the most easy to the Horse, inasmuch as they require nothing of the
Horse but what he has done before. In reality, to make him stop readily
and justly, he has been taught to take a good and true Apuy; in order
to make him rise, he has been put _together_, and supported firm upon
his Haunches; to make him advance, to make him go backward, and to make
him stop, he has been made acquainted with the Aids of the Heels and
Hands; so that in order to execute Curvets, nothing remains for him to
do, but to learn and comprehend the Measure and Time of the Air.
CURVETS are derived and drawn out of the Pesades.--We have already said
that Pesades ought to be made slowly, very high before, and accompanied
a little by the Haunches. Curvets are lower before, the Horse must
advance, his Haunches must follow closer, and _beat_ or mark a quicker
_Time_; the Haunches must be bent, his Hocks be firm, his two Hind-feet
advance equally at every Time, and their Action must be short quick,
just, and in exact Measure and Proportion.
THIS Action, when suited to the Strength and Disposition of the Horse,
is not only beautiful in itself, but even necessary to fix and place
his Head; because this Air is, or ought to be founded, upon the true
_Apuy_ of his Mouth. It likewise lightens the Fore-part; for as it
can't be perform'd unless the Horse collects his Strength upon his
Haunches, it must of consequence take the Weight off from the Shoulders.
IT is well known, that in working upon every Air, the Strength, the
Vigour, and the Disposition of the Horse should be consider'd; the
Importance of this Attention to these Qualities is sufficiently
acknowledged; and it is granted and allowed, that Art serves, and can
serve, to no other end than to improve and make Nature perfect.--Now
it will be easy to discover to what Air a Horse should be destin'd,
and to what he is most dispos'd and capable of executing, by seeing
his Actions, and by the greater or less Degree of Pains which will be
requisite to supple him. When you design a Horse for the _Curvets_,
take care to chuse one, which, besides having the necessary Disposition
to that Manage, will have likewise Patience enough in his Temper to
perform them well.--A natural Disposition alone will not suffice; there
are Horses who will present themselves to them, but being by Nature
impatient of all Restraint, from the Moment that they feel any Pain
or Difficulty in furnishing what you ask of them, they will disobey
and deceive you in the very Instant that you thought them gain'd.--It
requires much Skill to know how to begin with such Horses, and to
confirm them in their Business.--Take it for a certain Truth, that you
will never succeed, if your Horse is not perfectly obedient to the
Hand and Heel; if he is not supple, and able to work upon one Line or
Path, with Freedom and Ease; and if he is not likewise very well seated
upon his Haunches in his _Terre-a-Terre_, which he ought to be able to
execute perfectly well.
CURVETS are improper, and never succeed with Horses which have bad
Feet, or any Weakness or Complaint in their Hocks, whatever Powers
and Qualifications they may otherwise have.--They are likewise apt
to encourage a Horse that is _ramingue_ in his Vice, and are capable
of teaching one which is not so by Nature, to become _ramingue_,
if he is not adjusted and brought to this Air with great Prudence.
Indeed, Impatience and Fretfulness often make a Horse desperate when
put to this Manage; and not being able to endure the Correction, nor
comprehend the Aids, he betakes himself to all sorts of Defences, as
well as that being confounded through Fear, he is bewilder'd, and
becomes abject and jadish.--It is almost impossible to say which of
these Imperfections are the most difficult to be cured.--Before you
put a Horse to make _Curvets_, he ought to work _Terre-a-Terre_; and
if he can do this, he ought to be able to change Hands upon _one_ and
_two Lines_, to go off readily, and to make a good Stop. After this
he should be able to make Pesades easily, and so high before as to be
held and supported in the Hand, and always make them upon a strait Line
at first, and not on a Circle.--After this ask of him two or three
_Curvets_; let him go then two or three Steps, then make two or three
_Curvets_; and so alternately.--If you find that your Horse is well
in the Hand, and that he advances regularly, is patient, and don't
break his Line, but keeps even upon it, he will dress very easily,
and soon; if he presses forward too much, make him curvet in the same
Place, and make him often go backward.--After he has thus made two or
three, demand then more of him, afterwards make him go backward, and so
successively.
ONE sees but few Horses which in making Curvets, plant themselves well
upon their Haunches and Hocks, at least that are not apt to hang back,
and who beat and mark equally and smartly the Measure of the Air, and
keep their Heads true and steady; for this Reason the first Lessons
should be slow and gentle, making your Horse rise very high before,
because the longer time the Horse is in the Air, the easier it will be
to him to adjust himself upon his Haunches, and to assure his Head, and
bend or _gather up_ his Fore-legs; on the contrary, if he don't rise
high before, he only beats and throws about the Dust, and shuffles his
Legs, and can never assemble the different Parts of his Body and be
united, as he ought to be in this Manage.
WHEN a Horse in his first Curvets makes of himself his Beats, or Times,
diligent and quick, it is to be fear'd that this is only owing to
Fire and Impatience; in this Case there will be reason to suspect,
that he has not Strength sufficient for this Manage, that he will soon
do nothing but shuffle and throw about his Legs without rising as he
ought, or else that he will become _entier_; but if he rises freely and
sufficiently high, without being in a hurry, or stiffening himself,
and bends his Hocks, it will then be very easy to shorten, reduce, and
adjust the Measure of his Air, and to make it perfect in proportion to
his Resolution, his Strength, and Activity.--If when you are going to
raise him, he rises suddenly of himself, consider whether this hasty
Action be not a Proof likewise of what I have just now told you.
THE Beauty and Perfection of the fine Airs when neatly executed, and
their Time just and true, don't consist so much in the Diligence and
Quickness with which the Horse brings his Hind-feet to the Ground and
makes his _Beats_; for if that were the Proof, the Horse would not have
sufficient Time to raise his Fore-part, and to gather his Fore-legs
under him; but the true Measure, and the Harmony of his _Time_, is when
the Hind-feet follow smoothly, and answer immediately to the Fore-feet,
and that these rise again in the Instant that the others touch the
Ground.
TO teach a Horse to _beat_ his _Curvets_ neatly, and in an equal _Time_
and _Measure_, take care to keep him in a good and just _Apuy_; keep
yourself strait and well stretch'd down in the Saddle, but without
any Stiffness, preserving always a certain Ease and Freedom, which
is the Characteristic of an Horseman: let your Hand be about three
Fingers Breadth above the Pommel of the Saddle, and a little forward
or advanced, keeping your Nails up, and be diligent and ready to raise
your Horse; when you do this, put your Body a little forward, but so as
not to let it be perceived: above all put no Stress in your Legs, but
let them be easy and loose, they will catch the _Time_ of themselves
better than you can give it. I am now speaking of an high-drest and
perfect Horse, who works with the greatest Exactness; for if he was to
break the Line, to throw himself from one Side to the other, refuse to
advance, or not to lift his Legs, you would then be obliged to give the
Aids in proportion to his Understanding and Feeling.
IT is not requisite that a Horse should be absolutely perfect in
Curvets strait forward, before you put him to make them upon _Voltes_.
By being accustom'd to make them strait forward, when he is put to do
them differently, he would feel a fresh Constraint; in this Case he
might break and perplex his Air in the Action of turning, he would
falsify the _Volte_, and perhaps fall into many Disorders; it is
therefore right, as soon as he is grounded a little in Curvets strait
forwards, to begin to teach him the _Time_ and the Proportions of the
_Volte_.
WALK him then upon a _Volte_ that is sufficiently large, and exactly
round, taking care that he walks neither too slow nor too fast, and
making him bring _in_ his Head to the _Volte_, so that he may acquire a
Habit of looking always into the _Volte_, without letting his Hind-feet
however go off the Line of his Fore-feet.
HAVING thus taught him in the Walk to both Hands the Space or Ground
of the _Volte_, let him make three _Pesades_, then three more, and let
him make them with Patience and lightly, but without stopping. Trot him
then upon the _Volte_, stop him without letting him rise, caress him,
and begin with him again to the other Hand, and repeat the same.--When
he begins to understand this Lesson, let him make two _Pesades_
together, then let him walk as before; observe these Rules and this
Method, without hurrying or pressing him; increase by degrees by the
Number of _Pesades_, and let him walk less as he begins to work with
more Ease; by these means he will soon be brought to furnish an entire
_Volte_.
WHEN your Horse is so far advanced as to work upon the large _Voltes_
in this slow Manner, begin then by degrees to contract his Compass
of Ground, and the Measure of the Pesades, till the _Volte_ and the
_Air_ are reduced to their exact Proportion; preventing him by Aids
and Correction from putting his Croupe _out_, or bringing it too much
_within_ the _Volte_, and taking care that he makes no wrong or aukward
Action with his Head.
IT is impossible that a Horse should furnish his Air high, without
shortening and contracting his Body a good deal beyond his natural
Posture or Make; because the Action of itself is contracted and
supported on the Haunches, in such a manner that the Hind-feet must of
necessity advance, and widen the Line which they made in the Walk; or
else the Fore-feet must go back, and keep up the Line and Roundness
of the _Volte_; or else that the Hind or Fore-feet keeping an equal
Proportion, and answering each to each shorten it equally.--These
different Effects are very essential and worth remarking.--The first
Aid to be given should be with the Legs, in order to make the Horse's
Fore-feet keep thro' this high Air the Line of the _Volte_, which he
had mark'd out before in the Walk. If he goes large, or quits the Line,
or abandons himself upon his Shoulders, or upon the Hand, the first Aid
then should come from the Hand; this by confining will operate so as
to raise him, and the Hind-feet will come upon the Line describ'd in
the Passage; lastly, if the Horse is obedient, the Rider will be able
to unite him both behind and before, by the usual Aids of the Hand and
Heel acting together.
WHEN a Horse walks or trots upon the _Volte_, he is supported in his
Action by one of his Fore and one of his Hind-feet, which are both
upon the Ground together, while the other two are in the Air; so
that according to this Method the Line of the Fore-feet, and that
of the hind, are made at the same time; but when he raises his Air
and advances upon the _Volte_, all his Actions are changed; for then
the two Fore-feet are lifted up the first, and while they are coming
down, he lifts the two Hind-feet from the Ground together, to finish
and continue the _Beats_ or _Time_ of his Air. The Fore-feet being
more advanced than the hind, must necessarily come down first, and
consequently the Horse can never be upon strait Lines crossing each
other, as he is when he walks or trots upon the _Volte_. Moreover,
in a high Air the Horse does not only shorten and contract his whole
Action; but the better to strengthen and assist the Attitude in
which he supports and goes through his Air, he opens and widens his
Hind-feet, keeping them at least twice the Distance one from the other,
that he did when he only walk'd or trotted upon the _Volte_, and by
consequence describes different Lines.--There are three Actions, and
three Motions, still to be consider'd in making _Curvets_. These are,
to raise him, to support him while he is in the Air, and to make him go
forwards.--To raise him, is to lift him up as it were by the Action of
the Hand, and put him upon an high Air; to support, is to hinder him
from bringing his Fore-part too soon to the Ground; and carrying him
forward, is to raise, support, and go forward at the same time, while
the Horse is off the Ground.
TO make a Horse go in _Curvets_ sideways, aid only with the Hand,
keeping his Head to the Wall. For instance, to the Right, aid him
chiefly with the outward Rein; that is to say, turn your Hand to the
Right, for then the Left-rein, which is the outward Rein, will be
shorten'd and operate upon the Shoulders so as to work them.--If they
go too much, use your inner Rein, carrying your Hand _out_, and in such
a manner that the Shoulders may go before the Croupe.--Let him make
three _Curvets_ sideways, passage him afterwards, always sideways; then
let him make the same Number of _Curvets_ sideways, and obliquely,
again, and begin by little and little to diminish his _Passage_, and
augment the _Curvets_, till he is able to furnish without Intervals
an entire _Volte_ of two Lines. The same Method must be followed in
working to the Left, as has been prescribed for the Right. _Curvets_
made backward are more fatiguing, and more apt to make a Horse rebel,
than _Curvets_ strait forward upon the _Voltes_, _Demi-voltes_, or
_sideways_.--To teach him to make them backwards, you must make him
go backward; afterwards put him to make three or four _Curvets_ in
the same Place, that is, without advancing.--Then make him go forward
again, let him make the same Number again; and so successively till he
makes them readily and without Assistance.
BY Habit he will expect to be made to go backward immediately after
the last _Curvet_: now, the Moment he has made one in the same Place,
when he is making the second, seize the Moment just as he is coming
down, and pull him back, marking a _Time_ with your Hand, just as you
would pull to make a Horse go backward which resisted the Hand; and
this _Time_ of the Hand being made, ease it immediately. In this Manner
continue the _Curvets_, pulling more or less, according as he obeys
or resists; observing to lessen the Times of pulling him back, and
to increase the Number of the _Curvets_ backwards.--If he drags his
Haunches, that is, if the Hind-feet don't go together, but one after
the other, pinch him with both Spurs; but you must put them very back,
applying them with great Delicacy, and taking care that he be in the
Hand when he comes down.--If with all this he continues _disunited_,
aid on the Croupe with the Switch, turning the bigger End of it in your
Hand; and this will make him work and keep his _Time_ or _Beats_ very
exactly.
TO go backwards in _Curvets_, aid with the outward Rein, you will
confine the Fore-part, and widen the Hind-legs, which ought to be at
liberty, because it is with them that he leads. They are follow'd by
the Fore-parts, which should keep the same Ground or Tract.--You must
keep your Hand low, that the Horse may not go too high.--Let your Body
be a little forward to give the greater Liberty to the Hind-legs, which
are those that lead; and don't aid with your Legs, unless he drags his
Haunches.--If the Horse does not _unite_ of his own accord, you must
catch the _Time_ with your Bridle-hand, as the Horse is coming to the
Ground; in that Instant, put your Hand to your Body, and so pull him
back.--Let us now see how you should be placed in the Saddle, to make
_Curvets_ upon the _Voltes_.--Let only your outward Hip and outward
Haunch be a little advanc'd; and remember to loosen always, and relax
the Inside of your Knees, or your Legs from the Knees. When you intend
to change to the Left, let your Hand accompany and correspond with your
Right-leg, which is to operate; when you would change to the Right, let
it answer to your Left-leg: Having given this Aid, replace yourself,
stretch yourself down in your Saddle, take away your Legs, one or the
other, forbear to aid, and let the Balance of your Body be somewhat on
the Inside.
UNDERSTANDING thus, and being Master of the Aids for working a Horse in
_Curvets_ strait forwards, backwards, sideways, to the Right and Left,
you will be able easily to teach your Horse to make a Cross, or even
dance the Saraband in this Air; but this requires as much Justness
and Activity in the Horse, as Exactness and Delicacy in the Rider to
be able to give the Aids, and very few Horses are able to execute all
these Lessons which I have described: the utmost Efforts of Art, and
the greatest Suppleness that a Horse can acquire, will be in vain,
and unsuccessful, if he is not by Nature inclin'd and disposed to the
Manage. That sort of Exercise which hits the Temper, and best suits the
Strength of a Horse, will appear graceful, and preserve his Health;
while that which is opposite to his Temper and Genius will dishearten
him, make him timid and abject, and plunge him into numberless Ails and
Vices.
CHAP. XIX.
_Of Croupades and Balotades._
THE _Croupade_ is a Leap, in which the Horse draws up his Hinder-legs as
if he meant to shorten and truss them up under his Belly.
THE _Balotade_ is likewise a Leap, in which the Horse seems as if he
intended to kick out, but without doing it; he only offers or makes a
half Kick, shewing only the Shoes of his Hind-feet.
THE Horses that are destin'd to these Airs ought to have a light and
steady Mouth, and an active and lively Disposition, with clean and
nervous Strength; for all the Art and Knowledge of the Horseman can
never confer these Qualities, which are essentially necessary to the
Perfection of this Manage.
THE _Croupades_ and _Balotades_ are different from _Curvets_, inasmuch
as that they are much higher behind, and consequently their Time and
Measure not so quick and close, but slower and more extended. Therefore
the Rider should keep his Horse's Croupe ready and in awe, by striking
it from time to time with the Switch, supporting him not quite so high
before, and observing to aid with his Legs slower, and not so forward,
as in the _Curvets_.
AS the Perfection of _Curvets_, both upon the _Voltes_ and strait
forwards, is owing to the Ease and Justness of the Pesades, the
Goodness of _Croupades_ and _Balotades_ depends likewise upon the same
Rules. Your Horse being made light before by the means of _Pesades_ and
_Curvets_, begin by making him rise, as well before as behind, less
however in the first Lessons than afterwards; for you will never bring
him to the true Pitch, were you to exhaust all his Strength at once,
since while he is prest and compell'd to put forth all his Strength, he
will never be able to catch and mark the _Time_, the Cadence, and the
just _Beats_ of his Air, both behind and before.
I HAVE already said, that the _Croupades_ and the _Balotades_ are
higher than the Curvets, they nevertheless partake of it; for though a
Horse that makes _Balotades_, makes the Measure of each Time as high
behind as before, yet he follows the _Beat_ of his Fore-feet with that
of his Hind-feet, the same as in _Curvets_; for this Reason, a Horse
that is intended for the _Croupades_ and _Balotades_, ought to be more
active, light, and strong than one that is to be drest for _Curvets_,
as he should have less Strength than one who is put to make Caprioles
strait forwards, or on Voltes of one Line, and to repeat them in the
same Place.
TO manage the Strength and Vigour of the Horse you intend to work
upon the _Voltes_ in _Croupades_ and _Balotades_, let the Line of
the _Volte_ be larger than for _Curvets_, and let the Action of the
Shoulders not be quite so high; thus you will not only check and
confine his Activity and Lightness; but by raising his Shoulders in
a less Degree, you will give Liberty to his Croupe, and he will be
enabled by this Method to furnish his Airs all together, that is
_before_ and _behind_, better, and with more Ease; there is still
another Reason for this, for when the Shoulders come to the Ground from
too great a Height, the Shock alarms and disorders the Mouth; and then
the Horse losing the Steadiness of his _Apuy_, he never will raise his
Croupe so high as he ought, to make perfect _Balotades_.
CHAP. XX.
_Of Caprioles._
THERE is no such Thing as an universal Horse; that is, as a Horse who
works equally well upon all Airs, the _Terre-a-Terre_, the _Curvets_,
_Mezair_, _Croupades_, _Balotades_, and _Caprioles_, each Horse having
a particular Disposition, which inclines to some certain Air which
suits him best. A Horse that is naturally inclin'd to the high Airs,
ought to be managed with great Gentleness and Patience; inasmuch as
he will be in greater Danger of being disgusted and spoil'd, as his
Disposition to the high Airs is owing generally to the Gaiety and
Sprightliness of his Temper; and as such Tempers are usually averse to
Subjection, Constraint and Correction, Rigour and Severity would make
him become timid and angry, and then he could not attend to and catch
the _Time_, _Order_, and _Measure_ of the high Airs; therefore if you
would reduce him to the Justness of the high Airs, and teach him their
Harmony and Measure, you must not expect to succeed by any other ways
than by giving your Instructions with great Patience and Judgment, and
soon or late he will be gain'd.
THE Feet are the Foundations upon which all the high Airs, if I may use
the Word, are built. They ought then to be attended to very strictly;
for if your Horse has any Pain, Weakness, or other Defect in his Feet,
he will be so much the more improper to leap, as the Pain which he
must feel when he comes to the Ground, would shoot quite to his Brain.
AS a Proof of this, when a Horse whose Feet are bad or tender trots
upon the Stones, or hard Ground, you will see him shut his Eyes, drop
his Head at each Step, and shake his Tail from very Pain.
THE _Capriole_ is the most violent of the high Airs. To make it
perfect, the Horse is to raise his Fore-parts and his Hinder to an
equal Height; and when he strikes out behind, his Croupe should be
upon a Level with his Withers. In rising and in coming down his Head
and Mouth should be quite steady and firm, and he should present his
Forehead quite strait.--When he rises, his Fore-legs should be bent
under him a good deal, and equally. When he strikes out with his
Hind-legs, he ought to do it nervously, and with all his Force; and
his two Feet should be even, of an equal Height, and their Action the
same when he strikes out: lastly, the Horse should at every Leap fall
a Foot and a half, or the Space of two Feet distance from the Spot
from which he rose.--I don't assert, that in order to make _Caprioles_
a Horse must necessarily pass through _Curvets_ and _Balotades_; for
there are Horses who are naturally more light and active in their Loins
than strong, and who are brought to leap with more Difficulty, than to
the other Airs in which their Strength must be much more united, and
their Disposition attended to; but yet it is certain, that if the Horse
is brought to rise by Degrees, and is work'd in the intermediate Airs,
before he undertakes the _Caprioles_, he will not weaken and strain
himself so much, and will be sooner confirm'd in his Lesson than one
who begins at once with the _Caprioles_.