diff options
Diffstat (limited to '36701-h/36701-h.htm')
| -rw-r--r-- | 36701-h/36701-h.htm | 2064 |
1 files changed, 2064 insertions, 0 deletions
diff --git a/36701-h/36701-h.htm b/36701-h/36701-h.htm new file mode 100644 index 0000000..9c466df --- /dev/null +++ b/36701-h/36701-h.htm @@ -0,0 +1,2064 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> + <title> + The Project Gutenberg eBook of Graceful Riding, by S. C. Waite. + </title> + <style type="text/css"> + + p { margin-top: .25em; + text-align: justify; + margin-bottom: .25em; + text-indent: 1em; + } + p.noindent {text-indent: 0em;} + p.titlepage {text-indent: 0em; text-align: center; } + p.titletop2 {text-indent: 0em; text-align: center; margin-top: 2em; } + p.section {margin-top: 2em; } + + .addressright15 {margin-left: auto; margin-right: 0; width: 15em; } + .addressright20 {margin-left: auto; margin-right: 0; width: 20em; } + .addressleft15 {margin-left: 0; margin-right: auto; width: 10em; } + .signature {margin-left: 45%; margin-right: auto; width: 25em; } + .padleft2 {padding-left: 2em; } + .padleft4 {padding-left: 4em; } + .padleft8 {padding-left: 8em; } + + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + .parthead {margin-top: 2em; margin-bottom: 2em; font-weight: normal;} + .chapterhead {margin-top: 4em; font-weight: normal;} + .sectionhead {margin-top: 2em; font-weight: normal;} + + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + .chapbreak {width: 65%; } + .declong {width: 8em; border: solid black 1px; margin-top: 1em; margin-bottom: 1em;} + .decshort {width: 3em; border: solid black 1px; margin-top: 1em; margin-bottom: 1em;} + + table {margin-left: auto; margin-right: auto;} + td {padding-left: 0.5em; padding-right: 0.5em; vertical-align: top;} + .tdr {text-align: right;} + .tntable {margin-left: 0; } + + body{margin-left: 10%; + margin-right: 10%; + } + + a:focus, a:active { outline:#ffee66 solid 2px; background-color:#ffee66;} + a:focus img, a:active img {outline: #ffee66 solid 2px; } + + img {border: 0;} + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + font-style: normal; + font-weight: normal; + font-variant: normal; + text-align: right; + text-indent: 0em; + } /* page numbers */ + + .smcap {font-variant: small-caps;} + .smrom {font-size: smaller;} + .size50per {font-size: 50%; } + .size70per {font-size: 70%; } + + .figcenter {margin: 1em auto auto auto; text-align: center;} + + .footnotes {border-top: solid 1px; text-indent: 0.5em; font-size: 0.9em; text-align: justify; } + .label {font-size: 0.8em; vertical-align: 0.3em; } + .fnanchor {vertical-align: 0.3em; font-size: 0.8em; padding-left: 0.1em;} + + .tn {background-color: #EEE; padding: 0.5em 1em 0.5em 1em;} + + .poem20 {width: 20em; margin: 1em auto 1em; } + .poem30 {width: 30em; margin: 1em auto 1em; } + .poem35 {width: 35em; margin: 1em auto 1em; } + .poem {padding-left: 20%; padding-right: 10%; text-align: left; text-indent: 0em;} + .i1 {margin-left: 1em;} + .poemattrib {text-indent: 0; text-align: right; } + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Graceful Riding, by S. C. Waite + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Graceful Riding + A Pocket Manual for Equestrians + +Author: S. C. Waite + +Release Date: July 11, 2011 [EBook #36701] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK GRACEFUL RIDING *** + + + + +Produced by Julia Miller and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + + +<div class="tn"> +<p class="titlepage"><b>Transcriber’s Note</b></p> + +<p class="noindent">Obvious typographical errors have been corrected. A <a href="#trans_note">list</a> of these changes +is found at the end of the text. </p> +</div> + + +<hr class="chapbreak" /> + + +<div class="figcenter" style="width: 571px;"> +<a name="frontispiece" id="frontispiece"></a><a href="images/frontispiece-full.jpg"><img src="images/frontispiece.jpg" width="571" height="284" alt="Three examples of riding styles" title="Frontispiece" /></a> +</div> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> + +<div class="figcenter" style="width: 352px;"> +<a href="images/titlepage-full.jpg"><img src="images/titlepage.jpg" width="352" height="600" alt="Decorative title page" title="Title page" /></a> +</div> + +<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> + +<hr class="chapbreak" /> + +<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> + +<h1 class="sectionhead">GRACEFUL RIDING.<br /> +<br /> +<span class="size50per">A</span><br /> +<span class="size70per">POCKET MANUAL FOR EQUESTRIANS.</span></h1> + + +<p class="titletop2 size70per">ABRIDGED AND REVISED FROM “WAITE’S EQUESTRIAN’S MANUAL,”<br /> +DEDICATED TO H.R.H. PRINCE ALBERT.</p> + +<p class="titletop2"><span class="size70per">BY</span><br /> + +S. C. WAITE, ESQ.</p> + +<p class="titletop2">LONDON:<br /> +ROBERT HARDWICKE, 192, PICCADILLY:<br /> +<span class="size70per">AND ALL BOOKSELLERS.<br /> +1859.</span></p> + +<p><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> + +<h2 class="chapterhead">PREFACE.</h2> + +<hr class="decshort" /> + +<p><span class="smcap">The</span> Author’s last publication, “The Equestrian’s Manual,” having met +with so kind a reception from the Press and the Public—one which he +looks upon with the greatest gratitude—has induced him to compile for +the use of Equestrians of both sexes the present little Work, in the +sincere hope that his humble efforts may, in some degree, aid in +obviating the many severe and often fatal accidents, the result, in most +instances, of inexperience in Horsemanship.</p> + +<p>Should he have attained this end, and given some instruction to the +nervous and timid, or any to the experienced equestrian, he will feel +himself well repaid.</p> + +<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p> + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p> + +<h2 class="chapterhead">INTRODUCTION.</h2> + +<hr class="decshort" /> + +<p><span class="smcap">The</span> science of Equitation has for many years been allowed, by the +testimony and strong recommendation of the most eminent of the faculty, +to be an accomplishment highly conducive and most beneficial to health; +assisting the blood in its proper circulation through the frame, on +which depends wholly good spirits, and freedom from bilious, +hypochondriacal, and nervous affections.</p> + +<p>Parents should not neglect to have imparted to their children an art so +calculated for the development of grace and beauty in maturity, and, +above all other considerations, <i>one</i> that so eminently guards against +the many diseases of this varying climate; diseases which are, in fact, +almost, if we may use the term, “indigenous” to the spring and summer of +life.</p> + +<p>Physicians, of the past and present time, whose mere names should be +sufficient to procure every patronage, are in favour of the acquirement +of this most essential and elegant science. The skill necessary to +become a perfect rider, can only be obtained through the tuition of a +first-rate master; and, as<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> far as the accomplishment can be explained +within the limits of a book, the Author has endeavoured to do so; but he +repeats there is much which cannot be written, and is only to be +acquired through personal tuition.</p> + +<p>Lessons in the school <i>alone</i> can seldom make a good rider. In it the +horse and the pupil become accustomed to the same monotonous routine day +after day; but when they emerge on the road it is found that the expert +rider of the <i>school</i> is deficient in tact and skill; and, in fact, has +learnt but little. The nature of the animal will occasion this; changing +the scene of every-day objects in the school, for the great variety he +must meet on the road, gives an impetus to his hitherto dormant spirit; +then the rider will find that he must exert all the skill and judgment +he possesses to keep his horse under the proper control indispensable to +his safe guidance.</p> + +<p>In conclusion, should this work contribute to the enlightenment of +ladies and gentlemen desirous of becoming <i>finished equestrians</i>, it +will have accomplished the end for which it was undertaken.</p> + + + +<hr class="chapbreak" /> + +<h2 class="chapterhead">DESCRIPTION OF PLATES.</h2> + +<hr class="decshort" /> + +<p class="titletop2"><a href="#frontispiece">PLATE I.</a></p> + +<p>The first figure represents <span class="smcap">Waite’s Improved Seat</span>.</p> + +<p>The position is on the same system as the Cavalry, but being more +<i>négligé</i> in appearance, and much less constrained in feeling, although +equally correct, imparts a more elegant and graceful seat to the rider.</p> + +<p><span class="smcap">Heavy Dragoon.</span></p> + +<p><span class="smcap">Hussar.</span></p> + +<hr class="decshort" /> + +<p class="titletop2"><a href="#illus-10-f">PLATE II.</a></p> + +<p><span class="smcap">Racing.</span></p> + +<p><span class="smcap">Hunting.</span></p> + +<p><span class="smcap">Park.</span></p> + +<hr class="decshort" /> + +<p class="titletop2"><a href="#illus-48-f">PLATE III.</a></p> + +<p>The first figure represents the <span class="smcap">General Seat</span> of Ladies on their saddles.</p> + +<p>The second shows the position of a Lady when mounted according to Mr. +<span class="smcap">Waite’s Method</span> of tuition; by it a firm seat is gained on the saddle, +and consequently it is more secure than the usual seat; being also more +graceful and elegant in appearance, and giving the rider a superior +command over her horse, and obviating the danger of the habit-skirt +becoming entangled in the horse’s legs.</p> + +<div class="figcenter" style="width: 181px;"> +<img src="images/illus-010.jpg" width="181" height="27" alt="Decorative break" title="" /> +</div> + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span></p> + +<h2 class="parthead"><a name="PART_I" id="PART_I"></a>PART I.</h2> + +<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p> + +<hr class="chapbreak" /> + +<div class="figcenter" style="width: 565px;"> +<a name="illus-10-f" id="illus-10-f"></a><a href="images/illus-010-f-full.jpg"><img src="images/illus-010-f.jpg" width="565" height="236" alt="Three styles of riding" title="" /></a> +</div> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p> + +<h3 class="chapterhead">CHARACTER AND MANAGEMENT OF THE HORSE, WITH DIRECTIONS FOR RIDING.</h3> + + +<p><span class="smcap">A knowledge</span> of the general character and disposition of the horse is +really and absolutely necessary to his skilful management, from his +extremely nervous sensibility, his aptness to take the various +impressions of fear, affection, or dislike, to any of which he is +naturally very quickly disposed.</p> + +<div class="poem20"> +<p class="poem">“Reas’ning at ev’ry step he treads,<br /> +<span class="i1">Man yet mistakes his way;</span><br /> +While meaner things by instinct led<br /> +<span class="i1">Are rarely known to stray.”</span></p> +</div> + +<p>Speaking in soothing terms to a horse, so that he may become familiar to +the voice, gives him confidence in his rider, which is of the <i>utmost +importance</i>. At all times more is to be accomplished with the animal by +gentle means than could possibly be done by harsh ones: kindness, or its +opposite, is speedily conveyed to and retained in his memory, which is +remarkably retentive. This mutual confidence is perfectly appreciated by +the Arabs. They invariably treat their horses with the greatest kindness +and affection; they are the Bedouins’ beloved<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> and stanch companions, +and on them is the Arabs’ sole reliance in their predatory excursions; +they inhabit the same tent, and the neck of the horse is not +unfrequently the pillow of the Arab and his family; yet no accident ever +occurs; the kindness with which he is treated gives him an affection for +his master, a desire to please, and a pride in exerting every energy in +obedience to his command.</p> + +<p>Bad habits are speedily acquired by the horse, and when once learned, +are very difficult to break him of.</p> + +<p><i>In nine cases out of ten they arise</i> from the <i>stupidity, joined to the +brutality</i>, of an <i>idle, drunken, ill-tempered</i> groom; <i>who, when out of +temper, invariably vents his rage</i> upon the unoffending animal, which, +at last, to protect (or revenge) itself from the besotted tormentor, +acquires a habit of kicking and biting at every person and thing coming +within its reach, fearing that they are about to maltreat it.</p> + +<p>Many horses are condemned as <i>vicious</i>, and actually are rendered so +through <i>timidity</i> on the part of the <i>rider</i>.</p> + +<p>The animal may be playful from rest, or a lively temper by nature; the +rider, <i>whose judgment</i> may not enable him to <i>discriminate</i> between +playfulness, nervousness, or vice, becomes alarmed, and, consequently, +loses his self-command; and, perhaps,<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> not having learned the <i>correct +mode of using</i> his <i>hands and reins</i>, in his <i>boisterous endeavours</i> to +<i>save himself from falling</i>, imparts fear to his horse. The animal +naturally imagines he has been guilty of some great fault, and is +<i>fearful of punishment</i>; and should he <i>not be familiar with the voice +of his rider</i>, then a mutual struggle for safety takes place, and causes +an accident. The horse is <i>then</i> condemned as “<i>vicious</i>,” though the +rider was <i>alone</i> in fault. The <i>same horse</i>, in the hands of an +<i>experienced</i> horseman, would become as <span class="smrom">QUIET</span> as ever. We often find +that really dangerous horses have been reclaimed by ladies riding them! +This is entirely owing to their using them <i>gently</i>, but firmly, and +speaking to them kindly; by these means confidence is imparted, and +makes them</p> + +<div class="poem30"> +<p class="poem">“All that a horse should be, which nought did lack<br /> +Save a good rider on so proud a back.”</p> +</div> + +<p>A few minutes’ riding will be sufficient to discover the nature and +temper of a horse, likewise what system of treatment has been pursued +towards him (which, in consequence, must be still followed).</p> + +<p>There are very many persons who are considered good horsemen, who have +no fear, and will ride anything, or <i>at</i> anything, yet have no idea, +beyond the mere fact of riding, whether the saddle, bridle,<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> and +accoutrements are properly placed. The neglect of attending to these +matters has caused many serious accidents.</p> + +<p>The <i>method</i> of gracefully <i>holding</i> and <i>using</i> the <i>reins</i> is <i>very +important</i>, although but <i>little understood</i> or <i>attended</i> to; in fact, +it seems but <i>a secondary</i> consideration with Riding-masters, where it +should be a <span class="smrom">SINE QUA NON</span>. One person may pull at a runaway horse with +all his strength, but to no purpose; another possessing that knowledge +shall be able to manage, and hold him with a pack-thread.</p> + + +<p class="section"><span class="smcap">Runaway horses</span> are most frequently made so by bad and timid riders, who +make use of a whip and spurs without having a <i>firm seat</i>. Such persons +are easily unseated on the horse shying, or jumping about in a playful +mood; then, in their endeavours to recover themselves, they slacken +their reins, and at the same time unintentionally goad him with their +spurs, or strike him with their whip. In clutching at the reins, the +horse becoming frightened, naturally increases his speed, until, from +the continued irritation of whip and spur, in the terrified horseman’s +futile attempts to subdue him, the horse becomes maddened with terror +and excitement, and ultimately throws his rider.<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span></p> + + +<p class="section"><span class="smcap">Shying</span> is often the result of skittishness or affectation at first. This +may be easily overcome and cured, at its commencement, by the judicious +treatment of the rider, in using firmness tempered with kindness; +avoiding all harsh measures, and passing the horse several times quietly +by the object which caused him to shy. A word, half-scolding, +half-encouraging, with a gentle pressure of the heel, or a slight touch +of the spur or whip, will convince him there is nothing to fear; and, +further, will give the animal <i>confidence</i> in his rider on future +occasions.</p> + + +<p class="section"><span class="smcap">Kicking</span> is a dangerous vice, and generally the result of an idle groom +or stable-boy playing with the horse, and pinching him on the loins; so +that, should any extraneous substance be in the padding of the saddle, +or the flaps of a coat touch him there, or even a hand be thoughtlessly +laid on his quarters, he immediately commences kicking to dislodge the +cause. Once succeeding, he has invariably recourse to the same remedy, +until the habit becomes confirmed.</p> + +<p>There are many valuable horses ruined by thoughtlessness and +folly.—This is more frequently the case with animals of high courage. +In many instances, a <i>very trivial</i> alteration in the adjustment of the +saddle or bridle, &c. (had the rider been properly <span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>instructed, and +therefore possessing the knowledge how such alterations should be made), +would have saved great danger and annoyance to the rider, and +<i>unnecessary</i> pain to the horse.</p> + + +<p class="section"><span class="smcap">When a Horse is kicking</span>, the rider should throw his body <i>well back</i>, +raise the horse’s head, and apply the whip smartly over his shoulders.</p> + +<p>Rearing is very dangerous, and most difficult to break. It is often +caused by the bit being too sharp for the horse, his mouth being tender, +or perhaps sore.</p> + +<p><i>When rearing</i>, the whole weight of horse and rider being thrown +perpendicularly on the animal’s hind legs, the <i>most trifling</i> check +from the rider’s hand would cause him to fall backwards; the rider must +drop his hand as before, loosen the reins, and throw his whole weight on +his shoulders, at the same time catching him ’round the neck with his +right hand. These directions will much assist in bringing him down on +his feet again, and prevent the rider’s body from falling backwards.</p> + +<p>Unsteadiness in mounting is very often the consequence of the horse’s +eagerness and anxiety to start. It is generally the fault with +thorough-bred, high-couraged, young and nervous horses. It is a most +annoying fault, especially with elderly and<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> timid riders, many of whom +are frequently thrown before they can firmly seat themselves.</p> + +<p>This is only to be cured by an active and good horseman, combined with +firm, though gentle and kind, usage; by approaching him gently and +patting him, mounting at the <i>first</i> effort, and when seated, +restraining him, patting his neck, and speaking kindly to him, but, at +the same time, not allowing him to move until he is perfectly quiet. In +a few days he will be quite cured of his fault. Remember! <i>harshness +must never be used</i> in this case, as great mischief may be done by such +a course, and the habit <i>will be confirmed</i>.</p> + +<p><span class="smcap">Kindness</span> will succeed generally in most cases of vice; <span class="smrom">HARSHNESS</span> <i>never +will</i> in any!</p> + +<p>The position of the saddle should be in accordance with the formation of +the horse’s shoulders, and about a hand’s breadth from them, so as not +in any way to interfere with or impede the <i>free action</i> of the muscles.</p> + +<p>The malposition of the saddle, particularly in horses with upright +shoulders, is the cause of many horses falling, from its pressing too +much on the shoulders, and by that means confining the action of the +muscles, which thus become benumbed, and lose their elasticity. A +partial deadening of the limbs having taken place, the horse, from want +of vitality<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> in the legs, stumbles, and is unable, through the torpidity +of the muscles, to recover himself, and falls to the ground; in many +cases he has been known to fall as if shot.</p> + +<p>The saddle should be wide, and roomy. The length of the stirrups should +be such as to give ease to both horse and rider; the latter ought at all +times to assimilate his movements in the saddle to those of the horse in +his stride.</p> + +<p>A tight rein should always be avoided, because, if he carries his head +low, it tends to deaden his mouth, and teaches him the bad habit of +depending upon the bridle for support; in which case, he always goes +heavily in hand, and on his shoulders. The horse should at all times be +taught to go on his haunches.</p> + +<p>If the horse naturally carries his head well, it is better to ride him +with a light hand, only just feeling his mouth.</p> + +<div class="poem35"> +<p class="poem">“With neck like a rainbow, erecting his crest,<br /> +Pamper’d, prancing, and pleased, his head touching his breast;<br /> +Scarcely snuffing the air, he’s so proud and elate,<br /> +The high-mettled racer first starts for the plate.”</p> + +<p class="poemattrib smcap">Old Song.</p> +</div> + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p> + +<h3 class="chapterhead">ON PROPERLY FIXING THE BRIDLE, SADDLE, &c.</h3> + + +<h4 class="sectionhead">THE BRIDLE.</h4> + +<p>In fitting the bridle, <span class="smrom">THE CURB BIT</span> should be placed so that the +mouth-piece be but one inch above the lower tusk,—in mares, two inches +above the corner tooth; <span class="smrom">THE BRIDOON</span> touching the corner of the lips, so +as to fit easy, without wrinkling them; <span class="smrom">THE HEADSTALL</span> parallel to the +projecting cheek-bone, and behind it; <span class="smrom">THE THROAT LASH</span> should be +sufficiently long to fall just below the cheek-bone, and not lay over or +upon it; <span class="smrom">THE NOSE BAND</span> should be placed low—but that must depend very +much on the size of the horse’s mouth—and not buckled tight; <span class="smrom">THE CURB</span>, +when properly fitted, should be flat and smooth in the hollow of the +lips, so as to admit one finger easily between.</p> + + +<h4 class="sectionhead">THE SADDLE</h4> + +<p class="noindent">should be placed in the middle of the horse’s back, about a hand’s +breadth, or four or five inches, from the shoulders, so as to give +perfect freedom to the action of the muscles of the shoulders.</p> + +<p><span class="smcap">The girths</span> must be laid evenly one over the other, and admit freedom for +one finger between the girth and the horse’s belly. <span class="smcap">The surcingle</span> should +fit neatly over the girths, and not be buckled tighter than<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> they are. +The large ring of <span class="smrom">THE BREASTPLATE</span> or <span class="smrom">MARTINGALE</span> should be placed about +two inches above the sharp breast-bone, and should allow of the hand +being laid flat between it and the shoulders.</p> + + +<h4 class="sectionhead">THE STIRRUPS.</h4> + +<p>In length they should be so that the bottom edge of the bar is about +three inches above the heel of the boot. The author always adopts the +following method for ascertaining the correct length of the stirrups, +viz.:—He takes up the stirrup-iron with the right hand, at the same +time placing the bottom of the stirrup-iron under the left arm-pit, he +extends the <i>left</i> arm until the fingers of <i>that</i> hand <i>easily touch</i> +the stirrup <i>buckles</i>; <i>this</i> is a <i>sure criterion</i> with most people.</p> + +<hr class="decshort" /> + +<h4 class="sectionhead">ON MOUNTING.</h4> + +<p>In mounting, the horse should always be approached quietly on the near +(or left) side, and the reins taken up steadily. <span class="smcap">The snaffle</span> (or +bridoon) rein first, then pass this rein along the palm of the left +hand, between the forefinger and thumb. <span class="smcap">The curb rein</span> must now be drawn +over the little finger, and both reins being held of an equal length, +and<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> having an even pressure on the horse’s mouth, must be laid over +each other, being held firmly in the hand, the thumb pressing hard upon +them to prevent them slipping through the fingers. Be particular that +the reins are not taken up too short, for fear it might cause the horse +to rear or run back; <i>they must be held neither too tight nor too +slack</i>, <i>but having an equal feeling of the horse’s mouth</i>. Next take up +a handful of the mane with the right hand, bring it through the full of +the left hand (otherwise the palm), and twist it round the thumb. Take +hold of the stirrup with the right hand, the thumb in front. Place the +left foot in the stirrup as far as the ball of it, placing the right +hand on the cantle (or back part of the saddle), and, by a spring of the +right foot from the instep, the rider should raise himself up in the +stirrup, then move the hand from the cantle to the pummel, to support +the body while the right leg passes clearly over the horse’s quarters; +the rider’s right knee closes on the saddle and the body falls gently +into it. The left hand now quits the mane, and the second stirrup must +be taken without the help of eye or hand.</p> + +<p>The left hand (the bridle hand) must be placed with the wrist rounded +outwards, opposite the centre of the body, and about three inches from +it, letting the right arm drop unconstrained by the side of the thigh.</p> + +<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> + + +<h4 class="sectionhead">POSITION IN THE SADDLE.</h4> + +<p>The rider must sit upright, and equally balanced in the middle of his +saddle, head erect, and his shoulders well thrown back, his chest +advanced, the small of his back bent forward, but without stiffness. The +hollow part of the arm should hang down straight from the shoulder, the +lower part square to the upper, the thighs well stretched down, the +<i>flat part</i> to the saddle, so that the fore part of the knees may press +and grasp it. Let the legs hang down easily and naturally, close to the +horse’s sides, with the feet parallel to the same, and the heels well +depressed; the toes raised from the instep, and as near the horse’s +sides as the heels; the feet retained in the stirrups by an easy play of +the ankle and stirrup, the stirrup to be kept under the ball of the +foot, the joint of the wrist kept easy and pliable, so as to give and +take as occasion may require. <i>A firm and well-balanced position on +horseback is of the utmost importance</i>, it affects the horse in every +motion, and failure in this proves one of his greatest impediments, and +will naturally injure him in all his movements.</p> + +<p>In riding, the hands and legs should act in <span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>correspondence in +everything, the latter being always held subservient to the former.</p> + +<p>It is easy to discover those who have been thoroughly instructed in the +<i>manége</i>, by their firm, graceful, and uniform position in the saddle, +and their ready and skilful application of the aids or motions, and the +correct appliance of the bridle, hands, and legs; such being +<i>indispensable</i> to the skilful guidance and control of the horse.</p> + +<div class="figcenter" style="width: 178px;"> +<img src="images/illus-023.jpg" width="178" height="27" alt="Decorative break" title="" /> +</div> + +<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> + +<h2 class="parthead"><a name="PART_II" id="PART_II"></a>PART II.</h2> + +<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p> + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> + +<h3 class="chapterhead"><a name="ON_THE_REINS_c" id="ON_THE_REINS_c"></a>ON THE REINS, &c.</h3> + + +<p><span class="smcap">The</span> author most particularly wishes to impress upon his readers the +value of riding with <span class="smrom">DOUBLE REINS</span> for safety sake, and in order to avoid +the numerous accidents arising from reins breaking, the tongues of +buckles giving way, and the sewing of the reins to their bits coming +undone. When there is but <i>one rein</i>, the rider is left quite at the +mercy of an affrighted and infuriated animal; where, had there been <span class="smrom">TWO</span>, +he would still have sufficient command over the animal to prevent +accidents.</p> + +<p>There is another equally urgent reason for riding with double reins, +viz., the continual use of the curb materially tends to deaden the +sensitiveness of the horse’s mouth; from the constant and unavoidable +drag upon the single rein, especially if tender-mouthed, he is made +uneasy and fidgetty, causing him to throw his head about, and go +extremely heavy in hand, and frequently rear or run back, to the very +great danger and annoyance of his rider, particularly when happening in +a crowded drive.</p> + +<p>It is very requisite to ride a horse occasionally <i>well up to the curb +bit</i>, and to <i>keep him well up to it</i><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> with the whip and heel, so that +he may get used to <i>work on his haunches</i>. By this means he will be +thrown upon them, and, consequently, “go light in hand,” the greater +weight being taken from off his forehand, by which his carriage and +general appearance is materially improved.</p> + +<p>After many essays, the author has found the following method to be the +<i>most correct and</i> <span class="smrom">SAFE</span> for holding the reins, when using <i>one</i> or +<i>both</i> hands. By it the rider has a much firmer hold—or, in +professional parlance, “purchase”—upon the reins, in keeping them from +slipping, consequently, a greater command over the horse, and can more +readily allow either rein to slip should he desire to use but one.</p> + + +<h4 class="sectionhead"><a name="FOR_HOLDING_THE_REINS_IN_ONE_HAND" id="FOR_HOLDING_THE_REINS_IN_ONE_HAND"></a>FOR HOLDING THE REINS IN ONE HAND.</h4> + +<p>The reins should hang <i>untwisted</i> from the bits.</p> + +<p>The rider must take up the bridoon reins with his right hand, and pass +the second and third fingers of the bridle, or left, hand between them, +draw up the reins with the right hand, until the horse’s mouth can be +felt, and then pass them between the forefinger and thumb. Next take up +the <i>curb reins</i> (again with the right hand), and pass the little finger +of the bridle hand between them, draw<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> them up, as before directed, with +the right hand, until the rider perceives there is an equal length and +feeling with the <i>bridoon</i> reins. The <i>latter</i> having <i>rather</i> the +strongest pressure on the animal’s mouth. This done, <i>lay them also +over</i> between the forefinger and thumb, and press down the thumb firmly +upon them to keep them from slipping; the hand to be held with the wrist +rounded outwards, opposite the centre of the body, and about four inches +from it.</p> + +<p><i>The right arm</i> should hang without restraint, and <i>slightly</i> bent, by +the thigh, the whip being held about twelve inches from its head, with +the point turned <i>upwards</i>.</p> + + +<h4 class="sectionhead"><a name="USING_BOTH_HANDS" id="USING_BOTH_HANDS"></a>USING BOTH HANDS.</h4> + +<p>Take the bridoon reins between the second and third, and the curb reins +between the third and fourth, fingers of each hand, each rein having an +equal bearing on the horse’s mouth; the hands are to be held about six +inches apart, with the wrists rounded outwards, and the thumbs pressing +firmly upon the reins, the elbows well down, and held near to the sides, +the whip held as directed above.</p> + +<p><span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p> + + +<h4 class="sectionhead"><a name="RIDING_ON_ONE_REIN" id="RIDING_ON_ONE_REIN"></a>RIDING ON ONE REIN.</h4> + +<p>Take up <span class="smrom">THAT</span> particular rein with the right hand, and pass the second +and third fingers of the bridle hand between them, then draw up the +reins, but be careful, in doing so, not to hold the horse too tight in +hand; the <span class="smrom">OTHER</span> rein should hang down, having the little finger passed +between them, and the thumb also over them, so that they may be caught +hold of, and drawn up quickly on any sudden emergency; the loose reins +are to hang between those in use.</p> + + +<h4 class="sectionhead"><a name="THE_WHIP" id="THE_WHIP"></a>THE WHIP.</h4> + +<p>The whip being a requisite aid in the management and guidance of the +horse, should be used as an instrument of correction, and by no means to +be <i>played</i> with, nor <i>flourished about</i>. When using the whip for +punishment, <i>scold</i> at the same time; by this means, with a cross word +will be associated the idea of chastisement. However, far more can be +achieved by kindness than by any harsh measure; but when such instances +occur that it is <i>absolutely necessary</i>, never hesitate to <i>punish +well</i>, so that the animal may thoroughly understand that it is +<i>punishment</i> that is meant for his fault—<i>not play</i>.</p> + +<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> + +<div class="poem30"> +<p class="poem">“A man of kindness to his beast is kind,<br /> +But brutal actions show a brutal mind:<br /> +Remember He who made thee, made the brute,<br /> +Who gave thee speech and reason, form’d him mute;<br /> +He can’t complain, but God’s omniscient eye<br /> +Beholds thy cruelty. He hears his cry.<br /> +He was designed thy servant—not thy drudge;<br /> +But know, that his Creator is thy Judge.”</p> +</div> + +<p>Colt-breaking by the Guachos is performed in the same mode as the +Kalmucks, with the lasso; the idea of being thrown, let a horse do what +he pleases, never occurs to a Guacho. According to them, a “good rider” +is a man who can manage an untamed colt, and one, if his horse should +fall, could alight unhurt upon his feet. At the moment of a horse +falling backwards they can slip quietly off, and, on the instant of his +rising, jump on him again. They never seem to exert muscular force, and +appear to ride very loosely, as if every moment they must fall off: yet +should his horse be suddenly frightened, the Guacho will start, and +take, simultaneously, fright with the horse. There is nothing done on +foot by the Guachos that cannot be done on horseback; even <i>mounted</i> +beggars are to be seen in the streets of Buenos Ayres and Mendoza. It is +not, therefore, surprising that, with such multitudes of horses, that +the people should all be riders, and excel all other nations in their +expertness and boldness in their management.</p> + +<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>The Pampas and Prairie Indians, whose forefathers fled from the Spanish +horsemen, as if they were fatal apparitions, now seem to be part and +parcel of the horse. They affirm the proudest attitude of the human +figure is when a man bending over his horse, lance in hand, is riding +<i>at</i> his enemy. The Guachos, who ride so beautifully, declare it is +utterly impossible to vie with mounted Indians; they have such a way of +urging on their horses by cries, and a peculiar motion of their bodies; +even were they to change horses, the Indians would beat them.</p> + +<p>The Turks prefer the Turkman horse to the pure-blooded, slender Arabian. +In fact, from their trying mode of riding, the fine limbs of the Arab +could not stand the shock upon them, their favourite manœuvre being +to make a dead stop when galloping at full speed. To accomplish this +feat, they use a very severe bit, which, of course, destroys the +<i>sensibility</i> of their horses’ mouths; while, on the contrary, the Arabs +use only a plain snaffle, which preserves all the sensitiveness of the +animals’ mouths.</p> + +<p>The Toorkman, or Turkman horses.—These are much esteemed by the +Persians. They are large and swift, and possess extraordinary powers of +endurance, though they are exceedingly awkward in appearance. Turkistan +is their native region, which<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> lies north-east of the Caspian Sea; but +their tribes are widely dispersed over Persia, Asia Minor, and Syria.</p> + +<p>The Persians are great admirers of horsemanship, and a bad rider affords +them infinite amusement. “An officer of an English frigate having gone +ashore to visit the envoy, and being mounted on a very spirited horse, +and a very bad rider, caused great entertainment to the Persian +populace. The next day the man who supplied the ship with vegetables, +and spoke a little English, said to the officer, ‘Don’t be ashamed, sir, +nobody knows you—bad rider! I tell them you, like all English, ride +well, but that time they see you very drunk!’ We were much amused at +this conception of our national character. The Persian thought it would +have been <i>a reproach for a man of a warlike nation not to ride well</i>, +but none for a European to get drunk.”<a name="FNanchor_33-1_1" id="FNanchor_33-1_1" href="#Footnote_33-1_1" class="fnanchor">33-*</a></p> + +<p>The Syrian horses are reared with the utmost tenderness and care; they +are fondled and played with like children. The Syrian horse is equally +good on mountainous, or stony ground, as on the plain; he is +indefatigable, and full of spirit. The Timarli ride horses of the Syrian +breed, mostly from their possessing these inestimable qualifications.</p> + +<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>The Neapolitan horse.—This horse is small, but compact and strong; the +head rather large; the neck short, and bull-shaped: the prototype of the +horses represented on the bassi-relievi of ancient Roman sculpture. He +is capable of living on hard fare, and undergoing great fatigue. He is +frequently vicious and headstrong; this is chiefly owing to his harsh +treatment; though very high-spirited, he would, with gentle usage, +become extremely docile and good tempered. The districts of Apulia, +Abruzzi, and parts of Calabria furnish this excellent animal. The +Neapolitans have taken extreme pains in the breeding of their horses; +they make great display of them in their streets during the Carnival, +and through Lent. The aristocratic families have excellent studs of +great spirit and beauty.</p> + +<div class="figcenter" style="width: 210px;"> +<img src="images/illus-034.jpg" width="210" height="35" alt="Decorative break" title="" /> +</div> + +<div class="footnotes"><p class="footnote"><a name="Footnote_33-1_1" id="Footnote_33-1_1" href="#FNanchor_33-1_1" class="label">33-*</a> <i>Vide</i> “The Horse and his Rider.”</p></div> + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p> +<h2 class="parthead"><a name="PART_III" id="PART_III"></a>PART III.</h2> + +<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p> + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p> + +<h3 class="chapterhead">ON THE PACES OF THE HORSE.</h3> + + +<h4 class="sectionhead">THE WALK.</h4> + +<p>Of all the paces, the walk is the easiest to the rider, <i>provided</i> he +sits in the centre of his horse’s back, as it consists of an alternate +depression of the fore and hind quarters.</p> + +<p>The motion may be compared to the vibration of the beam of a pair of +scales. The walk should be light, firm, and quick; the knee must be +moderately bent, the leg should appear suspended in the air for an +instant, and the foot fall perfectly flat to the ground.</p> + +<p>It is very difficult to confine young and <a name="corr1" id="corr1"></a>mettlesome horses to a walk; +great good temper, with a firm light hand, are requisite to accomplish +this. When such horses change to a trot they should be <i>stopped for a +minute</i> or two, and <i>then</i> allowed to proceed again. If the animal +carries his head well, ride him with a moderately loose rein, raising +the hand when he tries to break into a trot.</p> + + +<h4 class="sectionhead">THE TROT.</h4> + +<p>The trot is allowed, by professionals, to be the only just basis upon +which equestrians can ever<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> attain a secure and graceful seat, combined +with confidence and firmness. The rider has more control over the +motions of his body in this pace than any other: in this the body is +well brought down into the saddle by its own weight, and finds its true +equilibrium. When the rider wishes to make his horse trot, let him ease +his reins and press the calves of his legs gently; when his horse is at +a trot, let him feel both his reins, raise his horse’s forehand, and +keep his haunches well under him.</p> + + +<h4 class="sectionhead">THE CANTER.</h4> + +<p>The rider must have a light and firm feeling of both reins to raise his +horse’s forehand; at the same time, with a pressure of both calves, to +bring the animal’s quarters well under him, having a double feeling of +the inward rein, and a strong pressure of the outward leg, to cause him +to strike off in unison.</p> + +<p>At all times the horse should be taught to lead off with <span class="smrom">EITHER</span> fore +leg; by doing so his legs will not be so much shaken, especially the off +fore leg, which is the one he most generally leads off on. This must be +the case when he is <i>continually throwing</i> the greater part of his +weight upon the leading fore leg, as it comes to the ground, which +causes lameness of the foot, and strains the back sinews of the legs. +Being thoroughly taught to change his<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> legs, the horse is better enabled +to perform long journeys, with facility and comfort both to himself and +his rider.</p> + + +<h4 class="sectionhead">TURNING.</h4> + +<p>In the turn either to the right or left, the reins must be held quite +evenly, so that the horse may be immediately made to feel the aid of the +rider’s hands; he (the rider) must then have a double feeling on the +inward rein, also retaining a steady feeling on the <i>outward</i>; the horse +being kept up to the hand by a pressure of both legs, the outward leg +being the stronger.</p> + + +<h4 class="sectionhead">REINING BACK.</h4> + +<p>The rider should frequently practise reining back, which is of the +utmost service both to himself and his horse: by it, the rider’s hand is +rendered firm and materially strengthened; and the pliancy of wrist so +essential to the complete management of the horse is achieved, likewise +causing the body of the rider to be well thrown back and his chest +expanded, thus forcing, and preserving, an <i>erect</i> position in the +saddle. Also, the <i>carriage</i> of the horse becomes greatly improved; his +head is maintained in its correct position, and he is compelled to work +correctly on his haunches.</p> + +<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span><i>In</i> “<i>reining back</i>,” the horseman requires a light and steady feeling +of both reins, a pressure of both legs, so as to raise his horse’s +forehand and keep his haunches <i>well under</i> him, at the same time +<i>easing</i> the reins, and <i>feeling them again</i> after every step.</p> + + +<h4 class="sectionhead">STOPPING.</h4> + +<p>None are thoroughly taught until quite <span class="smrom">AU FAIT</span> in the stop. It is of +<i>far greater importance</i> than may be <i>usually</i> imagined. In the first +place, it shows the horse to be <i>well under</i> <span class="smrom">COMMAND</span>, especially when +the rider is able to do so <i>instantaneously</i>: it saves in the second +place, many serious and inevitable accidents from carriages, horsemen, +&c., such as crossing before suddenly pulling up, turning quickly round +a corner, or coming unawares upon the rider.</p> + +<p>Care must be taken to make the <span class="smrom">STOP</span> <i>steadily</i>; <i>not</i> by a <i>sudden jerk</i> +upon the <i>bit</i>; by doing so the horse, if “tender mouthed,” will be made +to rear and plunge. To make the horse stop properly, the bridle-hand +must be kept low, and the knuckles turned down. The rider’s body must be +well thrown back; he must have a steady feeling of both reins, and, +<i>closing</i> both legs for a moment, so keep his horse well up to hand. N. +B.—The rider’s hands always must be eased as soon as halted.</p> + +<p><span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span></p> + + +<h4 class="sectionhead">LEAPING.</h4> + +<p>Much depends upon the manner of bringing a horse up to the leap; he +should be taken up straight and steady to it, with the reins held in +each hand—they must be kept low, with the <i>curb</i>-rein held loosely. The +rider’s body should be kept erect, pliant, and easy in its movements. As +the animal is in the act of rising in his leap and coming again to the +ground, the rider’s body must be well thrown back.</p> + +<p>The sitting of a leap, <i>well</i>, is entirely dependent upon the proper +balance of the body; thereby the weight is thrown correctly into the +saddle, and thus <i>meets</i> the horse’s movements.</p> + + +<h4 class="sectionhead">THE STANDING LEAP.</h4> + +<p>Let the rider take up his horse at an animated pace, halt him with a +light hand upon his haunches; when rising at the leap, the rider should +only just feel the reins, so as to prevent them becoming slack, when he +springs forward, yielding them without reserve; as, at the time, the +horse must be left quite at liberty. As the horse’s hind feet come to +the ground, the rider must again collect him, resume his usual position, +and move on at the same pace. His body must be inclined forward as the +horse rises, and backwards as he alights.</p> + +<p><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span></p> + + +<h4 class="sectionhead">FLYING LEAP.</h4> + +<p>The horse must not be hurried, but taken up at a brisk pace, with a +light and steady hand, keeping his head perfectly steady and straight to +the bar or fence. This position is the same as in the standing leap; and +the aids required are the same as for making a horse canter.</p> + +<p>If held too tight in the act of leaping, the horse is likely to +overstrain himself, and fall. If hurried at a leap, it may cause him to +miss his distance, and spring too soon, or too late; therefore his pace +must be regulated, so that he may take his spring distant enough, and +proportionate to its height, so that he may clear it.</p> + +<p>When nearing the leap the rider must sit perfectly square, erect, +pliant, and easy in the act of leaping; on arriving at the opposite side +of the leap, throw the body well back, and again have the horse well in +hand.</p> + + +<h4 class="sectionhead">SWIMMING A HORSE.</h4> + +<p>The rider must take up and cross his stirrups, which will prevent the +horse from entangling himself or his rider; should he commence plunging +and struggling in the water, <i>then quite</i> loosen the <span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span><i>curb</i>-reins, and +scarcely feel the bridoon; any attempt to guide the horse must be made +by the slightest touch of the rein possible.</p> + +<p>The rider also must have his chest as much over the horse’s withers as +he can, and throw his weight forward, holding on by the mane, to prevent +the rush of water from carrying him backwards.</p> + +<p>Should a horse appear distressed, a person unable to swim may, with +great safety, hold firmly by the mane, and throw himself out flat on the +water; by those means he relieves the animal from his weight, and the +horse coming once more into his depth, the rider may again recover his +position in the saddle.</p> + + +<h4 class="sectionhead">BOLTING, OR RUNNING AWAY.</h4> + +<p>This dangerous habit is to be found very generally in nervous and young +horses, who at the least noise, become alarmed, and try to escape; +quickening their pace, they break from a trot to a gallop, until +terrified with the impotent struggles of their riders to stop them, or +the sound of wheels behind them, they become maddened, and dash on in +their perilous career.</p> + +<p>Once a horse finds he has succeeded in these efforts, on any recurrence +of noise or cause of affright, he will pursue the same course, to the +immi<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>nent peril of life, limb,—not only of the rider or driver,—but of +whoever or whatever he may chance to meet in his impetuous flight. The +habit at length becomes confirmed, and it is alone by the utmost nerve +and coolness, tempered with firmness and kindness, that we may hope +eventually to overcome the disease.</p> + +<p>When a horse is known to have a disposition for running away, a firm, +steady hold should be kept over him, at the same time speaking +soothingly and encouragingly; but, at the least symptom, checking +sharply and scolding him, and never allowing him to increase his pace of +his own accord, as fear will oftentimes cause him at length to break +into a gallop.</p> + +<p>Either in riding or driving, the reins should be held firmly, and the +horse had well in hand; but not by a constant pull to deaden the +sensitiveness of his mouth; taking care occasionally to ease the reins +and keep the mouth alive by a gentle motion of the bit, only just +loosening them, so that on any symptom of running away or bolting, they +may be caught up quickly, and the horse be well placed under command, +without frightening him.</p> + +<p>By a little judicious management in this way, with patience, kindness +tempered with firmness, a<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> cure in most cases will be completed in a +short time.</p> + +<p>In riding and driving horses addicted to running away, be <i>very +particular</i> that all portions of the horse furniture be sound and +strong, more <i>especially the reins</i> and <span class="smrom">BITS</span>.</p> + +<div class="figcenter" style="width: 291px;"> +<img src="images/illus-045.jpg" width="291" height="34" alt="Decorative break" title="" /> +</div> + +<p><span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p> + +<h2 class="parthead"><a name="PART_IV" id="PART_IV"></a>PART IV.</h2> + +<p><span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span></p> + +<hr class="chapbreak" /> + +<div class="figcenter" style="width: 525px;"> +<a name="illus-48-f" id="illus-48-f"></a><a href="images/illus-048-f-full.jpg"><img src="images/illus-048-f.jpg" width="525" height="264" alt="Two styles of side-saddle riding" title="" /></a> +</div> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> + +<h3 class="chapterhead">ADVICE TO LADIES.</h3> + + +<p><span class="smcap">Preparatory</span> to a lady mounting her horse, she should carefully approach +to the shoulder. The quietest animal will sometimes kick on a person +coming suddenly to him from behind; but if neared in the manner +described, he cannot possibly contrive to bite or kick.</p> + +<p>It is also correct to allow the horse to see his rider as much as +possible, as it obviates the fright occasioned by a person getting +suddenly on his back, that he has not previously seen coming to him.</p> + + +<h4 class="sectionhead">THE HABIT.</h4> + +<p>Both the habit and <i>under</i> garments should be full, as upon this so much +depends the requisite ease and graceful appearance. The habit should +not, however, be too long, as it is liable to become entangled in the +horse’s legs. Sometimes serious and even fatal falls have occurred from +this cause, particularly if the horse falls to the ground, as the habit +cannot be speedily extricated from under him.</p> + +<p>The author here strongly advises a lady <i>never</i> to tuck her skirts tight +over the crutch of her<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> saddle, but take pains to have them so easy, as +to be enabled on the instant to disengage <i>both</i> skirts and knee. A +facility, <i>in this</i>, can only be acquired by <i>constant</i> practice; and it +is of far greater importance to the lady equestrian to attain, than may +appear at the first glance. Had this <i>apparently slight</i> attainment been +made a matter of <i>moderate</i> consideration, many a parent need not have +had to deplore the <i>death or disfigurement</i> of a beloved child.</p> + +<p>When a lady has her habit drawn over the crutch of her saddle, and +tucked tightly in under her leg (for the purpose of keeping the skirt in +its proper position), she denies herself the full liberty of her knee, +and in case of accident, to be off the horse.</p> + +<p>On the slightest warning, though <i>foreseen</i>, whatever the danger, the +<i>tightness</i> of the lady’s dress will not allow her to get her leg out of +its place, in time to make any effectual effort to save herself; also, +it is probable that the habit might get entangled in the pummel, and +she, frightened of course, would become unable to disengage her foot +from the stirrup (or shoe), in which case she inevitably experiences the +most appalling of all accidents,—<i>being dragged powerless, by a +terrified horse, a considerable distance along the road</i>.</p> + +<p><span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>Before closing this portion of his subject, the author is rejoiced that +the extremely dangerous and most unnecessary fashion of wearing “Habit +Brooches” is now no longer adopted,—things solely invented for “trade +purposes,”—and to any, and especially to a graceful horsewoman, a truly +ridiculous article to wear: never to be patronized by a lady, anxious +for her own safety and the feelings of her family and friends.</p> + +<p>To illustrate this:—The position of a lady on horseback is greatly +limited, when compared to that <a name="corr2" id="corr2"></a>of a gentleman; necessarily then, when +her skirt is confined by a “Habit Brooch,” <i>all power</i> must be taken +away, and <i>all chance</i> of escape, when an accident occurs. A <i>very</i> +slight fall to the lady may be fatal, where, had she had the full +liberty of her skirt, it would have been very trivial. The <i>proper</i> +arrangement of the skirt of the riding-dress, to prevent its flying +about, entirely depends on the lady herself.</p> + + +<h4 class="sectionhead">MOUNTING.</h4> + +<p>Two persons are absolutely necessary to assist a lady to mount; one to +keep the horse quiet, by standing in front of him, and holding the reins +close to the bit, <i>one rein in each hand</i>; the other is for assisting +her to mount. The lady, having<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> regulated her habit, must stand +perfectly erect; her right hand; having the bridoon-rein hanging loosely +on the thumb, being placed upon the upright horn of the saddle (her whip +held between the thumb and forefinger), her right side towards and close +to it.</p> + +<p>The second person, who is to assist the lady to mount, must now place +himself near to, and almost fronting her; having united his hands by +putting his fingers between each other, and stooping down near to the +ground, receives the lady’s left foot, which should be placed firmly in +them, care being previously taken that no part of her skirt is under it. +The left knee should be kept as straight as possible, in order to give +additional purchase, while lifting her perpendicularly and gracefully +into the saddle. The lady must then place her left hand on his right +shoulder, and as he lifts her, <i>she must spring from the instep</i>, at the +same time guiding herself into the saddle with her right hand.</p> + +<p>Having gained her saddle, the lady should take hold of her habit with +her right hand, close to the knee, and raise it sufficiently to allow of +the right knee dropping <i>well home</i> into the crutch, and keeping it +there, as far as she possibly can, immovable.</p> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span></p> + +<h3 class="chapterhead">RULES FOR GAINING THE CORRECT POSITION IN THE SADDLE.</h3> + + +<p>Before a lady mounts she must endeavour to carry in her mind’s eye the +<i>centre</i> of her saddle. On <i>this centre</i> she must, as nearly as +possible, place herself; and to assist her memory, she should take it +for a rule, to keep her eyes in a straight line between the horse’s ears +when lifted into it. By these means, after a little practice, she will +not fail to drop almost insensibly into the correct position; the weight +of her body being thrown full into the centre of the saddle, rendering +her seat firm and easy to her horse and herself. For example:—should we +place a weight on one side of a table, the other side having nothing on +it as a balance, if it does not actually fall, it will become extremely +insecure and unsteady; but, on the contrary, if the weight be placed in +the centre, the table will be safe and steady, even if ricketty before; +therefore, if the lady does not sit “square” (that is, quite in the +centre) on her horse, she must inevitably throw all her weight to one +side, and thereby destroy her power over the horse, and instead of +giving him his correct action, render him unsafe, and shambling in his +gait.</p> + +<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p> + + +<h4 class="sectionhead">THE POSITION IN THE SADDLE.</h4> + +<p>To obtain a correct position in the saddle, the lady must keep her head +erect, and her shoulders well thrown back, which will have the effect of +expanding the chest, and giving the requisite hollowness to the small of +the back. It is also most important that the rider should keep her body +from the waist to the bust very easy, in no way to be constrained, more +especially across the loins. By observing these directions, the lady +will be enabled to accommodate herself, without uneasiness, to the +motions of her horse.</p> + +<p>When the upper portion of the body regulates itself by its <i>elasticity</i> +to the paces of the horse, there is this additional advantage,—let the +animal plunge or struggle as it may, if the rider keeps her knee +immovable in its place, her left foot in the stirrup (with the toe +turned in, which eminently assists her seat and balance), and preserves +her presence of mind, and overcomes any approach to nervousness, she +cannot be unseated.</p> + + +<h4 class="sectionhead">THE ARMS.</h4> + +<p>They should hang <i>perfectly</i> independent of the body, from the shoulders +near the sides, <i>yet quite</i> free from having a constrained appearance.</p> + +<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p> + + +<h4 class="sectionhead">THE LEGS.</h4> + +<p>The right leg from the hip to the knee should be kept down in the +saddle, and, as much as the rider possibly can, without moving. The lady +will materially assist herself in this object by drawing <i>the heel +backwards</i>. The left leg must hang steady, <i>yet</i> not, by any means, rest +its weight in the stirrup, for in consequence of the muscles of the leg +being round, the foot will naturally turn outward, thus causing a +wavering, tottering seat, inclining the body too much out of balance, +and giving a disunited motion to the horse, and an ungraceful and +deformed appearance to the rider. To prevent this, the knee must be kept +firmly pressed to the saddle; and, as before remarked, by depressing the +heel, the toe will be naturally turned in.</p> + + +<h4 class="sectionhead">THE STIRRUP.</h4> + +<p>The position of the foot in the stirrup is of great importance; upon it +depends much; keeping the correct balance of the body on the horse, +which consists in sitting perfectly square and erect, and preserving a +steady position in the saddle. In fitting the stirrup the lady ought to +have her length correctly arranged, which is done in the following<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> +manner:—The stirrup leg must hang quite free from the hip-joint, the +knee being slightly bent, with the toes raised and turned in towards the +horse’s side. Keep the foot fixed as immovable as possible in the +stirrup, allowing the pressure alone to come from the toes to the bridge +of the foot, which will have the effect of giving the elasticity and +regularity of movement required in the horse’s quickened paces.</p> + +<p>The <i>length</i> of the stirrup must be made a matter of importance. On it, +in a very great measure, <i>depends</i> a steady, firm seat.</p> + + +<h4 class="sectionhead">THE STIRRUP TOO LONG.</h4> + +<p>In the lady’s endeavours to retain her foot in the stirrup, her weight +must preponderate on the left side; if the stirrup be <i>too short</i>, it +necessarily gives a rolling motion to her body, destructive alike to +grace, elegance, and security of seat, and will prevent her seating +herself sufficiently back in her saddle.</p> + +<p class="section">On the Reins (<i>vide</i> <a href="#ON_THE_REINS_c">p. 27</a>).</p> +<p>Holding the Reins in one hand (<i>vide</i> <a href="#FOR_HOLDING_THE_REINS_IN_ONE_HAND">p. 28</a>).</p> +<p>Using both hands (<i>vide</i> <a href="#USING_BOTH_HANDS">p. 29</a>).</p> +<p>Riding on one rein (<i>vide</i> <a href="#RIDING_ON_ONE_REIN">p. 30</a>).</p> +<p>The Whip (<i>vide</i> <a href="#THE_WHIP">p. 30</a>).</p> + +<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p> + + +<h4 class="sectionhead">THE BRIDLE HAND.</h4> + +<p>The motion of the lady’s hand must be confined to the <i>wrist</i>—as in +pianoforte playing—the action coming from <i>it alone</i>.</p> + +<p>By the management of the reins, in concert with the yielding or +retraction of the wrists, the horse is guided in his paces. By this mode +the sensibility and goodness of his mouth is preserved; the beauty of +his action is developed; steadiness is combined with security in his +paces, and the safety of his rider is secured. The degree of command, +which the animal can be placed under, <i>entirely depends on the degree of +proficiency</i> acquired in this branch.</p> + + +<h4 class="sectionhead">GUIDING.</h4> + +<p>There are <i>four</i> motions requisite in guiding a horse.</p> + +<p><i>To go forward.</i>—Lengthen the reins, and give the animal his liberty. +For this purpose the lady’s hand must be guided by the <i>action</i> of her +wrist, and, at the same time, she must apply gently her whip. Here, it +is proper to remark, the lady’s bridle, or left, hand must never be left +inactive, but, by practice, she must endeavour to understand the art of +<i>feeling the horse’s mouth</i>; should the bridle hand<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> <i>not</i> be kept in +constant use this will never come easy to the rider, the hand will be +unsteady, and the horse will become the same.</p> + +<p><i>To go backward.</i>—The reins must be shortened a little, the back of the +hand turned down, the little finger next the body; the weight of the +rider should be thrown back, with the little finger slightly pulled in +towards the waist, then the horse will readily step back.</p> + +<p><i>To turn to the right.</i>—The hand must be turned upwards, which will +direct the little finger to the right. Throw the balance of the body +into the turn, by inclining the bust to the right and applying the whip, +which will cause the horse to move forward as he turns, obey the hand, +and cross his legs one over the other, correctly.</p> + +<p><i>To turn to the left.</i>—Let the hand be turned down, so that the little +finger may be directed to the left; the bust must also be turned to the +left, and the hand up, with the left heel applied to his side, and the +whip to his right shoulder.</p> + + +<h4 class="sectionhead">DISMOUNTING.</h4> + +<p>There is tact necessary in dismounting, in order that the lady may avoid +the <i>exposé</i> and inelegance, attendant upon, as it were, being lifted +from the saddle in a groom’s arms.</p> + +<p><span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>Previous to dismounting, the groom must stand by the horse’s head, +holding the reins close to the bit, to keep him as steady as possible.</p> + +<p>The lady having removed her foot from the stirrup, and passed her hand +down to free her skirt, etc., from all chance of catching to the saddle +or stirrup, should remove her knee out of the crutch; at the same time +taking the precaution to disengage the habit from that side. Then +holding the crutch with her right hand (the rein hanging loosely on the +thumb), and now placing her left hand on her groom’s right arm, near the +wrist; his arm being extended for the purpose, she must spring lightly +and clear from the saddle, slightly inclining the bust towards the +horse’s shoulder.</p> + +<p>By this method the lady will quite disengage herself, and descend gently +to the ground.</p> + + +<h4 class="sectionhead">MAXIMS TO BE ATTENDED TO.</h4> + +<p>Be particular to avoid nervousness and hurry, either in mounting or +dismounting.</p> + +<p>Take time, and have everything correctly arranged before starting; +serious accidents have occurred frequently from being in haste to start +off.</p> + +<p>Arrange the habit, length of stirrup, and have the saddle-bands and +buckles properly examined<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> before the journey is begun, to prevent +having to stop on the road.</p> + +<p>Be careful to keep the hand active, and watch the movements of the +horse; by this means the rider will never be thrown off her guard, and +will be prepared for every emergency.</p> + +<p>Keep the horse’s mouth always in play, so as to keep up its fine +feeling, <i>indispensable</i> to his correct guidance.</p> + +<p>Never allow the reins to hang loosely on the horse’s neck, crutch, or +pummel of the saddle. This oversight frequently causes serious and fatal +accidents.</p> + +<p><i>Always</i> use <i>double</i> reins. Should one become useless, there is still +another to rely upon.</p> + +<p>Before the author concludes, he begs to be allowed to <i>impress</i> upon his +fair readers, that an <i>elegant</i> and accomplished <i>equestrian</i> becomes an +equally <i>graceful pedestrian</i>, from the improved carriage acquired from +proficiency in the former accomplishment.</p> + +<p>To become an <i>elegant pedestrian</i> is no mean task, nor is it an <i>easy</i> +one to accomplish. Yet it is of the utmost importance to a lady, <i>in +particular</i>, to master it. How often, in our experience through life, +have we met with a lovely face and perfect figure,—everything that +could constitute the perfection of<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> female beauty, <i>while at rest</i>!—but +once in <i>motion</i>, the illusion is dispelled from a <i>bad carriage and +shuffling gait</i>, the perfect form becomes quite common-place. These two +destructives to beauty can be entirely eradicated by attention to the +following directions, and which apply equally to</p> + + +<h4 class="sectionhead">WALKING AND RIDING.</h4> + +<p>Keep the bust and head <i>erect</i>; the shoulders <i>well thrown back</i>. The +motive power to proceed from the hips <i>alone</i>.</p> + +<p>Perseverance in these few directions will soon give all that is required +for a graceful and healthy carriage.</p> + +<p>Finally.—At all times <i>trust to your reins for security</i>, in cases of +danger. <i>Never</i> grasp the pummel of the saddle. Never use a “Habit +Brooch.”</p> + +<div class="figcenter" style="width: 179px;"> +<img src="images/illus-061.jpg" width="179" height="29" alt="Decorative break" title="" /> +</div> + +<p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p> + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> + +<h3 class="chapterhead">REMARKS ON SADDLERY.</h3> + + +<p>I have been quite surprised to see, in such a city as London, the +paucity of really good saddles. Most of them would disfigure any horse +they were put upon, with flaps of all shapes but the right.</p> + +<p>To say how a saddle should be made, would be quite impossible, as it +solely depends on the horse and his rider; for instance, a thin and +sweepy saddle will not suit a horse with round, heavy shoulders, and +wide over his loins. Many imagine that cut-back saddles are less liable +to injure the rider, than ordinary ones; this is quite fallacious.</p> + +<p>The saddle must have the head, or what is called, the pummel, to begin +upon; and the further <i>that</i> can be carried forward the better; but the +nearer it is got under the seat, the more likely is it <i>to seriously +injure</i> the rider.</p> + +<p>In <i>side</i>-saddles there is great variety; but the requisites for a +<i>first-rate</i> side-saddle, to my idea, and one I would not hesitate in +recommending, should be <i>length</i> (<i>indispensable</i>), <i>a leaping-head</i>, +<i>no off-<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>head</i>, and it should be cut as nearly level as possible. None, +I may say, can dispute my first remark, and <i>none</i> who have ridden with +the leaping-head will ever after be <i>without it</i>.</p> + +<p>There are those who say no, to the off-head being cut away, “for should +a lady become nervous, she could not steady herself so well as if the +head had been left on;” here I fully agree, but beg to say in reply, +that before a lady attempts the road or anywhere where she might be +placed in such a critical position, she must have her nerves so +strengthened through her equestrian education, that she need not look to +the off-head of her saddle for safety; her <i>point d’appui</i> is the +leaping-head. When holding on by the off-head, the lady of course loses +<i>the use</i> of one hand. Next, her horse may go where he pleases, for she +cannot get her hands down to have a good pull at his mouth. Then, in +hunting, the poor lady’s wrists are everlastingly bruised by the +off-head, to say nothing of the danger of their being broken by it.</p> + + +<h4 class="sectionhead">BRIDLES.</h4> + +<p>There is a great variety of bridles. Generally speaking, the plainer the +bridle the better, more especially for hunting and hacking; for the +former,<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> let your bit be long in the check (<i>i.e.</i>, in moderation), the +mouth-piece thick, having the bridoon the same, the <i>suaviter in modo</i> +being much more agreeable than the <i>fortiter in re</i>, to all animals. For +hack bridles, any fancy check may do, if the horse’s head be +sufficiently handsome; but let me request my readers not to put a fancy +bridle on a coarse-bred, common horse.</p> + + +<h4 class="sectionhead">THE THROAT LASH.</h4> + +<p>Simple as it may appear, it spoils the heads of all horses, as it is +usually made. It should be long enough to fall just below the +cheek-bone, and not to lay <i>on</i> or <i>over</i> it, as it makes the animal’s +head look short and thick.</p> + + +<h4 class="sectionhead">NOSE BAND.</h4> + +<p>Not as they were used in days past, <i>attached</i> to bridle, but +<i>separate</i>. No one knows its efficacy when placed low, but those who +have tried it; its exact position will, of course, depend much on the +size of the mouth.</p> + + +<h4 class="sectionhead">CHIN STRAP.</h4> + +<p>Some imagine this is not an indispensable thing to a bridle, either in +hunting or hacking, <i>but it<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> is</i>, more especially in <i>Pelham’s</i>. I have +seen a horse in tossing his head, throw the Pelham bit over on to his +face; had a chin strap been attached to the bridle, this could not have +happened.</p> + +<div class="figcenter" style="width: 256px;"> +<img src="images/illus-066.jpg" width="256" height="37" alt="Decorative break" title="" /> +</div> + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p> + +<h2 class="chapterhead">THE EQUESTRIAN’S MANUAL.</h2> + +<p class="titlepage">(<i>Dedicated to H.R.H. Prince Albert.</i>)</p> + +<p class="titlepage">BY S. C. WAITE, ESQ.</p> + +<hr class="decshort" /> + +<p class="titletop2">OPINIONS OF THE PRESS.</p> + +<p class="titletop2">Standard.</p> + +<p><span class="smcap">Mr. Waite’s</span> book will put <i>every one</i>, who shall obey its instructions, +in the way of riding <i>well</i>; for it does as much as a book can to teach +the theory of the art. It is a book to be purchased and carefully read +by every one, not an experienced horseman, who purposes to ride or buy a +horse, and even the <i>experienced</i> horseman will find in it <i>valuable</i> +information.</p> + + +<p class="titletop2">Morning Advertiser.</p> + +<p><span class="smcap">This</span> work reflects high credit on Mr. Waite for its practical lucidity, +and the pleasing manner in which the instructions are imparted. His +directions for <i>curing</i> the acquired <i>bad</i> habits of horses, too often +the results of ill usage, or violence of ignorant grooms and +horse-breakers, are excellent. The position of the saddle, the proper +fixing of it and the bridle, the <i>best</i> method of mounting, position in +the saddle (illustrated by diagrams), are carefully and sensibly treated +on. The third section, “Advice to Ladies,” is novel, and the hints +<i>invaluable, not only to the fair sex, but to those who may have to +instruct them in the graceful art of Equitation</i>.</p> + + +<p class="titletop2">Morning Chronicle.</p> + +<p><span class="smcap">In</span> bringing under notice a new book, practical and highly amusing, upon +the noble Art of Horsemanship, which has emanated from the pen of a +well-known and accomplished <span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>professor thereof, we have pleasure in +stating the reader will find in these pages excellent practical hints +and sound suggestions on the art of riding well; and, in the manner of +training and treating horses we sincerely concur with, and we honour and +respect Mr. Waite, when he so forcibly inculcates kindness and +gentleness, though combined with firmness, as essentials in the +education and treatment of the horse; hardships, cruelty, and neglect he +strongly deprecates.</p> + +<p>The instructions in the proper seat and carriage on horseback, the +management of the whip and rein, are minutely explained, and of the +greatest utility. He is particularly attentive to the ladies, and +admitting the power they lose by their peculiar seat, he gives the best +recommendations for remedying the evil, as far as possible, by securing +an exactly central fix upon the saddle, the best form of which he +learnedly discusses. Speaking seriously, all fair riders ought, for +their own sake, to profit by his advice, the result of long experience.</p> + + +<p class="titletop2">Sunday Times.</p> + +<p><span class="smcap">Mr. Waite</span>, an <i>experienced professor</i> of the art, has given us a +hand-book, <i>in which</i> will be found a great variety of instruction, by +which the equestrian will receive such directions for the management of +his horse, under a variety of circumstances, as must prove of <i>great +value</i> to him.</p> + + +<p class="titletop2">Observer.</p> + +<p><span class="smcap">This</span> work is <i>evidently</i> the production of one who has acquired a +<i>thorough</i> acquaintance with the subject, and who, moreover, possesses +the <i>rare advantage</i> of communicating his instructions in a manner +peculiarly <i>ample</i> and <i>clear</i>. We have seen <i>no</i> other work in which +such a variety of information on the subject is embraced. The advice to +ladies is most valuable.</p> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p> + +<h2 class="chapterhead">MR. S. C. WAITE,</h2> + +<p class="titlepage">AUTHOR OF “THE EQUESTRIAN’S MANUAL,”</p> + +<p class="titlepage">(<i>Dedicated to H.R.H. Prince Albert,</i>)</p> + +<p class="section">With advice to purchasers of Horses, &c., and Originator of the Improved +Military Seat (obviating ruptures), and positions for Ladies and +Gentlemen on Horseback.—(Vide <i>Opinions of the Press, April, 1850.</i>)</p> + +<hr class="decshort" /> + +<p><span class="smcap">Mr. Waite</span> has been requested by a numerous circle of personal friends to +submit to the notice of the public an ointment, proved to be invaluable +to the owners of racing and hunting establishments, breeders, farmers, +&c., for restoring hair on broken knees, and where it has been lost, +through accidents, disease, blistering, firing, &c., &c.; it is likewise +available for dogs in reproducing hair, bare from mange, scalds, burns, +and abrasions.</p> + +<p>Mr. Waite obtained the above valuable recipe from the late celebrated +and eccentric character, Patrick Jones, of Dublin, familiarly known in +military and sporting circles, and throughout the kingdom, as “Old +Paddy,” who, after an unfailing success in its use, in all parts of the +world (where called by his military duties), for a period verging on +eighty years (and by him obtained from his father), on his death-bed, in +1853, confided the secret to the present proprietor.</p> + +<p>To be had in pots at 3<i>s.</i>, 5<i>s.</i>, 8<i>s.</i>, and 17<i>s.</i> 6<i>d.</i>, and in 8lb. +canisters for hounds after mange, &c., &c., at £4. 4<i>s.</i></p> + + + +<hr class="chapbreak" /> +<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span></p> + +<h2 class="chapterhead">TESTIMONIALS.</h2> + +<hr class="decshort" /> + +<p class="titletop2"><i>From</i> <span class="smcap">Dr. Bunting</span>, <i>the great American Horse Tamer and Breaker</i>.</p> + +<div class="addressright15"> +<p class="titletop2">2, <span class="smcap">Onslow Terrace, Brompton</span>,<br /> +<i>May 22nd, 1859.</i></p> +</div> + +<p><span class="smcap">Sir</span>,—I beg to certify that I have used your “Old Paddy Jones’s +Ointment” for restoring hair on horses and dogs, in <i>numerous</i> cases of +valuable horses, and in <i>no instance</i> has it failed in its efficacy, and +I consider it to be invaluable to every establishment where horses and +dogs are kept. In future, I shall never be without it. Wishing you every +success,</p> + +<div class="signature"> +Believe me to be truly yours,<br /> +<span class="smcap padleft8">J. G. Bunting.</span> +</div> + +<div class="addressleft15"> +<p class="titlepage"><span class="smcap">S. C. Waite</span>, Esq.,<br /> +<i>Brompton.</i></p> +</div> + +<hr class="declong" /> + +<div class="addressright20"> +<p class="titletop2"><span class="smcap">Patent American Break Office,</span><br /> +<span class="padleft4"><span class="smcap">Mason’s Riding School, Brompton,</span></span><br /> +<i>July 7th, 1859.</i></p> +</div> + +<p><span class="smcap">Sir</span>,—Having used your “Old Paddy Jones’s Ointment” for restoring the +hair on horses and dogs, I have great pleasure in testifying to its +<i>good</i> qualities in all the cases I have had in hand, and think it will +be a <i>great boon</i> to all keeping either a horse or dog.</p> + +<div class="signature"> +I remain, Sir,<br /> +<span class="padleft2">Yours obediently,</span><br /> +<span class="padleft4"><span class="smcap">Henry Hurst.</span></span> +</div> + +<div class="addressleft15"> +<p class="titlepage">To <span class="smcap">S. C. Waite</span>, Esq.,<br /> +<i>Brompton.</i></p> +</div> + +<hr class="declong" /> + +<p class="titlepage">ROBERT HARDWICKE, PRINTER, 192, PICCADILLY.</p> + + + +<hr class="chapbreak" /> + + +<div class="tn"> +<p class="titlepage"><a name="trans_note" id="trans_note"></a><b>Transcriber’s Note</b></p> + +<p class="noindent">The following typographical errors were corrected.</p> + +<table class="tntable" cellpadding="2" cellspacing="0" summary="typos"> +<tr> + <td>Page</td> + <td>Error</td> + <td>Correction</td> +</tr> +<tr> + <td class="tdr"><a href="#corr1">37</a></td> + <td>mettle some</td> + <td>mettlesome</td> +</tr> +<tr> + <td class="tdr"><a href="#corr2">51</a></td> + <td>that a gentleman</td> + <td>that of a gentleman</td> +</tr> +</table> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Graceful Riding, by S. C. Waite + +*** END OF THIS PROJECT GUTENBERG EBOOK GRACEFUL RIDING *** + +***** This file should be named 36701-h.htm or 36701-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/6/7/0/36701/ + +Produced by Julia Miller and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> |