The frontispiece represents the stamp of horse best calculated to carry a lady, and is a very truthful likeness of a five-year-old horse, named Prince Arthur, a son of the celebrated racehorse Stockwell, his dam a half-bred Arab mare.
The subject of the plate, therefore, has some of the very best English blood in his veins, in conjunction with that Eastern strain from which in all probability our magnificent British thoroughbreds derive a considerable proportion of their power of endurance, or, in turf phraseology, their staying quality.
The horse is a first-class hack, as good a performer over the great Leicestershire pastures and formidable oxers which so often bar the way in that sporting county, as he has already proved himself in themanége; and, as he possesses, in addition to true and most elastic action, fine temper and indomitable courage, I venture to present his likeness as my type of the sort of animal adapted either for Rotten-row or to hold his own in the "first flight" over a country.
A common error is that any weedy thoroughbred, too slow for racing, and without the "timber" and substance to enable him to carry a 10-stone man to hounds, is good enough for a lady's riding. There can be no greater mistake. While quality and fashion are indispensable in a woman's horse, strength and substance are equally necessary. As I have before observed, the very conditions upon which the comfort and safety of a lady's riding depend, leave her horse without that support in his action which he would derive from the riding of a good man; while, however true the balance of the lady may be, still the horse's powers are called upon in a long ride, either on the flat or over the country, in a way which tests him severely. There must therefore be plenty of wear and tear in the right place—great strength in the loins, a backnot too short, aided by strong and well-arched back ribs, which are at the same time not too closely locked up.
The Arab horse proper, despite his great capability of endurance, his symmetrical contour and extraordinary sagacity, is still a trying mount for a lady unaccustomed to him. With great power in his hind quarters (as a rule), he is short in the back, low and short in front of the saddle. The consequence is that from his powerful back action, he pitches too much in his collected paces to ride pleasantly to a woman, although when striding away at top speed he is easy enough.
On the other hand, the English horse that possesses length enough to enable him to travel easily under the fair equestrian too often has the length in the wrong place, and cannot stay—a defect fatal to enjoyable riding for a lady, at all events in the hunting field.
It is to the admixture of Eastern and Western blood, therefore, that one has to look for symmetry of topping conjoined to length in the right place, power, and substance.
I now proceed to say a few words as to the "aids" to be employed to put the horse in motion. In order to impress these thoroughly upon the memory of the fair tyro, the preceptor should adopt a form of question and answer to the following effect:
Q. What are the aids to make a horse walk?—A. A pressure of the leg to his side, at the same time easing the hand.
Q. How is the hand to be eased?—A. From the wrist; the arm being kept perfectly steady, and the little finger yielding towards the horse's neck.
Q. How many lines of action should the little finger of the bridle hand move on?—A. Four. First, towards the waist; second, towards the horse's neck; third, towards the right shoulder; fourth, towards the left.
Q. What are the objects of these motions?—A. First, to collect, halt, or rein back the horse. Second, to give him facility of moving forward. Third, to turn him to the left. Fourth, to turn him to the right. The upper part of the rider's figure to be slightly turned from the waist, by bringing forward the right shoulder when turning to the left andvice versâ, in order to enable her to move exactly on the same line as the horse, and so to preserve completely her dueaplombor balance in the saddle. The above, in a slightly modified form, is the instruction laid down in the "Military Aid Book," as is the following.
Q. What is meant by a light hand?—A. An almost imperceptible easing and feeling of the bridle hand, so as to preserve the natural delicacy of the horse's mouth.
The foregoing, however, while it indicates correctly and concisely what a light hand is, is scarcely explicit enough for a beginner. I believe the best definition to be this: when a horse is "light in hand," according to the technical meaning, it should by no means be understood that he has so delicate a mouth that he fears the action of the bit in it. On the contrary, having in his breaking been fairly balanced, the greater part of the weight on his haunches, and ridden well up to his bridle, he should admit of a steadyappuibetween his mouth and the rider's hand, while he bends in the poll of the neck.
Thoroughly balanced, and bending as above described, his mouth yields to the action of the rider's hand, and is "light" in the true sense of the principles of equitation.
A great deal of nonsense is talked about ladies' hands being so much more light and delicate than those of a man. The truth is, that, assuming both male and female rider to be equally practised in the saddle, there is no difference whatever in the feeling orappuigiven by the horse.
Thoroughly habituated to obey certain indications conveyed to him through the medium of the bridle reins and leg or other aid of the rider, he will answer to them precisely in the same manner to a lady as he would to a man; while, on the other hand, if these indications are not given with well-defined clearness and precision, he will not answer to anybody's riding.
There is a point, however, as regards the action of the hands, to which I beg to call the particular attention both of young ladies commencing their lessons in equitation and of gentlemen (non-professional) who may undertake the task of teaching riding.
A great difference of opinion exists as to whether the action of the bridle hand should be from the wrist only, or whether (spring like, if I may use the expression) the "give and take" action should be conveyed by the upper part of the arm being quite mobile at the shoulder joint and in conjunction with the forearm, the latter kept, however, close to the side, and moving easily and freely to the horse's action. The latter theory is warmly advocated by many thoroughly experienced horsemen and professors of female equitation, who maintain that to teach a young lady to keep the arm firm to the side, in the manner adopted in the military riding school, is not only to give her a rigid wooden appearance on her horse, but also to destroy the proper flexibility of her figure.
On the other hand, some instructors—those especially who are veterans of the cavalrymanége—insist that firmness of the arm should in all cases be rigidly demanded.
My experience induces me to come to a conclusion which is midway between these opposing theories.
In the first lessons given to a lady on horseback it is well to insist upon her keeping the arm steady, because otherwise she is ready not only to yield her hand to every movement of the horse, be that yielding right or wrong, but gradually and imperceptibly to herself her hands will steal forward until they are eight or ten inches in front of her, the consequence being that the muscles of the waist become rigid, and the flexibility of her figure at its most important point, as regards riding, is lost, while the hands remain in the awkward and ungainly position I allude to.
For the above reason, therefore, it is desirable to inculcate firmness of the lower part of the arm to the side in the early lessons; the hands drawn back close to the waist. And, in order to make this form of riding more easily comprehensible to the pupil at her first essay, the following will be found highly effective:
Let the instructor stand in front of the horse, and taking the bridle reins one in each hand, let him caution the pupilnotto yield to him if he pulls against her. Let him then take a quick, sharp pull at the reins in the same way as a horse would when trying to get his head free from the rider's control. The master will find that, despite the caution, both the pupil's hands will come forward at once; and if this action on the bridle had been executed by the horse instead of his master, the former would have gained his first step in having his own way, and, for instance, from a collected canter could increase his pace at his own will. Now, there is nothing more important in the action of the hand in controlling the horse than firmness and instantaneous decision in yielding or maintaining theappui.
"If" (say some theorists) "a horse pulls against you, drop your hand to him." This is rather a vague expression, which, in fact, conveys no real meaning to an inexperienced person; among horsemen it is intended to convey that you should yield to the horse whenever he pulls or takes a liberty with the hand. Now, the direct reverse of this is the course to be adopted by all riders who wish to acquire good hands. When a horse endeavours to forereach upon the rider, the latter, instead of yielding, should close his hands firmly on the reins, and keep the arms perfectly steady,without pulling an ounceagainst the horse; at the same time closing his leg with equal firmness. In the next stride or two the horse will yield to the hand, which should instantly yield to him; and thus he learns that you are master of him, and goes well together, or, as it is technically called, collectedly and within himself; whereas if the hand is freely yielded whenever he takes a liberty or romps for his head, in a very brief time he will be all abroad, and going in any form but that best for himself or his rider.
To ensure firmness and steadiness of the hands, however, equal firmness and steadiness are requisite in the arms, and, for that reason, the pupil should be taught to keep them close to the side; an additional reason being that, if this is neglected, a beginner, as it were, disconnects the figure from the waist upwards, and loses her true balance. When the pupil has had sufficient practice to ensure steadiness in the saddle, the injunction as to arms perfectly steady may be relaxed; and gradually, while there is no lateral motion of the arm from the side or sticking out of the elbows, the lady will learn to give easy play to the shoulder joint without destroying the neatness of her riding or her power to fix her arms for a moment if the horse tries to get his head away. In short, my theory is that it is impossible for the pupil to learn the trueappui, or acquire what is usually called a light hand, until she has acquired a steady one. It is easy enough to tell her to "give and take" to the cadence of the horse's action; but the precise moment at which to do this must be made clear to the learner by some well defined and easily comprehensible rule. I submit that the readiest way of defining it is that I have attempted in the foregoing. Having carefully given the above instruction, see that the pupil is sitting fair and true in the saddle, and be careful to correct any tendency to throwing forward the right shoulder, which is both inelegant and destructive of balance. See that the right knee is in a firm, but still flexible form on the upper pannels. Caution the pupil while she draws her figure well up from the waist to stretch the left heel well down; and let her then, keeping her hands perfectly quiet, press the horse forward into a walk with the leg, while she yields the little finger from the wrist only. Let her make the horse walk freely out, but up to his bridle, the whip being applied, if necessary, on the off shoulder if he hangs back behind his work.
Nearly all young people, when first put on horseback, are anxious to be off in a canter at once, and it is a sore trial to their patience to be kept at a walk. But there can be no greater mistake than to allow them to canter a horse until they have learnt the "alpha" of their business—that important lesson, how to make a horse walk true and fair.
This accomplished, "going large" round school or paddock, the pupil should be carefully instructed how to turn her horse square to the right or left, and to rein him back. And in order to make the instruction as clear and concise as possible, again, in a modified form, the "Book of Aids" may be called upon. The formula there laid down, in the shape of question and answer, is as follows:—
Q. How do you turn a horse to the right or left?—A. By a double feeling of the inward rein, retaining a steady feeling of the outward. The horse kept up to the hand by pressure of both legs. The outward by the strongest. Now, as in the case of a lady, there is no right leg to support the horse, in turning, he is liable to lean upon the hand; the rider should close the left leg firmly, and touch him lightly on the off-side with her whip, which will at once cause him to keep his forehand up and his haunches under him. After being once or twice so corrected he will turn carefully, without hurry or coming on his shoulder.
The pupil should then be taught to turn her horse right and left about in the centre of themanége, the aids being simply continued until the animal faces the reverse way, the pupil turning her horse upon his centre in the middle of themanége, instead of his haunches, as at the side. Plenty of practice should be given in making these turns, because by them the pupil learns to bring up the right or left shoulder according to the hand turned to, the right shoulder in turning to the left, andvice versâ; and this should be most carefully attended to by the master, otherwise the body of the pupil is moving on one line and the horse on another, and in case of his flirting the pupil is already half-way out of her saddle. Too much attention therefore cannot be given to this vital point in theaplombfor this obvious reason—if a lady once acquires the habit (which unfortunately too many do) of allowing the horse to turn without "going with him," it is quite on the cards that some day a horse, a trifle too fresh, may jump round with her. If the above principle of "going" with the horse has been thoroughly well taught her in her early lessons she will have no difficulty in accompanying the action of the horse, if she even fail in checking it; but if she is permitted so to sit as to be looking over her horse's left ear when she turns him to the right, she is leaving the question of her seat entirely to the generosity of the steed. And it may be as well to say at once that, with the best intentioned, broken, or mannered horse, it may be laid down as a golden rule in riding to leave nothing to his generosity. Horses are very keen in their perceptions, and can detect in a manner little suspected by the inexperienced when they have one at a disadvantage.
Reining back may be practised from time to time. To do this well, again clearly defined instructions should be given. First the horse should be halted. Thus: A lightfirmfeeling of both reins, to check his forward movement; the leg closed tightly at the same time, to keep him up to the hand; the reins to be eased as soon as the horse is halted. The aids for reining back should then be explained as follows: Closing the hands firmly on the reins, the rider should feel the horse's mouth as though the reins were made of silken thread instead of leather, and close her leg quietly to keep him up to the hand. There should be no dead pull at the horse's mouth, but the reins should be eased at every step he takes backwards, which, if the aids are smoothly and truly applied, he will do without throwing his haunches either in or out. In the early lessons the pupil should not be allowed to rein her horse back more than two or three steps at a time. The use of reining back is to bring the greater weight from the horse's forehand to his haunches, to collect him and make him light in hand. (See "Aid Book.") It is also of great use in assisting the pupil to correct her ownaplombin the saddle, and acquire a trueappuion the horse's mouth. Every movement of the hand of the rider, however, and every step of the horse, should be carefully watched by the instructor. The horse should never be allowed tohurryback, as that will at once enable him to get behind his bridle.
These lessons at a walk, the turns to the right and left, turns about and reining back, should be continued until the pupil executes them with precision. Her position should be rigidly attended to, all stiffness avoided, and nothing in the shape of careless sitting allowed to pass unnoticed. I repeat, the early lessons should, if anything, be a little overdone in the way of exactness, because any careless habit acquired at such a stage is most difficult to get rid of afterwards. When the pupil is thoroughlyau faitat her walking lesson, she should commence the next important section, that, namely, of learning to trot, the formula of which I will endeavour to explain in my next chapter, concluding this with a description of the form in which a lady should dismount, and the assistance that should be afforded by the master.
Having halted the horse in the centre of the school, his head should be held by a steady groom. The lady should then pass the reins from the right hand to the left, and quietly lift her skirt with the right hand until she can easily disengage her right knee from the upper pommels. At the same moment her left foot should be disengaged by the assistant from the stirrup, and her skirt from the near-side pommel or third crutch. The lady should then drop the reins on the horse's neck, and having disengaged her right knee, turn quietly to the left in her saddle, and face the assistant. She should then with both hands take up the slack of her habit until her feet are quite clear of it, otherwise, on alighting she is liable to trip and fall, possibly right into the arms of the assistant, which is not, by any means, according to rule.
Having gathered up the skirt, the lady should then carry her hands forward about eight or ten inches from her knees, and rest both her hands firmly on those of the assistant, who should raise them up well for the purpose. It remains only then for the lady to glide smoothly down from the saddle, and, slightly supported by the assistant, she will alight easily and gracefully onterra firma. Some riding masters have a fashion of taking a lady off her horse by placing both hands on her waist and allowing her to throw her weight forward upon them. Such a practice isoutré, inelegant, and unsafe, because the lady is likely enough to throw more weight forward than the master anticipated, in which case both may come to the ground, to the great discomfiture of the fair equestrian.
This, once thoroughly mastered, gives the pupil confidence and security on her horse, and is the great inductive step by which she learns the value of balance. Some years ago it was considered that if a lady could sit her horse gracefully at a walk, and securely at a canter, she had accomplished all that was correct or necessary in female equitation. Trotting was altogether ignored, for the simple reason that ladies found it extremely difficult to do, and impossible to find anybody who could help them out of their difficulty by teaching them the right way. In those days most of the riding masters were men who had been instructors in the cavalry. In that arm of the service, trotting according to regulation is quite a different thing to the easy rise and fall seat practised by civilians on horseback. It is a necessity in cavalry, in order to preserve the dressing in line, that a man should sit down in his saddle at a trot, and allow the horse to shake him fair up and down in it. If the rising seat were allowed, it would be impossible to preserve anything like dressing. This shake-up, or "bumping" seat, however, as men out of the army call it, is by no means so distressing as some people imagine, unless the horse is unusually rough in his action.
The reason is that the military trot is taught upon the principle of balance. The man sits fair down on his seat, and, keeping his knee forward and his heel well down, does not cling to the horse by muscular grasp; consequently the bumping, so terrific to the eye of the civilian, is scarcely felt by the soldier, and in continental armies, where rough trotting horses are exceptional, the motion or jolt is scarcely perceptible. There are a great many popular fallacies about military riding—as, for instance, that a dragoon rides with a very long stirrup; that his seat is insecure; that the bumping gives a horse a sore back; and that, except a sailor and a tailor, a dragoon officer is about the worst horseman to be found. This is not exactly the place to enter into any controversy on the subject; but I may as well observe at once, and I do so because I am sure the old soldiers are not altogether despised by the ladies, even in this non-military country, that all the foregoing are so many mistakes. A dragoon, any time within my memory, rode just the same length as a man does over a country—that is to say that, measuring the cavalry man's leather and iron by the length of his arm and hand, which is the right length for a civilian, you have exactly the cavalry regulation length. The stirrup of a lancer indeed is somewhat shorter than that used by most hunting men. Finally, an acquaintance with thehabituésof such places as Melton would prove to unbelievers in the riding of cavalry officers that the names of most of the men who go to the front in the hunting-field, and keep there, are to be found in the "Army List." I have been tempted thus to digress by having referred to the military riding school, from which in former days, most, if not all, the riding masters who taught ladies came. Now, although I stand up (as in duty bound) for the military system of ridingper se, it does not produce the right man to teach a woman to ride, if the experience of the preceptor has been acquired in the riding school only. Excellent as is our system (or, rather, the German system, for it is imported from the Prussian service), for making a man a first-class dragoon, as regards anything connected with a lady's seat or the principle of her balance, it is useless.
As regards her hands, or the application of the "aids" of themanége, it is highly beneficial, because nothing can be more clear or concise than the simple rules laid down in military equitation for the application of the "helps," by which a horse's easy movement is controlled and regulated. It was principally to the want of men who could teach a lady to ride, however, that the absence of a trotting in the side saddle was to be attributed "lang syne."
It is altogether different now. Riding masters took to riding across country, and their daughters took to it also, naturally. Awkward spills occurred; and long journeys home after hunting, all done at a canter, terribly shook the horse's legs and the temper of the head of the family. "Why the deuce can't you let your horse trot?" I once heard the worthy sire of a blooming girl of sixteen say to his daughter, who was pounding away on the hard road on theretour de chasse. "For God's sake let him trot, Carry. You'll hammer his legs all to pieces. Why don't you let him trot?" "Because, pa, he won't let me trot," was the unanswerable reply. True enough; Carry knew nothing about it, and there was nobody to tell her. She was riding on a saddle that fitted neither her nor her horse. She had no third crutch, and she had a slipper stirrup (that worst of abominations in ladies' saddlery). Looking back at those days, the only wonder to me is, how ladies managed to ride at all. That they did ride is certainly proof (if any were wanting) of their courage and perseverance under difficulties.
The necessity for trotting having become apparent as ladies took more to riding, it at length called the attention of one or two thoroughly practical men to the subject. The first of these, I believe, was the celebrated steeple race jockey, Dan Seffert, who had been a riding master in his early days, and who was equally at home in themanégeor between the flags over a country.
The running made by Mr. Seffert was soon taken up by other first-class horsemen, among whom were Mr. Oldacre, and Mr. Allen, of Seymour-place. The third crutch was added to the side saddle, and numerous improvements effected in it, which rendered trotting not only practicable, but pleasant and easy to a lady, provided she was taught the right way. I believe we owe the third crutch and padded stirrup to Mr. Oldacre, a first-class judge of female equitation; but I am not quite certain upon this point. The saddle having been rendered practicable for the purpose, the next thing requisite was a comprehensible and simple set of rules, by which the lady could be taught to trot, without distressing either her horse or herself. To whom these rules owe their origin is immaterial; as to their efficiency, such as they are, I have found them highly so, and therefore beg leave to submit them to your readers.
After the usual walking lesson (abridged, however, to allow more time for what is to follow), the pupil should ride her horse to the centre of the school, and halt him there, so that the instructor has perfect facility of getting at the horse on any side, and seeing the exact form in which his pupil moves. The lady should then be instructed to take a firm hold with the right knee on the upper pommel of the saddle, grasping it well between the thigh and the lower part of the leg, and carrying the latter well back, with the heel sunk as close as possible to the left leg. By sinking the heel well, she will give great firmness to her hold with the right leg upon the upper pommels. To accomplish this, however, she should get well forward in her saddle, and care should be taken that her stirrup is not too short, otherwise she will be thrown too far back to enable her to take the necessary grip with the upper leg. The left leg should then be well drawn back, the front of the thigh pressed firmly against the third crutch, the left heel well sunk, and the toe raised from the instep, because a firmness is thus given to the leg and thigh which would otherwise be wanting. The body, from the waist upwards, should be inclined slightly forward, and the angle at which the left foot is drawn back from the perpendicular line from the knee to the foot should be regulated by the inclination of the body forward, so as exactly to balance it.
Having placed his pupil in this position, and seen that her hands are well drawn back and arms firm, the instructor should thentake her foot out of the stirrup, and give the following concise instructions: "On the word 'one,' raise the body slowly from the saddle as high as possible." Now, to do this without the aid of the stirrup can only be accomplished by keeping the heel well down and the leg back (in the first place, in order to balance the body), and then raising the figure by the action of the right knee and its grasp upon the upper pommel. At first the pupil will find this difficult, even when the horse is perfectly motionless, and when the riding master assists her by putting his left hand under her left elbow; but after a few efforts she will succeed. This is the first step in learning the rise with precision. Having accomplished it, the pupil should not lower herself again to the saddle until the instructor gives her the word "two," when she should lower herself as slowly as she rose.
If she has been well tutored in the extension and suppling practices alluded to in my second chapter, she will understand what "one, two" time means in this way as well as in dancing, and her knowledge of balance on foot will assist her on horseback. These rising and falling motions should be continued until the pupil executes them with precision, fair intervals of rest being allowed. The master should then place the lady's foot again in the stirrup.
The absence of this support in the previous lesson will have prevented the pupil from leaning to the near side, and throwing her weight out of the perpendicular—a most pernicious habit, which ladies who try to learn their trotting in one lesson are very apt to fall into, and it is a fault very difficult to correct. In fact, the main object in beginning without a stirrup is to avoid this error.
With the support of the stirrup the pupil will find the act of rising and maintaining an upright or slightly bent forward position (the figure raised well up from the saddle) a comparatively easy matter, and the lesson should be continued thus for a quarter of an hour longer. However trying to the patience this riding without gaining ground—"marking time" in the saddle—may be, the lady maybe assured, that it is by rigid attention to such minutiæ only that she can become a first-class horsewoman, and that she is in reality losing no time.
When we hear the singing of Mme. Titiens, or recollect the unrivalled dancing of Taglioni, we are apt to forget that with all the natural talent of these great artistes, it was close attention to rudimentary elements that laid the foundations of their excellence. It is so in riding, to excel in which is far more difficult than in dancing. It is those only who are content with mediocrity who ignore detail. We come now to the second section of this lesson, in which the pupil will begin to find the first fruit of her previous exertion. The master having led her horse to the side of the school, should give her instruction to walk him freely out, riding him, however, well up against the snaffle, if necessary for this purpose using her whip sharply. The horse will then take fairly hold of her hand, and give her a goodappui. The rising and falling should then be continued at a walk, and assisted by the impetus given by the horse's forward motion, and the stirrup, the pupil will find her work still easier than when the horse was at a standstill.
The instructor should now count his "one," "two," in different times, allowing a longer or shorter interval between each word, according to whether he means to convey to the pupil the notion of quick sharp action in the horse, or long dwelling action. Thus, when the horse trots, he will be able to count his time in exact accordance with the animal's movements. Be the time quick or slow that he counts, he should exact rigid conformity of action in the pupil; because this harmony of motion to the counting is as important to success in the riding master as it is to the music master. Time and cadence in action are vital points in equitation.
As soon as the instructor is satisfied that his pupil can easily accommodate her action to his word, he should prepare to test both in the trot. But if he takes a week to get the pupil to do the two previous lessons (one of them even) properly, they should be continued until she does it; nobody can spell until he knows the alphabet.
To carry on the lesson in the trot, the instructor should mount a cob or pony of such height as will admit of his easily placing his left hand under the right elbow of the pupil. He should ride with his reins in his right hand, and be sure that the horse he gets on is a perfectly steady one.
He should now put plenty of vivacity into his own manner; he will then easily impart it to his pupil and her horse. The latter should be smartly "woke up" if at all behind his work—pressed up to the bridle with whip and leg, and "made ready" to increase his pace at any moment. The master should then caution his pupil that on the words "Prepare to trot," she should strengthen her grasp on the upper pommel, her pressure against the third crutch, and well stretch down the left heel, while she carries back the left leg, and inclines the body slightly forward from the waist, arms very firm, fingers shut tight on the reins; and while the body inclines forward there should be no outward or lateral curvature of the spine, nor should the head be dropped. The shoulders pressed well back, and the hands close to the waist, will give firmness and suppleness to the whole figure. Directly the master is satisfied with the pupil's position, he should place his left hand under her right elbow, urge his own horse smartly on, and give the word "Trot," on which the pupil should, without altering her position or yielding her hand, touch her horse smartly on the shoulder with the whip; he will then trot forward. At the first step he takes the master should help the pupil up with his left hand, and commence counting his "one," "two" in exact accordance with the horse's action. In nine cases out of ten the lady will succeed, with a fair stepping horse, in catching at the first attempt the rise at the right moment, and the increased impetus given by the horse will assist her, while her preparatory lessons in rising and falling will now prove their value.
Should any failure, however, attend the first effort, both horses should again be brought to the walk; the lady should be allowed to re-arrange her habit, and recover from the inevitable flurry which attends any failure of this sort. Patience, concise explanation, and cheerful manner on the part of the master will presently find their reward. All ladies do not possess great nerve, but most of them have great courage and perseverance, and after a false start or two they get on their mettle, and are sure to catch the true action. When once they have it, the master should make the pace sharp and active three or four times round the school, which is long enough for a first attempt. A couple more turns of equal duration should terminate the first trotting lesson. The lady should walk her horse round the school until both are cool, make much of him by patting him on the neck, and then be taken off. Day by day the instructor can slightly increase the length of the lesson, always beginning it, however, as above described, until the rise and fall of the pupil at a trot is perfectly true and fair. There should be no twist from the waist, the shoulders perfectly square, every movement in exact harmony with the horse's action. After the lady can rise and fall in the saddle unaided by the master, he is better on foot, because he can stand behind his pupil, and at once correct any fault in her position or riding; and no fault, be it remembered, however trivial, should be allowed to pass uncorrected.
For some time the lady should continue trotting out round the school, riding altogether upon the snaffle and sending her horse well up against it. There should be no "give-and-take" action in the hand in this case; but while she does not pull the weight of a feather against her horse, she should make him maintain theappuiby taking well hold of her hand; his trot will then be regular and fair.
After about ten days or a fortnight of such practice, the master may commence the third section of his trotting lesson, namely, that in which the pupil begins to collect her horse, raise his forehand, and bring his haunches under him.
The first step in this should be to ascertain that the lady is not dependent upon the horse's mouth for any part of her firmness in the saddle, or, more correctly speaking, to see that her balance is right unaided by the bridle, because, although perhaps imperceptible to the rider (man or woman), theappuiof the mouth has more to do with the seat than most people imagine. In good schools of equitation men tell you "There are no hands without legs." True, and if we were to ask many a good man that we see crossing a country to ride over a big fence without a bridle we should perceive that there are few seats without hands. It is to correct the tendency to trust for support to the horse's mouth that the efforts of the instructor should now be directed.
To carry this out, he should be mounted upon a horse of about equal height to that of his pupil, on the off side, and close to whom he should place himself. He should direct her to drop her reins entirely, and then take them in his left hand, riding his own horse with his right. He should then instruct the lady to place her hands behind her waist, the right hand grasping the left elbow, as described in the suppling practices. Cautioning her again as to firmness of grasp and good balance, he should then urge both horses into a smart trot, and keep them going round the school two or three times, carefully watching the action of the pupil, and if he perceives the least indication of distress pull up immediately. The exertion necessary to execute this lesson is severe if the pupil has not been well suppled before being put on horseback. If she has, there will be considerably less effort in it; but, in any case, on first practising it, the fair tyro requires every encouragement to persevere, because in doing one thing well, she is very apt to forget another. Constantly reminded as to her position as the trot goes on, she will succeed in doing all well. After two or three such turns (the arms of course disengaged during the interval), the lady should take up her reins again; this time the curb and snaffle reins of equal length, and in the form (No. 1) described in a previous chapter. She should then trot her horse freely out round the school, and she will find the full benefit of her recent drilling without reins, inasmuch as her seat will be many degrees firmer, and her balance more true, leaving her more liberty of action in hand and leg to apply the necessary aids to her horse in the coming lesson, in which at a well-regulated and collected pace, she will learn to turn him in any direction at her will, to rein him back, to make the inclines and circles, and prepare him for the cantering lesson by finally riding him in his trot entirely on the curb rein, and throwing him well upon his haunches.
I come now to the final section of the trotting lesson—that which, thoroughly acquired, I may term the thorough base of the matter. Having satisfied himself that his pupil has command of her horse, steady seat and hands, and true balance when riding equally on the snaffle and curb, the master should proceed to instruct her as to the mode of arranging the reins so as to ride on the curb alone.
As this has been already described, it is needless to repeat the formula. I may observe, however, that, in order to give increased facility of action to the bridle hand, and avoid anything like sudden jerk or rough pull upon the horse's mouth, it is best for the lady to retain the end of the curb reins between the fore finger and thumb of her right hand, by doing which she is enabled, keeping her left hand perfectly steady, and opening and closing the fingers, to give easy play to the reins. Without this she would find riding on the curb alone difficult at first with the left hand only, because all the motion must come from the wrist, and considerable practice is necessary to accommodate this motion exactly to the action of the horse. Care should be taken that the elbows are kept well back, so as to preserve the suppleness of the waist, and by this time also the pupil ought to have acquired sufficient steadiness in the saddle to admit of her giving easy play to the upper part of the arm at the shoulder joint. But until complete firmness of seat is gained this should not be attempted, because in the case of a novice it disconnects the figure, and interferes with the horse's mouth materially. The most rigid attention also should be given to the pupil's general position, and the firmness and correct placing of both legs—the heels well down, the upper part of the body well drawn up from the waist, "the whole figure pliant and accompanying every movement of the horse" (see "Military Aid Book").
The lady should commence the lesson by walking her horse two or three times round the school; and it is here, by close attention, that she will learn that light hands are neither "heaven-born" nor impossible to acquire. On pressing the horse forward with her leg or whip, so as to make him walk up against the curb, it is possible her hand may be a little heavy, and that the horse may resist it. In this case, if not cautions and carefully watched, she will let her hands go forward. It is for the instructor to take special care of this, and point out to his pupil how she can ease the reins through her left hand by the aid of the right, so as to catch the trueappui, without yielding altogether to the horse. In other words, she should allow sufficient rein to go through her hand to enable the horse to walk freely forward; and then, closing her fingers again firmly, make him go up to every hair's breadth of rein she has given him, and fairly against the curb. There should not be a particle of slack rein. In fact, it may be received as a sound principle in riding that there should never be slack reins, no matter what the pace. If you give your horse the full length of the reins even, make him go up to them.
When once the lady has gained the above-namedappui(the right hand assisting the left), she should be instructed to halt her horse lightly on his haunches preparatory to reining back. And again she should do this by drawing the reins through the fingers of her left hand with the right, keeping the former perfectly steady, and drawing her own figure well up, in order to avoid any tendency to lean forward. On the word "Rein back," which should be given in a very quiet tone of voice, and in the exact cadence in which the master desires his pupil to move her horse to the rear, the lady should feel both reins lightly but firmly for a moment, closing at the same instant her leg so as to keep her horse's haunches under him, in the manner before described when using the snaffle only, but in the present case with greater care and precision.Lightlyandfirmlyfeeling the curb reins while pressed by the leg, the horse will take a step back. The reins should be yielded the instant he does so. Two or three steps back are sufficient, when the word "Forward" should be given, preceded by the caution to close the fingers firmly on the reins, and, with whip and leg, keep the horse well up to his work. Feeling this amount of constraint laid upon him, the horse will be inclined at any moment to canter. But here the tact of the master should be exhibited in instructing his pupil to release the horse from his fore-shortened position, by allowing about six inches of rein (or more, if necessary), to pass through her left hand as she presses the horse forward into a free trot (about eight miles an hour). All her firmness of seat will be necessary now, because any irregular action on her part will cause her hand to become heavy, and make the horse canter. The great thing is, not to continue trotting on the curb-rein alone too long. Short lessons often repeated, and intervals in which to correct everything are best for pupil and instructor.
When the lady can accomplish trotting out for twenty minutes without allowing her horse to break, she should then be instructed to collect him to a slower pace, bringing him more upon his haunches, and with his forehand more up. This requires the nicest tact and discrimination on the part of the rider, perfect steadiness in the saddle, and firm pressure of the left leg; while the reins should be drawn through the left hand with as much care as though the lady feared to break them. The shortened pace should be smart and active, and the horse so collected as to be ready to turn to the right, or left, or about, or make the inclines at any moment. All these exercises should then be practised in the same order as when the pupil rode, assisted by or on the snaffle only.
After the lady has performed these to the satisfaction of the master, she should bring her horse to the walk and be instructed to carry the end of the curb reins, which she has held hitherto in her right hand, through the full of the left hand, and place both reins (the off-side one uppermost) over the middle joint of the fore finger, and close the thumb firmly on them. The end of the reins should be dropped to the off-side of the horse, and hang down outside the off-side crutch; the whip (with the pointdownwards) kept quiet. Raising the point of the whip, when a lady is trotting a horse on the curb alone, and unassisted by her right hand, is very apt to make him break, because the point of the whip is always in motion, and causes the horse to turn his eye back at it.
The instructor should now carefully place the lady's bridle hand, with the wrist rounded outwards and the thumb pointing square across the body, the back of the hand towards the horse's head, and the little finger turned upwards and inwards towards the waist, the arm perfectly firm, and the wrist quite supple—as in this case it is from the wrist only that every indication to turn, to halt, or rein back is given, aided by the whip on the off side and the leg on the near side. The pupil can then be taught to turn her horse to either hand, or about, at a walk, without any motion of the bridle hand perceptible to a looker-on, although perceptible enough to the horse. In turning to the right, the little finger should be turned down towards the left shoulder, and the back of the hand turned up. This movement will shorten the right rein, and cause it to act on the right jaw of the bit. The whip should be closed firmly (not with a blow) just behind the flap of the saddle on the off side. The left leg supporting this will cause the horse to turn square to his right. Exactly the reverse movement will turn him to the left. Right or left about, aids continued, until the horse has reversed his front.
The trotting lesson may then be gone through again, the pupil riding entirely with the left hand. But in beginning these lessons care should be taken to let them be very short, because, in spite of all previous supplying, considerable constraint is thrown upon the wrist at first. Any yielding to the horse is accomplished by turning the little finger towards his neck, while to collect him simply the little finger is turned up again towards the waist. But the fingers and thumb of the bridle hand must be kept firmly shut upon the reins, otherwise the hand becomes heavy and uneven in its action.
By lessons, gradually increased in length, the pupil should be accustomed thus to ride her horse throughout the trotting lesson, and trot him out, riding with one hand. It is not usual for ladies to continue for any length of time riding in this form; but it is highly necessary that they should be thoroughly well practised at it, otherwise an important part of their course of equitation will be neglected. The same may be said of the bending lesson, previous to cantering. It is rarely put in practice by any but professional female equestrians. But a lady ought to be thoroughly acquainted with its formula, because it teaches the principle upon which a horse acquires hissouplesse, which is just as necessary to his freedom of action and pleasant riding as the early suppling lessons of the pupil herself were conducive to her own progress.
According to the ordinary acceptation of the term, a horse is supposed "to bend well" when he arches his neck, yields to the bit, and uses his knees and hocks freely. This alone by no means conveys an adequate idea, however, of what is meant by bending a horse in the scientific sense. The "Military Aid Book" supplies the following question and answer, which gives in a very concise form a better notion of the matter.
Question: What is the use of the "bending lesson"?—Answer: To make the horse supple in theneckandribs, to give free action to his shoulder, and teach him to obey the pressure of the leg.
It will be seen, then, that "bending a horse" really means rendering him supple in every portion of his frame, and especially in his ribs and intercostal muscles, as it is suppleness in that part that gives him the lithe, easy motions so pleasant to the rider.
I have before observed that I do not consider an intimate knowledge of the "haut école de manége" indispensable for ordinary riding purposes, either for a lady or gentleman. But, although the "bending lesson" thoroughly carried out may be said to be the very gist of "haut écoleriding," even in itssimple form, unaccompanied by the higher aids, it is of great service in rendering a horse docile and obedient to hand and leg, and for that purpose is always resorted to in our schools of military equitation.
Now, although I do not expect every lady to acquire the art of suppling her own horses, still a knowledge of the "bending lesson" will make her thoroughly acquainted with the reasons why a horse renders ready obedience to her aids of hand and leg; and, on the contrary, why he resists them.
Stiffness (as it is technically termed) has more to do with what is commonly called restiveness than most people imagine. A horse is asked to do something that calls upon him to bend or supple a joint in which, even in early youth, he is still far from supple. He cannot do it. The rider perseveres, and the horse resists. Whereas, when he is thoroughly suppled, he does not know how to disobey his rider (supposing the latter to know what he is about). If a lady, therefore, will pay close attention to the instruction of her master, she will discover that her horse will obey her more readily, and move with more ease to himself and her, when she applies her aids "smoothly" (without which the bending lesson cannot be done), than by the application of sudden or violent indications of her will. For it must be borne in mind that a double bridle is an instrument of great power in a horse's mouth, and that what may seem light handling to the uninitiated rider may be rough to the horse. A fair amount of practice, therefore, in the above-named exercise will have the effect of rendering a lady's hands remarkably true and steady; and, although the lesson may be a little trying to the patience, the pupil will find her reward in increased confidence and proficiency.
For all practical purposes the "bending lesson" proper may be divided into two sections, namely, the "passage" and the "shoulder in," all other movements of the lesson being simply variations from the above named. The "half passage" may be looked upon as an introduction to the "full passage," but admits of being practised with facility at an increased pace at the trot or canter, and at the latter is a very elegant exercise. To begin with the "shoulder in." Let us suppose a horse standing parallel to the boards at the side of the school. To place him in the desired position it is necessary to bring his forehand in, so that his fore and hind legs are placed upon two lines, parallel to each other and to the boards, and then to bend his head inwards at the poll of the neck. No more correct idea, I believe, can be conveyed of the position than that given in the "Aid Book," which furnishes the following answer to the question, How should a horse be placed in "shoulder in"? "Ans.: When a horse is properly bent in 'shoulder in,' the whole body from head to croup is curved; the shoulders leading, fore and hind feet moving on two lines parallel to each other, hind feet one yard from the boards."
Again. "Q. What are the aids for working this lesson?—A. On the word 'right or left shoulder in,' the horse's forehand is brought in by a double feeling of the inward rein, the outward leg closed, so as to bring the horse's hind feet one yard from the boards."
The outward rein leads, the inward preserves the bend; a pressure of the inward leg (of the rider) compels the horse to cross his legs; the outward leg keeps him up to the hand and prevents him from swerving. The horse should be well bent in the pole of the neck, and well kept up to the hand with the outward leg, the shoulders always leading.
It will be seen from the above that the rider compels, or rathercoaxes, the horse, by very firm and steady aids, to move with his forehand well up, and his whole figure bent (neck and ribs), with his feet moving on two distinct parallel lines—the effect being to call upon every important joint, and thoroughly to supple the ligaments and tendons, as well as to create muscular development, in a way similar to that of gymnastic or extension exercises in the human being. With young horses in training it is necessary to watch this lesson very carefully, and never to "ask too much" at one time, because any forcing of it would certainly result in restiveness; the strain, even with naturally supple horses, is considerable, and must not be persevered with one moment after it is evidently painful. Of course, in the case of a lady practising the lesson, it must be done upon a horse that has gone through a long course of teaching, and to whom, therefore, the movements cause no inconvenience. But even here the pupil will find that she must use her hand and leg with firmness, steadiness, and decision, without hurry or impatience, or the horse will not answer to her.
The movement must be executed very slowly, and at first only by a few steps at a time, because, howeverau faitat his work the horse may be, the pupil will find considerable difficulty in continuing to apply the aids.
In working the "shoulder in" to the right, it is necessary for the master, after putting the horse and rider in true position, to place himself on the horse's off side, when he should give the word, "Right shoulder in—march!" The lady then, firmly closing her left leg to keep the horse up to the hand, should keep her right hand well back and low down close to the saddle, lead the horse off with the left rein, and close her whip to his ribs on the off side, just behind the flap of the saddle.
If the horse has been accustomed to work the lesson, with a lady he will obey these aids. But in some cases it is necessary for the master (to supply the absence of the right leg of a man to the horse), to push firmly with his left hand against the horse's ribs to move him off. The rider, while leading the horse off with the left rein, should keep up a continual, light easy play of the right rein, so as to preserve the bend inwards. The instructor should count "one, two," in very slow time, as the horse moves first his fore and then his hind leg. After a few steps onward the horse should be halted, by the rider feeling both reins, and closing the whip firmly on the off side. He should then be made much of and moved on again. A quarter of an hour is ample for the first lesson.
After the pupil understands and can apply the aids for the "shoulder in" (riding on the snaffle), she maybe taught to do it on snaffle and curb together, and then on the curb alone, when she will find the nicest balance in her seat and the most careful and delicate manipulations of the reins necessary—joined, however, to distinct and perceptible feeling upon the horse's mouth. And on moving her horse forward she will find that her hand is true and steady.
The "shoulder in" having been neatly done, the lady should rein her horse lightly back and ride him forward,making the cornerof the school quite square, and then halt at the centre marker. On the word "right half passage," she should turn the horse's head square down the centre of the school, and exactly reverse the aids by which she worked the "shoulder in"; that is, she should lead the horse off with the right or inward rein, well balancing and assisting its power by the outward one; with her leg she should press the horse until he places one foot before the other, gaining ground to his front, and obliquely to his right at the same time, until he arrives at the boards, when he will completely have changed the hand he was working to, and at a canter would, if necessary, be called upon to strike off with the left leg instead of the right.
After executing the "half passage" correctly, the pupil may practice the "full passage," the difference between which and the "shoulder in" is again concisely explained in the "Aid Book."
"Q. What is the difference between the 'passage' and 'shoulder in'?—A. In the passage the horse bends and looks the way he is going. The outward are crossing over the inward legs, and the inward rein leads. In the 'shoulder in' the horse does not look the way he is going. The inward are crossing over the outward legs, and the outward rein leads."
"Q. What is the difference between the full and half passage?—A. In the 'full passage' the horse crosses his legs. In the 'half passage' he only half crosses them, placing one foot before the other."
The pupil will find the passage much more easy to execute than the "shoulder in," though, I repeat, no horse would do the former up to the hand as he ought to do unless he has been well drilled in the latter.
The greatest care on the part of both master and pupil is indispensable to carry out this lesson. The slightest inadvertence or false movement is at once answered on the part of the horse by his taking advantage of it and putting himself in a wrong position, whereas if he is carefully ridden, and kept well up to the hand, the subsequent cantering lesson will be much more easy to perform.
It must be clearly understood, however, that for a lady to attempt to execute the "bending lesson" by written directions alone, and unaided by the vigilant superintendence and oral instruction of a first-rate master would be a mistake. Clear and concise as the language of the "Aid Book" is, it is impossible for any man writing such directions to indicate the precise moment at which each movement of hand and leg is to be made, any more than the man who writes the score in music can regulate the hand of the instrumental executant of it. There must be energy, patience, and close attention on the part of the pupil; vigilance, patience, temper, and thorough knowledge of his craft on the part of the instructor. Master and pupil thus in accord, the latter will derive great advantage and insight into the elegant accomplishment she is endeavouring to acquire, while anything like carelessness on either side will be fatal to the utility of the lesson. It should be thoroughly well done or not at all.
After the careful execution of the above lesson, the pupil should prepare her horse for cantering by reigning him back lightly on his haunches; touching him if necessary smartly with her whip, in order to put him well up to his work. A step or two back (well up to the bridle) is sufficient, when she should move forward, and the instructor should give her the aids for cantering; which (once more to quote the simple language of the "Aid Book") are as follows: "A light firm feeling ofbothreins to raise the horse's forehand, a pressure of both legs to keep his haunches under him, a double feeling of the inward rein, and a stronger pressure of the outward leg, will compel the horse to strike off true and united."
The above of course is intended as instruction to a man; but substituting a light tap of the whip on the off shoulder for the pressure of the inward leg of the man, and very light for strong aids, the instruction holds good in the case of the lady.
Now, I have observed before that a horse to be thoroughly broken to carry a woman should be taught to answer to very light aids, and require, in fact, very little leg in order to understand and answer to the indications of his rider's will. If this has been properly carried out the lady will have no difficulty in striking her horse off to the right,true and united, which means in cantering to the right (as nearly every hack and lady's horse does) with the off fore, followed by the off hind leg.
A charger or "highmanége" horse—which must use either leg with equal facility, and go to the left as well as the right—in cantering to the former hand will go with the near fore, followed by the near hind, and be still "true and united" in his pace. When he goes with the near fore, followed by the off hind, orvice versâ, he is "disunited."
A point of vital importance to be looked to by the master is that his pupil at her first attempt at cantering her horse is perfectly cool and self-possessed, and that she applies her aidssmoothly, without hurry or excitement, for so great is the sympathy of the horse in this respect, that flurry on the part of the rider is sure to cause passionate, excited action in the horse. The manner of the master has much to do with this; while it should be such as to keep his pupil and her horsevifand on their metal, he should be careful not to crowd the former with too much instruction at once. Her position should be corrected before she is allowed to strike her horse off. Care should be taken that her arms are firm, and hands well back. The waist should be bent slightly forward, which will give it more suppleness. She should have a firm grip of the upper crutches, both heels well down, and at her first effort she should ride equally upon the snaffle and curb reins. To do this (assuming that she is riding with her bridle in military form), it is only necessary that she should draw up the slack of the near-side snaffle rein with her right hand until it is level with and under the near-side curb rein; then carry the snaffle rein thus shortened over the middle joint of the forefinger of the left hand, and shut the thumb firmly on them. She can then place the slack of the off-side snaffle rein for a moment under the left thumb, while she places the rein between the third and little finger of the right hand, brings the rein through the full of the hand over the middle joint of the forefinger, and closes the thumb firmly on it. The whip should be held in the full of the hand, the point downwards.
With her hands and figure in the above-named form, the lightest application of the aids ought to strike her horse off "true and united;" but if by any chance he takes off with the wrong leg or "disunited," as may sometimes happen with the best broken horse, from a little over-eagerness or anxiety on the part of the pupil, or a little unsteadiness of hand, the master should cause her to bring her horse again to the walk, and reassure her—taking care, however, on these occasions that she never "makes much of" or caresses her horse, which would tend to confirm him in a bad habit, but reins him back, and again puts him up to his bridle.
It is a rare occurrence when a horse (thoroughly well-broken) strikes off incorrectly; but I am endeavouring to write for every contingency.
Assuming the horse to have struck off smoothly to the instructor's wordCa-a-n-te-r—which should be given in a quiet, soothing tone of voice, and drawn out as if every letter were a syllable—the horse should be allowed to canter freely forward, although without rush or hurry. The pace should not be too collected at first; the military pace of manœuvre is about the correct thing; eight miles an hour or thereabouts; the cadence true; the horse well ridden into his bridle, and in this caseyielding to the bit—because, in cantering, it is necessary to have anappuiupon the mouth, quite different from that to be maintained in trotting, in which it is best for the lady that the horse should feel her hand fairly and firmly, and that there should be little "give-and-take" action of the latter. In cantering, on the other hand, an easy give-and-take play of the hands is indispensable, to cause the horse to bend in the poll of his neck, yield to the hand, and go in true form. By this time the pupil should have acquired sufficient firmness andaplombin the saddle to justify the instructor in commencing to impart to her that mobile action and flexibility of the upper arm at the shoulder joint, which may be regarded as the artistic finishing of her course of equitation. But it will not do to commence this (so goes my experience) at the outset of the cantering lesson, wherein at first it is best to insist upon firmness of the arms, otherwise the pupil is most likely (imperceptibly to herself) to allow her hands to glide forward, and thus destroy the flexibility of her waist, which is a point always to be most carefully watched. It is possible that at first the figure of the pupil, from over-anxiety to maintain her position and ride her horse correctly at the same time, may be somewhat rigid; but complete flexibility cannot be expected at once. It must be remembered that, although the action of cantering in a horse is much easier than trotting, still it is novel to the rider, who moreover has to keep her horse up to his work.
It is not the case of putting a young lady upon an old tittuping hack that can do little else than canter along behind the bridle and "drag his toe" at a walk. A horse that has any action or quality in him, and has been taught to trot up to his bridle, requires "asking" to canter, and in the early efforts of the pupil requires keeping to his work a little after he has struck off in his canter, otherwise he will drop into a trot again. Such a horse, however, is the only one upon which to teach a lady to ride. The easy-going old hack above alluded to is fit only for an invalid to take the air on. At the same time it is asking a good deal from the pupil in her early cantering lessons to keep her horse up to his work, and to maintain her own position correctly; and if she exhibits a little stiffness or formality (if I may use the expression) at first, it may fairly be passed over until increased confidence permits the master to give his attention to what I may perhaps call the "unbending" of his pupil. After a few days' cantering as above described, the lady may begin to collect her horse; and by this time also she should be fitted with a spur, of which the best I know is Latchford's patent. An opening in the skirt on the inside is necessary. The shank of the spur should not be too short, otherwise it is very apt to cut holes in the habit. The pupil, when the spur is first fitted on, should be cautioned to keep her left toe as near the horse's side as the heel, in order to avoid hitting him when he does not require it; and, indeed, the wearing of the steel aid is in itself a good exercise as to the true position of the left leg, while the blunt head of a Latchford (when not pressed hard to the horse's side) does away with any danger.
The use of the spur in a lady's riding is objected to by some; but I cannot consider any rider (man or woman) worthy of the name who cannot use one and be safe enough in the saddle at the same time. One objection to spurs for ladies is, that they are apt to do all sorts of mischief in the event of the lady being thrown from her horse. Now, the latter is a contingency which (except in the hunting field) I do not admit as possible, if the lady has men about her who know their business in the horse way. If she has not such people about her, she is better without spurs decidedly; and there is another thing she is better without, namely, a horse of any sort.
If a horse is properly broken, and has a man about him who will give him plenty of work, and keep him from getting above himself, and his fair owner has been as well taught as her horse, she ought to be as safe on his back as in her brougham, in any kind of riding, except in exceptional cases in the hunting field. By exceptional cases I mean where a lady, unaccompanied by a good pilot, takes a line of her own when hounds are going fast in a big grass country, and rides (jealous of the field) at impracticable places. In such case she is likely enough to get down, horse and all. But even so—and I have witnessed more than one such accident—I have never found that the lady got hurt by the spur when she wore the sort I allude to; and again, I think it is only just to that clever loriner, Mr. Latchford, to say that he has invented a lady's stirrup which renders danger from it in the event of a fall next to impossible—certainly she cannot be dragged by it. In this stirrup there is no opening at the side by means of springs or complicated machinery of any sort. It requires neither diagram or drawing to describe it, because it is the perfection of mechanism—extreme simplicity. One has only to imagine an ordinary stirrup, rather elongated than usual from the opening for the leather, the bottom bar broad and flat; the latter perforated with two holes. Within the above-named stirrup another, a size smaller, but fitting nicely into it. On the lower side of the bottom bar of the inner stirrup two projections, or obtuse points of steel, which fit into the holes of the lower bar of the outer stirrup. Now, as long as the lady is in her saddle the inner stirrup must, from its mechanism, remain in its place; but in the event of her being thrown her weight acts upon the lower part of the outer stirrup, which turns over and releases the inner stirrup entirely.
To return, however, to the question proper of spurs for a lady, I must say that they are of the greatest assistance to her when, having acquired the necessary degree of steadiness on her horse, she desires to "wake him up." Too much whip is a bad thing. In riding in the country a lady must perforce have to open a bridle gate sometimes for herself, and if she is always using a whip to liven her horse up, she will find it difficult to get him to stand still, even while she opens the lightest of gates. As regards the pupil in the school, I repeat she should be habituated to wear a spur as soon as her progress justifies it.