horse's head, while the loosened fingers of the bridle-hand are run
up or down the reins, as required, till they are again adjusted to the
proper length, when the fingers once more close on them.
In shifting reins to the right hand, to relieve cramp of the fingers,
and so forth, the right hand must always pass over the left, and in
replacing them the left hand must be placed over the right. In order to
shorten any one rein, the right hand is used to pull on that part which
hangs beyond the thumb and forefinger. When a horse refuses obedience
to the bridle-hand, it must be reinforced by the right. The three first
fingers of the right are placed over the bridoon rein, so that the rein
passes between the little and third fingers, the end is then turned
over the forefinger and, as usual, the thumb is placed upon it.
Expertness in these "permutations and combinations" is only to be
arrived at by constant practice. They must be performed without
stopping the horse, altering his pace, or even glancing at the hands.
The reins must not be held too loose, but tight enough to keep touch of
the horse's mouth; and, on the other hand, there must be no attempt to
hold on by the bridle, or what is termed to "ride in the horse's
mouth." A short rein is objectionable; there must be no "extension
motions," no reaching out for a short hold. The proper position for the
bridle-hand is immediately opposite the centre of the waist, and about
three or four inches from it, that is, on a level with the elbow, and
about three or four inches away from the body. The elbow must neither
be squeezed or trussed too tightly to the side, nor thrust out too far,
but carried easily, inclining a little from the body. According to
strict _manege_ canons, the thumb should be uppermost, and the
lower part of the hand nearer the waist than the upper, the wrist a
little rounded, and the little finger in a line with the elbow. A
wholesome laxity in conforming to these hard-and-fast rules will be
found to add to the grace of the rider. _Chaque pays chaque guise_, and
no two horses are alike in the carriage of the head, the sensitiveness
of the mouth, and in action. Like ourselves, they all have their own
peculiarities.
[Illustration: THE RIGHT AND WRONG ELBOW ACTION.]
THE WALK.
The rider is now seated on what--in the case of a beginner--should be
an absolutely quiet, good-tempered, and perfectly trained horse. Before
schooling her as to seat, we will ask her to move forward at the walk.
At first it is better to have the horse led by a leading rein till the
_debutante_ is accustomed to the motion and acquires some stock of
confidence. She must banish from her mind all thoughts of tumbling off.
We do not instruct after this fashion:--Lady (after having taken
several lessons at two guineas a dozen) _loq._: "Well, Mr. Pummell,
have I made any good progress?" "Well, I can't say, ma'am," replies the
instructor, "as 'ow you rides werry well as yet, but you falls off,
ma'am, a deal more gracefuller as wot you did at first." We do not say
that falls must not be expected, but in mere hack and park riding they
certainly ought to be few and far between. At a steady and even fast
walk the merest tyro cannot, unless bent on experiencing the sensation
of a tumble, possibly come to the ground. Doubtless the motion is
passing strange at first, and the beginner may be tempted to clutch
nervously at the pommel of her saddle, a very bad and unsightly habit,
and one that, if not checked from the very first, grows apace and
remains.
It is during the walk that the seat is formed, and the rider makes
herself practically acquainted with the rules laid down on the handling
of the reins. A press of the left leg, a light touch of the whip on the
off-side, and a "klk" will promptly put the horse in motion. He may
toss his head, and for a pace or two become somewhat unsteady; this is
not vice but mere freshness, and he will almost immediately settle down
into a quick, sprightly step, measuring each pace exactly, and marking
regular cadence, the knee moderately bent, the leg, in the case of what
Paddy terms "a flippant shtepper," being sharply caught up, appearing
suspended in the air for a second, and the foot brought smartly and
firmly, without jar, to the ground. This is the perfection of a walking
pace. By degrees any nervousness wears off, the rigid trussed
appearance gives place to one of pliancy and comparative security, the
body loses its constrained stiffness, and begins to conform to and sway
with the movements of the horse. The rider, sitting perfectly straight
and erect, approaches the correct position, and lays the foundation of
that ease and bearing which are absolutely indispensable.
[Illustration: RIGHT MOUNT. WRONG MOUNT.]
After a lesson or two, if not of the too-timid order, the lady will
find herself sitting just so far forward in the saddle as is consistent
with perfect ease and comfort, and with the full power to grasp the
upright crutch firmly with her right knee; she will be aware of the
friendly grip of the leaping-head over her left leg; the weight of her
body will fall exactly on the centre of the saddle; her head, though
erect, will be perfectly free from constraint, the shoulders well
squared, and the hollow of the back gracefully bent in, as in waltzing.
This graceful pose of the figure may be readily acquired, throughout
the preliminary lessons, and indeed on all occasions when under
tuition, by passing the right arm behind the waist, back of the hand to
the body, and riding with it in that position. Another good plan, which
can only be practised in the riding-school or in some out-of-the-way
quiet corner, and then only on a very steady horse, is for the
beginner, without relaxing her grip on the crutch and the pressure on
the leaping-head, as she sits, to lean or recline back so that her two
shoulder-blades touch the hip-bones of the horse, recovering herself
and regaining her upright position without the aid of the reins. The
oftener this gymnastic exercise is performed the better.
At intervals during the lessons she should also, having dropped her
bridle, assiduously practise the extension motions performed by
recruits in our military-riding schools. [_See Appendix._] The
excellent effects of this physical training will soon be appreciated.
But, irrespective of the accuracy of seat, suppleness and strength of
limb, confidence and readiness these athletic exercises beget, they
may, when least expected, save the rider's life. Some of those for
whose instruction I have the honour to write, may find themselves
placed in a critical situation, when the ability to lie back or "duck"
may save them from a fractured skull.
Inclining the body forward is, from the notion that it tends towards
security, a fault very general with timid riders. Nothing, however, in
the direction of safety, is further from the fact. Should the horse,
after a visit to the farrier and the usual senseless free use of the
smith's drawing and paring-knife, tread upon a rolling stone and
"peck," the lady, leaning forward, is suddenly thrown still further
forward, her whole weight is cast upon his shoulders, so he "of the
tender foot" comes down and sends his rider flying over his head. A
stoop in the figure is wanting in smartness, and is unattractive.
[Illustration: TURNING IN THE WALK--RIGHT AND WRONG WAY.]
It is no uncommon thing to see ladies sitting on their horses in the
form of the letter S, and the effect can hardly be described as
charming. This inelegant position, assumed by the lady in the distance,
is caused by being placed too much over to the right in the saddle,
owing to a too short stirrup. In attempting to preserve the balance,
the body from the waist upwards has a strong twisted lean-over to the
left, the neck, to counteract this lateral contortion of the spine,
being bent over to the right, the whole pose conveying the impression
that the rider must be a cripple braced up in surgeon's irons and other
appliances. Not less hideous, and equally prevalent, is the habit of
sitting too much to the left, and leaning over in that direction
several degrees out of the perpendicular. A novice is apt to contract
this leaning-seat from the apprehension, existing in the mind of timid
riders, that they must fall off from the off rather than from the near
side, so they incline away from the supposed danger. Too long a stirrup
is sometimes answerable for this crab-like posture. In both of these
awkward postures, the seat becomes insecure, and the due exercise of
the "aids" impossible. What is understood by "aids" in the language of
the schools are the motions and proper application of the bridle-hand,
leg, and heel to control and direct the turnings and paces of the
horse.
The expression "riding by balance" has been frequently used, and as it
is the essence of good horsemanship, I describe it in the words of an
expert as consisting in "a foreknowledge of what direction any given
motion of the horse would throw the body, and a ready adaptation of the
whole frame to the proper position, before the horse has completed his
change of attitude or action; it is that disposition of the person, in
accordance with the movements of the horse, which preserves it from an
improper inclination to one side or the other, which even the ordinary
paces of the horse in the trot or gallop will occasion." In brief, it
is the automatic inclination of the person of the rider to the body of
the horse by which the equilibrium is maintained.
The rider having to some extent perfected herself in walking straight
forward, inclining and turning to the right and to the right about, and
in executing the same movements to the left, on all of which I shall
have a few words to say later, and when she can halt, rein back, and is
generally handy with her horse at the walk, she may attempt a slow
TROT, and here her sorrows may be said to begin.
THE TROT.
In this useful but trying pace the lady must sit well down on her
saddle, rising and falling in unison with the action of the horse,
springing lightly but not too highly by the action of the horse coupled
with the flexibility of the instep and the knee. As the horse breaks
from the walk into the faster pace, it is best not to attempt to rise
from the saddle till he has fairly settled down to his trot--better for
a few paces to sit back, somewhat loosely, and bump the saddle. The
rise from the saddle is to be made as perpendicularly as possible,
though a slight forward inclination of the body from the loins, but not
with roached-back, may be permitted, and only just so high as to
prevent the jar that ensues from the movements of the rider with the
horse not being in unison. The return of the body to the saddle must be
quiet, light, and unlaboured. Here it is that the practice without a
stirrup will stand the novice in good stead.
This pace is the most difficult of all to ladies, and few there be that
attain the art of sitting square and gracefully at this gait, and who
rise and fall in the saddle seemingly without an effort and without
riding too much in the horse's mouth. Most women raise themselves by
holding on to the bridle. Instead of rising to the right, so that they
can glance down the horse's shoulder, and descending to left, and thus
regain the centre of the saddle, they persist in rising over the
horse's left shoulder, and come back on to the saddle in the direction
of his off-quarter. This twist of the body to the left destroys the
purchase of the foot and knee, and unsteadies the position and hands.
Though I have sanctioned a slight leaning forward as the horse breaks
into his trot, it must not be overdone, for should he suddenly throw up
his head his poll may come in violent contact with the rider's face and
forehead, causing a blow that may spoil her beauty, if not knock her
senseless.
[Illustration: RIGHT AND WRONG RISING.]
Till the rider can hit off the secret of rising, she will be severely
shaken up--"churned" as a well-known horsewoman describes the
jiggiddy-joggoddy motion,--the teeth feel as if they would be shaken
out of their sockets, and stitch-in-the-side puts in its unwelcome
appearance. Certes, the preliminary lessons are very trying ones, the
disarrangement of "the get-up" too awful, the fatigue dreadful, the
alarm no trifle. Nothing seems easier, and yet nothing in the art
equestrian is so difficult--not to men with their two stirrups, but to
women with one only available. What is more grotesque, ridiculous, and
disagreeable than a rider rising and falling in the saddle at a greater
and lesser speed than that of her horse? And yet, fair reader, if you
will have a little patience, a good deal of perseverance, some
determination, and will attend to the hints I give, you shall, in due
course, be mistress over the difficulty, and rise and fall with perfect
ease and exquisite grace, free from all _embarras_ or undue fatigue.
First of all, we must put you on a very smooth, easy, and sedate
trotter; by-and-by we may transfer your saddle to something more sharp
and lively, perhaps even indulge you with a mount on a regular
"bone-setter." To commence with, the lessons, or rather trotting bouts,
shall be short, there shall be frequent halts, and during these halts I
shall make you drop your reins and put you through extension and
balance motions, endeavour to correct your position on the saddle,
catechize you closely on the "aids," and introduce as much variety as
possible.
Before urging your steed into his wild six or seven-mile-an-hour
career, please bear in mind that you must not rise suddenly, or with a
jerk, but quietly and smoothly, letting the impetus come from the
motion of the horse. The rise from the saddle must not be initiated by
a long pull and strong pull at his mouth, a spasmodic grip of your
right leg on the crutch, or a violent attempt to raise yourself in the
air from your stirrup. The horse will not accommodate his action to
yours, you must "take him on the hop," as the saying is. If horse and
rider go disjointly, or you do not harmonize your movements with his,
then it is something as unpleasant as dancing a waltz with a partner
who won't keep time, or rowing "spoonful about."
Falling in with the trot of a horse is at first very difficult. In
order to facilitate matters as much as possible, you shall, for a few
days, substitute the old-fashioned slipper for the stirrup, as then the
spring will come from the toes and not from the hollow of the foot;
this will lessen the exertion and be easier. If nature has happened to
fashion you somewhat short from the hip to the knee, and you will
attend to instruction and practice frequently, the chances are strong
in your favour of conquering the irksome "cross-jolt." Separate your
reins, taking one in each hand, feeling the mouth equally with both
reins, sit well down on your saddle, keep your left foot pointed
straight to the front, don't attempt to move till the horse has
steadied into his trot, which, in case of a well trained animal, will
be in a stride or two, then endeavour, obeying the impulse of his
movement, to time the rise.
A really perfectly broken horse, "supplied on both hands," as it is
termed, leads, in the trot as in the canter, equally well with either
leg, but, in both paces, a very large majority have a favourite leading
leg. By glancing over the right shoulder the time for the rise may be
taken. Do not be disheartened by repeated failures to "catch on;"
persevere, and suddenly you will hit it off. When the least fatigued,
pull up into a walk, and when rested have another try. At the risk of
repetition, I again impress on you the necessity of keeping the toe of
the left foot pointed to the front, the foot itself back, and with the
heel depressed. Your descent into the saddle should be such that any
one you may be riding straight at, shall see a part of your right
shoulder and hip as they rise and fall, his line of vision being
directed along the off-side of the horse's neck. When these two
portions of your body are so visible then the weight is in its proper
place, and there is no fear of the saddle being dragged over the
horse's near shoulder. For a few strides there is no objection to your
taking a light hold of the pommel with the right hand, in order to time
the rise, but the moment the "cross-jolt" ceases, and you find yourself
moving in unison with the horse, the hold must be relaxed. Some
difficulty will be found in remaining long enough out of the saddle at
each rise to avoid descending too soon, and thus receive a double
cross-jolt; but this will be overcome after a few attempts. Keep the
hands well down and the elbows in.
[Illustration: THE TROT.]
Varying the speed in the trot will be found excellent practice for the
hands; the faster a horse goes, generally speaking, the easier he goes.
He must be kept going "well within himself," that is he must not be
urged to trot at a greater speed than he can compass with true and
equal action. Some very fast trotters, "daisy cutters," go with so
little upward jerk that it is almost impossible to rise on them at all.
Any attempt at half-cantering with his hind legs must be at once
checked by pulling him together, and, by slowing him down, getting him
back into collected form. Should he "break" badly, from being
over-paced, into a canter or hard-gallop, then rein him in, pulling up,
if need be, into a walk, chiding him at the same time. When he again
brings his head in and begins to step clean, light, and evenly, then
let him resume his trot. If not going up to his bit and hanging heavy
on the hand, move the bit in his mouth, let him feel the leg, and talk
to him. Like ourselves, horses are not up to the mark every day, and
though they do not go to heated theatres and crowded ball-rooms, or
indulge as some of their masters and mistresses are said to do, they
too often spend twenty hours or more out of the twenty-four in the
vitiated atmosphere of a hot, badly ventilated stable, and their
insides are converted into apothecaries' shops by ignorant doctoring
grooms. When a free horse does not face his bit, he is either fatigued
or something is amiss.
THE CANTER.
Properly speaking, this being, _par excellence_, the lady's pace, the
instruction should precede that of the trot. The comparative ease of
the canter, and the readiness with which the average pupil takes to it,
induces the beginner to at once indulge in it. It is, on a thoroughly
trained horse, so agreeable that the uninitiated at once acquire
confidence on horseback. Moreover, it is _the_ pace at which a fine
figure and elegant lady-like bearing is most conspicuously displayed,
and for this, if for no other reason, the pupil applies herself
earnestly--shall I say lovingly?--to perfect herself in this delightful
feature of the art. On a light-actioned horse, one moving as it were on
springs, going well on his haunches, and well up to this bit, the
motion is as easy as that of a rocking-chair. All the rider has to do
is to sit back, keep the body quite flexible and in the centre of the
saddle, preserve the balance, and, with pressure from the left leg and
heel, and a touch of the whip, keep him up to his bit. She will
imperceptibly leave the saddle at every stride, which, in a slow
measured canter, will be reduced to a sort of rubbing motion, just
sufficient to ease the slight jolt caused by the action of the haunches
and hind legs.
Many park-horses and ladies' hacks are trained to spring at once,
without breaking into a run or trot, into the canter. All the rider has
to do is to raise the hand ever so little, press him with the leg,
touch him with the whip, and give him the unspellable signal "klk." The
movement or sway of the body should follow that of the horse. As soon
as he is in his stride, the rider throws back her body a little, and
places her hand in a suitable position. If the horse carries his head
well, the hand ought to be about three inches from the pommel, and at
an equal distance from the body. For "star-gazers" it should be lower;
and for borers it should be raised higher. Once properly under way the
lady will study that almost imperceptible willow-like bend of the back,
her shoulders will be thrown back gracefully, the mere suspicion of a
swing accommodating itself to the motion of the horse will come from
the pliant waist, and she will yield herself just a little to the
opposite side from that the horse's leading leg is on. If he leads with
the off-foot, he inclines a trifle to the left, and the rider's body
and hands must turn but a little to the left also, and _vice versa_.
It is the rider's province to direct which foot the horse shall lead
with. To canter with the left fore leg leading, the extra bearing will
be upon the left rein, the little finger turned up towards the right
shoulder, the hint from the whip--a mere touch should suffice--being on
the right shoulder or flank. It is essential that the bearing upon the
mouth, a light playing touch, should be preserved throughout the whole
pace. If the horse should, within a short distance--say a mile or
so,--flag, then he must be reminded by gentle application of the whip.
He cannot canter truly and bear himself handsomely unless going up to
his bit. The rider must feel the cadence of every pace, and be able to
extend or shorten the stride at will. It is an excellent plan to change
the leading leg frequently, so that upon any disturbance of pace, going
"false," or change of direction, the rider may be equal to the
occasion. The lady must be careful that the bridle-arm does not acquire
the ugly habit of leaving the body and the elbow of being stuck out of
it akimbo. All the movements of the hand should proceed from the wrist,
the bearings and play on the horse's mouth being kept up by the little
finger.
Ladies will find that most horses are trained to lead entirely with the
off leg, and that when, from any disturbance of pace, they are forced
to "change step" and lead with the near leg, their action becomes very
awkward and uneven. Hence they are prone to regard cantering with the
near leg as disagreeable. But when they come to use their own horses,
they will find it good economy to teach them to change the leading leg
constantly, both during the canter and at the commencement of the pace.
To make a horse change foot in his canter, if he cannot be got readily
to do so by hand, leg, and heel, turn him to the right, as if to
circle, and he will lead with the off foreleg, and by repeating the
same make-believe manoeuvre to the left, the near fore will be in
front. The beginner, however, had better pull up into the walk before
attempting this change. When pulling up from the canter, it is best and
safest to let the horse drop into a trot for a few paces and so resume
the walk.
There is no better course of tuition by which to acquire balance than
the various inclinations to the right and left, the turns to the right
and left and to the right and left-about at the canter, all of which,
with the exception of the full turns, should be performed on the move
without halting. In the turn-about, it is necessary to bring the horse
to a momentary halt before the turn be commenced, and so soon as he has
gone about and the turn is fully completed, a lift of the hand and a
touch of the leg and heel should instanter compel him to move forward
at the canter in the opposite direction; he must no sooner be round
than off. When no Riding-school is available, one constructed of
hurdles closely laced with gorse, on the sheep-lambing principle, will
answer all purposes. Should the horse be at all awkward or unsteady,
the hurdles, placed one on the top of the other and tied to uprights
driven into the ground, closely interlaced with the gorse so that he
cannot see through or over the barrier, will form a perfect, retired
exercise ground. A plentiful surface dressing of golden-peat-moss-litter
will save his legs and feet. In a quiet open impromptu school of this
description, away from "the madding crowd," I have schooled young
horses so that they would canter almost on their own ground, circling
round a bamboo lance shaft, the point in the ground and the butt in my
right hand, without changing legs or altering pace, and they would
describe the figure eight with almost mathematical precision, changing
leg at every turn without any "aid" from me, a mere inclination of the
body bringing them round the curves. A horse very handy with his legs
can readily change them at the corners when making the full right-angle
turn, but there is always at first the danger of one not so clever
attempting to execute the turn by crossing the leading leg over the
supporting one, when the rider will be lucky to get off with an awkward
stumble--a "cropper" will most likely follow. When at this private
practice, "make much of your horse"--that is, caress and speak kindly
to him, when he does well; in fact, the more he is spoken to throughout
the lesson, the better for both parties. So good and discriminating is
a horse's ear that he soon learns to appreciate the difference between
kindly approval and stern censure. A sympathy between horse and rider
is soon established, and such freemasonry is delightful.
[Illustration: FREE BUT NOT EASY.]
Never canter on the high road, and see that your groom does not indulge
himself by so doing. On elastic springy turf the pace, which in reality
is a series of short bounds, if not continued too long at a time, does
no great harm, but one mile on a hard, unyielding surface causes more
wear-and-tear of joints, shoulders, and frame generally, than a long
day's work of alternating walk and trot which, on the Queen's highway,
are the proper paces. There is no objection to a canter when a bit of
turf is found on the road-side; and the little drains cut to lead the
water off the turnpike into the ditch serve to make young horses handy
with their legs.
THE HAND-GALLOP AND GALLOP.
The rider should not attempt either of these accelerated paces till
quite confident that she has the horse under complete control. As the
hand-gallop is only another and quickened form of the canter, in which
the stride is both lengthened and hastened, or, more correctly
speaking, in which the bounds are longer and faster, the same rules are
applicable to both. Many horses, especially those through whose veins
strong hot blood is pulsing, fairly revel in the gallop, and if allowed
to gain upon the hand, will soon extend the hand-gallop to full-gallop,
and that rapid pace into a runaway. The rider must, therefore, always
keep her horse well in hand, so as to be able to slacken speed should
he get up too much steam. Some, impatient of restraint, will shake
their heads, snatch at their bits, and yaw about, "fighting for their
heads," as it is termed, and will endeavour to bore and get their heads
down.
A well-trained horse, one such as a beginner should ride, will not play
these pranks and will not take a dead pull at the rider's hands; on the
contrary, he will stride along quite collectedly, keeping his head in
its proper place, and taking just sufficient hold to make things
pleasant. But horses with perfect mouths and manners are, like angels'
visits, few and far between, and are eagerly sought after by those
fortunate beings to whom money is no object. To be on the safe side,
the rider should always be on the alert and prepared to at once apply
the brake. When fairly in his stride and going comfortably, the rider,
leaning slightly forward, should, with both hands on the bridle, give
and take with each stroke, playing the while with the curb; she should
talk cheerily to him, but the least effort on his part to gain upon the
hand must be at once checked. The play of the little fingers on the
curb keeps his mouth alive, prevents his hanging or boring, and makes
it sensible to the rider's hand.
"Keeping a horse in hand" means that there is such a system of
communication established between the rider and the quadruped that the
former is mistress of the situation, and knows, almost before the horse
has made up his mind what to do, what is coming. This keeping in hand
is one of the secrets of fine horsemanship, and it especially suits the
light-hearted mercurial sort of goer, one that is always more or less
off the ground or in the air, one of those that "treads so light he
scarcely prints the plain."
My impression is, despite the numerous bits devised and advertised to
stop runaways, that nothing short of a long and steep hill, a
steam-cultivated, stiff clay fallow, or the Bog of Allen, will stop the
determined bolt of a self-willed, callous-mouthed horse. There is no
use pulling at him, for the more you pull the harder he hardens his
heart and his mouth. The only plan, if there be plenty of elbow room,
is to let him have his wicked way a bit, then, with one mighty
concentrated effort to give a sudden snatch at the bit, followed by
instantly and rapidly drawing, "sawing," of the bridoon through his
mouth. Above all, keep your presence of mind, and if by any good luck
you can so pilot the brute as to make him face an ascent, drive him up
it--if it be as steep as the roof of a house, so much the
better,--plying whip and spur, till he be completely "pumped out" and
dead beat. Failing a steep hill, perhaps a ploughed field may present
itself, through and round which he should be ridden, in the very
fullest sense of the word, till he stands still. Such a horse is
utterly unfit to carry a lady, and, should she come safe and sound out
of the uncomfortable ride, he had better be consigned to Tattersall's
or "The Lane," to be sold "absolutely without reserve."
Worse still than the runaway professional bolter is the panic-stricken
flight of a suddenly scared horse, in which abject terror reigns
supreme, launching him at the top of his speed in full flight from some
imaginary foe. Nature has taught him to seek safety in flight, and the
frightened animal, with desperate and exhausting energy, will gallop
till he drops. Professor Galvayne's system claims to be effective with
runaway and nervous bolters. At Ayr that distinguished horse-tamer
cured, in the space of one hour, an inveterate performer in that
objectionable line, and a pair he now drives were, at one time, given
to like malpractices.
Do not urge your horse suddenly from a canter into a full gallop; let
him settle down to his pace gradually--steady him. Being jumped off,
like a racehorse with a flying start at the fall of the flag, is very
apt to make a hot, high-couraged horse run away or attempt to do so.
Some horses, however, allow great liberties to be taken with them, and
others none. All depends on temperament, and whether the nervous,
fibrous, sanguine, or lymphatic element preponderates. And here let me
remark that the fibrous temperament is the one to struggle and endure,
to last the longest, and to give the maximum of ease, comfort, and
satisfaction to owner and rider.
LEAPING.
"Throw the broad ditch behind you; o'er the hedge
High bound, resistless; nor the deep morass refuse."
THOMPSON.
Though the "pleasures of the chase" are purposely excluded from this
volume, the horsewoman's preliminary course of instruction would hardly
be complete without a few remarks on jumping. In clearing an obstacle,
a horse must to all intents and purposes go through all the motions
inherent to the vices of rearing, plunging, and kicking, yet the three,
when in rapid combination, are by no means difficult to accommodate
one's self to. It is best to commence on a clever, steady horse--"a
safe conveyance" that will go quietly at his fences, jump them without
an effort, landing light as a cork, and one that will never dream of
refusing. As beginners, no matter what instructors may say and protest,
will invariably, for the first few leaps, till they acquire confidence,
grip, and balance, ride to some extent "in the horse's mouth," they
should be placed on an animal with not too sensitive a mouth, one that
can go pleasantly in a plain snaffle.
Begin with something low, simple, and easy--say a three feet high
gorsed hurdle, so thickly laced with the whin that daylight cannot be
seen through, with a low white-painted rail some little distance from
it on the take-off side. If there be a ditch between the rail and the
fence, so much the better, for the more the horse spreads himself the
easier it will be to the rider, the jerk or prop on landing the less
severe. Some horses sail over the largest obstacle, land, and are away
again without their appearing to call upon themselves for any extra
exertion; they clear it in their stride. Hunters that know their
business can be trotted up to five-barred gates and stiff timber, which
they will clear with consummate ease; but height and width require
distinct efforts, and the rear and kick in this mode of negotiating a
fence are so pronounced and so sudden that they would be certain to
unseat the novice.
[Illustration: THE LEAP.]
It is easiest to sit a leap if the horse is ridden at it in a canter
or, at most, in a well-collected, slow hand-gallop. The reins being
held in both hands with a firm, steady hold, the horse should be ridden
straight at the spot you have selected to jump. Sit straight, or, if
anything out of the perpendicular, lean a little back. The run at the
fence need only be a few yards. As he nears it, the forward prick of
his alert ears and a certain measuring of his distance will indicate
that he means "to have it," and is gathering himself for the effort.
The rider should then, if she can persuade herself so to do, give him
full liberty of head. Certain instructors, and horsemen in general,
will prate glibly of "lifting" a horse over his fence. I have read of
steeplechase riders "throwing" their horses over almost unnegotiable
obstacles, but it is about as easy to upend an elephant by the tail and
throw him over the garden wall as it is for any rider to "lift" his
horse. Although the horse must be made to feel, as he approaches the
fence, that it is utterly impossible for him to swerve from it, yet the
instant he is about to rise the reins should be slacked off, to be
almost immediately brought to bear again as he descends.
Irish horses are the best jumpers we have, and their excellence may
justly be ascribed to the fact that, for the most part, they are ridden
in the snaffle bridle. If the horse be held too light by the head he
will "buck over" the obstacle, a form of jumping well calculated to
jerk the beginner out of her saddle. After topping the hurdle, the
horse's forehand, in his descent, will be lower than his hind quarters.
Had the rider leant forward as he rose on his hind legs, the violent
effort or kick of his haunches would have thrown her still further over
his neck, whereas, having left the ground with a slight inclination
towards the croup, the forward spring of the horse will add to that
backward tendency and place her in the best possible position in which
to counteract the shock received upon his forefeet reaching the ground.
If the rider does not slacken the reins as the horse makes his spring,
they must either be drawn through her hands or she will land right out
on his neck.
I have referred to the "buck-over" system of jumping, which is very
common with Irish horses. A mare of mine, well-known in days of yore at
Fermoy as "Up-she-rises," would have puzzled even Mrs. Power
O'Donoghue. She would come full gallop, when hounds were running, at a
stone wall, pull up and crouch close under it, then, with one mighty
effort, throw herself over, her hind legs landing on the other side
little more than the thickness of the wall from where her forefeet had
taken off. It was not a "buck," but a straight up-on-end rear, followed
by a frantic kick that threatened to hurl saddle and rider half across
the field. "Scrutator," in "Horses and Hounds," makes mention of an
Irish horse, which would take most extraordinary leaps over gates and
walls, and if going ever so fast would always check himself and take
his leaps after his own fashion. "Not thinking him," writes this fine
sportsman, "up to my weight, he was handed over to the second
whipper-in, and treated Jack at first acquaintance to a rattling fall
or two. He rode him, as he had done his other horses, pretty fast at a
stiff gate, which came in his way the first day. Some of the field, not
fancying it, persuaded Jack to try first, calculating upon his knocking
it open, or breaking the top bar. The horse, before taking off, stopped
quite short, and jerked him out of the saddle over to the other side;
then raising himself on his hind legs, vaulted over upon Jack, who was
lying on his back. Not being damaged, Jack picked himself up, and
grinning at his friends, who were on the wrong side laughing at his
fall, said, 'Never mind, gentlemen, 'tis a rum way of doing things that
horse has; but no matter, we are both on the right side, and that's
where you won't be just yet.'"
The standing jump is much more difficult, till the necessary balance be
acquired, than the flying leap. The lower and longer the curve
described, the easier to sit; but in this description of leaping, the
horse, though he clears height, cannot cover much ground. His motion is
like that of the Whip's horse described above, and the rider will find
the effort, as he springs from his haunches, much more accentuated than
in the case of the flying leap, and therefore the more difficult to
sit. As, however, leaping, properly speaking, belongs to the
hunting-field, I propose to deal more fully with the subject in another
volume.
DISMOUNTING.
When the novice dismounts there should, at first, be two persons to
aid--one to hold the horse's head, the other to lift her from the
saddle. After a very few lessons, if the lady be active and her hack a
steady one, the services of the former may be dispensed with. Of course
the horse is brought to full stop. Transfer the whip to the left hand,
throw the right leg over to the near side of the crutch and disengage
the foot from the stirrup. Let the reins fall on the neck, see that the
habit skirt is quite clear of the leaping-head, turn in the saddle,
place the left hand upon the right arm of the cavalier or squire, the
right on the leaping-head, and half spring half glide to the ground,
lighting on the balls of the feet, dropping a slight curtsey to break
the jar on the frame. Retain hold of the leaping-head till safely
landed.
Very few men understand the proper manner in which to exercise the
duties of the _cavalier servant_ in mounting and dismounting ladies.
Many ladies not unreasonably object to be lifted off their horses
almost into grooms' arms. A correspondent of the _Sporting and Dramatic
News_ mentions a contretemps to a somewhat portly lady in the Crimea,
whose husband, in hoisting her up on to her saddle with more vigour
than skill, sent his better half right over the horse's back sprawling
on the ground. It is by no means an uncommon thing to see ladies, owing
to want of lift on the part of the lifter and general clumsiness,
failing to reach the saddle and slipping down again.
Having dismounted, "make much" of your horse, and give him a bit of
carrot, sugar, apple, or some tid-bit. Horses are particularly fond of
apples.