THE BARB AND THE BRIDLE;

A HANDBOOK OF EQUITATION FOR LADIES, AND MANUAL OF INSTRUCTION IN THE SCIENCE OF RIDING, FROM THE PREPARATORY SUPPLING EXERCISES ON FOOT, TO THE FORM IN WHICH A LADY SHOULD RIDE TO HOUNDS.

Reprinted from "The Queen" Newspaper.

By "VIEILLE MOUSTACHE."

LONDON:
THE "QUEEN" OFFICE, 346, STRAND.

1874.

LONDON:
PRINTED BY HORACE COX, 346, STRAND, W.C.

THE LADY'S HORSE.

INTRODUCTION.

Having received numerous applications from ladies desirous of information, as to the true principles and practice of equitation, I venture to put before the public, in book form, a series of articles which appeared originally in the columns of the Queen newspaper on ladies' riding.

Commencing with the calisthenic practices so necessary to a young lady before beginning her mounted lessons, these papers enter into every detail (less those of the Haut École de Manége) connected with the science of riding as it should be acquired by all who wish to become efficient horsewomen. As the rules laid down are precisely those upon which I have successfully instructed a great number of ladies, as my experience is of many years' standing, and acquired in the best schools in Europe, I trust the following pages may prove useful; for, while it is quite true that neither man nor woman can learn to ride by simply reading a book on the subject, still a carefully-compiled manual of equitation is always a ready means of refreshing the memory upon points of importance in the art, which, however clearly explained by the oral instruction of a first-class master, may yet in time escape the recollection of the pupil.

"Vieille Moustache."

THE BARB AND THE BRIDLE.

CHAPTER I.

Riding, considered as a means of recreation, as a promoter of health, or as the best mode in which to display to the greatest advantage beauty and symmetry of face and form, is perhaps unequalled among the many accomplishments necessary to a lady.

Out of doors croquet may be interesting as a game, and fascinating enough when a lady has an agreeable partner, but as an exercise physically its healthfulness is doubtful.

There is too much standing about, often on damp grass, too little real exertion to keep the circulation up properly, and too many intervals of quiescence, wherein a lady stands perfectly still (in a very graceful attitude no doubt) long enough in the chill evening air to create catarrh or influenza.

Archery, although a far more graceful exercise than croquet, is open to the same objection as regards danger of taking cold.

Skating, though both healthful and elegant, is so seldom available as scarcely to be reckoned among the exercises beneficial to ladies. Moreover, it is attended with considerable danger in many cases.

To be well is to look well. Healthy physical exertion is indispensable to the former state, and in no way can it be so well secured as by riding. Mounted on a well-broken, well-bred horse, and cantering over a breezy down, or trotting on the soft sward, on the way to covert, a lady feels a glow of health and flow of spirits unattainable by any other kind of out or in door recreation.

That the foregoing truths are fully appreciated by the ladies of the Upper Ten Thousand is abundantly proved by the goodly gathering of fair and aristocratic equestrians to be seen in Rotten Row during the London season, and at every fashionable meet of hounds in the kingdom in the winter time.

Nor is riding confined to those only whose names figure in the pages of "Burke" or "Debrett." Within the last twenty years the wives and daughters of professional men and wealthy tradesmen, who were content formerly to take an airing in a carriage, have taken to riding on horseback. And they are quite right. It is not (with management) a bit more expensive, while it is beyond comparison the most agreeable and salubrious mode of inhaling the breeze.

The daughter of the peer, or other great grandee of the country, may be almost said to be a horsewoman to the manner born. Riding comes as naturally to her as it does to her brothers. Both clamber up on their ponies, or are lifted on, almost as soon as they can walk, and consequently "grow" into their riding, and become at fifteen or sixteen years of age as much at home in the saddle as they are on a sofa. In the hunting field they see the best types of riding extant, male and female, and learn to copy their style and mode of handling their horses, while oral instruction of the highest order is always at hand to supplement daily practice. To the great ladies of England, then, all hints on the subject would be superfluous. Most of them justly take great pride in their riding, spare no pains to excel in it, and are thoroughly successful.

In fact, it is the one accomplishment in which they as far surpass the women of all other countries in the world as they outvie them in personal beauty.

A German or French woman possibly may hold her own with an Englishwoman in a ball room or a box at the opera; but put her on horseback, and take her to the covert side, she is "not in it" with her English rivals.

Although the advantages and opportunities I speak of, however, render words of advice upon female equitation unnecessary to ladies of the sangre azul, I trust they may be found useful to others who may not have had such opportunities.

In the upper middle classes nothing is more probable than the marriage of one of the daughters of the house with a man whose future lot may be cast in the colonies, where if a woman cannot ride she will be sorely at a loss. Unlike the ladies of high degree above alluded to, the daughter of a man in good position in the middle class will often not have opportunities of learning to ride until she is fifteen or sixteen, and by this time the youthful frame, supple as it may appear, has acquired (so to speak) "a set," which at first renders riding far from agreeable; because it calls into action whole sets of muscles and ligaments heretofore rarely brought into play, or rather only partially so. Hence the unpleasant stiffness that always follows the first essays of the tyro in riding of the age I speak of, and which painful feeling too often so discourages beginners that they give up the thing in disgust.

Now this unpleasant consequence of the first lessons may be easily obviated by the following means. Bearing in mind that pain or stiffness is the result of want of supplesse, the first desideratum is to acquire this most desirable elasticity. To accomplish this, three months before the pupil is put on horseback she should begin a course of training in suppling and extension motions on foot, precisely similar to those drilled into a cavalry recruit in the army. No amount of dancing will do what is required. Even the professional danseuse, with her constant exercise of the ronde de jambe, never possesses that mobile action of the waist and play of the joints of the upper part of the figure so thoroughly to be acquired by the exercises I speak of, which also have the further greater advantage of giving development and expansion to the chest. I therefore respectfully advise every careful mother, who is desirous of seeing her daughters become accomplished horsewomen, before taking them to the riding master (of whom more hereafter), in the first place to employ a good drill master.

Possibly, the young ladies may have had drill instruction at school; but experience tells me that such instruction is too often slurred over, or only practised at such long intervals that its effect is confined to causing the pupil to walk upright and carry herself well—a very desirable matter, but not all that is requisite as a preparation for riding.

Drill, to be effective for the above purposes, should be practised daily. The course of instruction should begin with very short lessons, lasting not more than twenty minutes at first; but these, given in the presence of mamma, should be most rigidly and minutely carried out, otherwise they are useless. They should gradually be increased in length, according to the strength of the pupil, until she can stand an hour's drilling without fatigue. The course should include instruction in the use of dumb-bells, very carefully given. The weight of these should in no case exceed seven pounds for a young lady of fifteen or sixteen, and may judiciously be confined to three and four pounds for those of a more tender age. The great use of dumb-bells is to give flexibility to the shoulder joints and expansion to the chest. The first lessons should not last more than five minutes, and in no case be continued an instant after the pupil exhibits the slightest symptom (easily discernable) of fatigue.

Of the course of drill instruction, the lessons called the "extension motions" are the most effectual in promoting flexibility of the whole figure; but they must be gone into by very gradual and careful induction, and their effect will then be not only beneficial, but pleasant to the pupil.

As it is possible that this may meet the eye of some lady who resides where no eligible drill master is available, I propose in my next chapter to give a programme of the exercises I speak of, which may then be practised under the superintendence of the lady herself or her governess. But in all cases where the services of a competent and thoroughly practised drill master are to be had it is always best to employ them.

Simple as the instruction may appear, the art of imparting it has to be acquired in a school where the most minute attention is paid to every detail, where nothing is allowed to be done in a careless or slovenly manner, and where (so to speak) the pupil is never asked to read before he can spell. It is this jumping in medias with beginners in riding that so often causes mischief and disgusts the pupil, who begins by thinking that it is the easiest thing in the world to ride well, but when she is put on horseback finds to her dismay that it is anything but easy until acquired by practice and thoroughly good instructions.

CHAPTER II.

I proceed now to describe the suppling and extension exercises I have before alluded to.

These are simple enough in themselves, certain not to be forgotten when once learnt, and easy to impart in the way of instruction. Their great efficacy depends, however, upon the judgment with which the instructor varies them, so as to call into action alternately opposite sets of muscles and ligaments, as it is by such a process only that complete supplesse can be attained. The first suppling practice is performed as follows: Place the pupil in a position perfectly upright, the heels close together, the toes at an angle of 45 (military regulation), the figure well drawn up from the waist, the shoulders thrown back, chest advanced, the neck and head erect, arms hanging perpendicularly from the shoulder, elbows slightly bent, the weight of the body thrown upon the front part of the foot.

Then the instruction should be given thus: On the word "one," bring both hands smartly up to the full extent of the arms, in front and above the forehead, the tips of the fingers joining (Fig. 1); on the word "two," throw the hands sharply backwards and downwards until they meet behind the back (Fig. 2). This exercise should be commenced slowly, and gradually increased in rapidity until the pupil can execute it with great quickness for several minutes consecutively. The object is to throw the shoulders well back and give expansion to the chest.

Second practice.—On the word "one," bring the hands together (from their position perpendicular from the shoulder) in front of the figure, the tips of the fingers joining (Fig. 3). On the word "two," raise the hands, still joined, slowly above and slightly in front of the head, to the full extent of the arms (Fig. 4). "Three," separate the hands, and, turning the palms upwards, lower them to the level of the shoulders, the arms fully extended (Fig. 5). Simultaneously with the lowering of the hands the heels should be raised slowly from the ground, so as to bring the weight of the body upon the toes. On the word "four," lower the hands gradually to the sides, carrying them at the same time well to the rear (Fig. 6). The heels are also to be lowered to the ground as the hands are carried backwards. This exercise should always be done slowly, as its object is the gradual flexing and suppling of the shoulder and elbow joints, and giving mobile action to those of the feet. In using dumb-bells the first practice with them may be identical with the above, the dumb-bells being grasped firmly in the centre.

Third practice.—On the word "one," close the hands firmly by the sides; "two," raise them up quietly, bending the elbows until the hands are touching the points of the shoulders (Fig. 7); "three," carry the hands, still firmly closed, forwards and upwards, to the full extent of the arms, well above and a little in front of the head (Fig. 8); "four," bring the hands with a quick, sharp motion down to the level of the shoulders, carrying the elbows well to the rear (Fig. 9). The first two motions of this exercise should be performed very slowly, the last very rapidly. It can also be practised with advantage with the dumb-bells, and is then of great service in strengthening and developing the muscles of the chest and arms.

There are a great many other suppling practices, but the above, varied occasionally by the use of the dumb-bells, will be found sufficient for all practical purposes.

Coming now to the extension exercises, I select the third as being most effective. 1st motion. Bring the hands together in front of the figure, as in the second suppling practice, the points of the fingers joining, the whole frame erect and well drawn up from the waist. 2. Raise the hands slowly above the head to the full extent of the arms, turn the palms of the hands outwards, and lock the thumbs together, the right thumb within the left (Fig. 10). 3. Keeping the body, head, and neck perfectly erect, place the head between the arms, the thumbs still firmly locked together. 4. Keeping the knees perfectly straight, lower the hands, and bend the back gradually and very slowly forward and downwards, until the points of the fingers touch the instep (Fig. 11). 5. Raise the body and head (the latter still between the arms), quietly up in the same slow time, bringing the hands again well above the head (Fig. 12). 6. Lower the hands gradually (turning the palms upwards), first to the level of the shoulders, making a momentary pause there, and then quietly to the sides, carrying the hands in their descent from the shoulder as much as possible to the rear, while the weight of the body is thrown entirely upon the front of the foot.

In this exercise all depends upon keeping the knee joints perfectly straight, and the head, in the bending-down movement, as much as possible between the arms.

The object of the practice is to give suppleness to the waist, freedom to the knee joint by well suppling the ligaments at the back of the knee, and at the same time to expand the chest. For these purposes, if carefully and judiciously carried out, it is most effective, calling alternately upon every portion of the frame wherein suppleness is indispensable to easy and graceful riding.

Great care should be taken not to hurry this lesson, and if the pupil is of a figure that renders it difficult for her to reach her instep in bending down, it should not be insisted on; but it is necessary that she should bend the back as much as possible without bending the knees, as any yielding of the knee joint destroys the whole value of the exercise.

To perform the above named practices comfortably, the pupil should wear a loose dress which throws no constraint upon any part of the figure. Slippers, too, are better than boots, as the latter confine the foot and ankle too much for complete liberty of movement.

The duration of any of these lessons should at first be carefully proportioned to the strength of the learner, and gradually increased as to time day by day, until she can stand an hour's work without fatigue; but be the lesson long or short, it should be practised every day.

It will be found that, with plenty of fresh air and walking exercise, the pupil, by the aid of these suppling and extension practices, will develope rapidly in elasticity of movement and in general health, and that a couple or three months of such preparation will help her very much as an introduction to her course of equitation.

Any good drill master who might be employed to "set up" a young lady would most likely teach her all the above, and much more; but I have ventured to detail these practices, assuming that a family may be located in a neighbourhood in which no such man is available, in which case the exercise can be imparted and superintended by the governess of the family. These ladies are always clever and intelligent enough to master in a few minutes such very simple details as those above described.

Before quitting this subject a word about gymnastics may not be out of place. Many heads of families consider them highly beneficial when practised with bars and similar apparatus. My experience induces me to differ from this notion, and I believe my view of the matter would be borne out by the highest medical authority.

For boys even, gymnastic exercises should be most carefully watched, in order that no undue strain should be thrown upon the yet unset muscle and cartilage of the frame. For young ladies I believe gymnastics to be not only unnecessary, but injurious, and that every practical result desirable can be arrived at by the use of such exercises as I have endeavoured to describe, varied occasionally by the moderate use of the dumb-bells, a few minutes of which at one time is always sufficient. Where there is a number of young people together, there is sure to be a tendency to outdo each other whenever physical exercises of any kind are introduced; and, while it is easy enough to control the pupils in the simple suppling practices I speak of, it is very difficult for any but the most experienced persons to determine how far a young lady may go without injury to herself in the exercises of the horizontal bars or trapeze ropes. If any kind of gymnastic exercises are allowed for a young lady, the best, in my opinion, are those practised with the "Ranelagh," because no hurtful strain can possibly be thrown upon the pupil; and for boys I believe the Ranelagh to be a first-rate invention, as is also the "Parlour Gymnasium," and several others on similar principles, which ignore the practice of the bars.

The full practice of the gymnasium, however, for young men whose frames have attained a certain amount of maturity, is no doubt good if not carried to excess. I speak, however, only of young ladies of tender age.

Assuming then, that our pupil has been prepared for riding as above described, let us proceed to consider the style of dress most suitable for her early attempts in the saddle. For very young ladies, say under twelve years of age, I believe in hair cut short in preference to flowing locks, because the latter are very apt to blow into the eyes and seriously interfere with riding. For the very juvenile equestrian tyro, the hat should be one that fastens under the chin with ribbon or something that is not elastic. Nothing is more important in beginning with young people on horseback than to give them confidence, and nothing so completely puts them out as anything loose about the head. For young ladies over fifteen or sixteen, hats which are fastened to the hair may be worn. But, having regard to the progress of the pupil rather than to appearance, I recommend every beginner, no matter what her age, to leave no doubt about the security of her headdress. As regards riding habits, to begin with, while they should fit sufficiently to indicate the outline of the lady's figure, all tightness should be avoided. Tight habits are very sightly to the eye; but, in common with tight corsets, steel or whalebone anywhere about the dress is fatal to that perfect liberty of movement so essential to success in a beginner.

Loose jackets of course should not be worn, because the instructor would be unable to see in what form his pupil was sitting. Nothing is better, in the first place, than a jacket, of any coarse material the rider chooses, made in the ordinary form, with plenty of room, especially about the waist and shoulders. The skirt should not be too redundant or too long, as in the latter case it is apt to get trodden on by the horse, and in windy weather blows about, to the great annoyance of the rider. A skirt that reaches about 12in. below the foot is amply long. As to breadth, it should be just large enough to give space to move easily in. A more voluminous garment is unsightly. The skirt, made independent of the jacket, should fasten under it with a broad band. No clothing should be worn under the skirt except riding trousers. Under-skirts of any kind will utterly spoil the appearance of the fair equestrian, and render her ride one of discomfort.

Riding trousers, the making of which should only be entrusted to people who are well accustomed to it, may be made of cloth or chamois leather, booted with cloth.

The boots, whether Wellingtons (if they are not out of date), side springs, or lace boots, should be made purposely for riding. Fashion is imperious, and that of the present day dictates a boot with a very high, narrow heel, and a waist which is almost triangular; both are quite unsuited for riding. The heel of a riding boot should be quite as broad as the foot of the wearer, and should come well forward into the waist, after the manner of a man's hunting boot, and the waist itself should be perfectly flat, so as to give a firm level bearing on the stirrup-iron. A sharp, narrow-waisted boot will be found not only impossible to keep in place in the iron, but will hurt the sole of the foot very much.

Of spurs (very necessary in an advanced state of proficiency, and inadmissible, of course, to a beginner) I shall say something hereafter.

Of gloves, the best kind for riding is a dogskin glove or gauntlet two sizes too large. Six and a-half kid gloves do not admit of sufficient freedom in the hand properly to manipulate the reins.

The pupil should be provided with a straight riding whip which is not too flexible, because with a very supple whip she may inadvertently touch the horse at the wrong time and upset him.

Having said thus much as to the equipment of our fair tyro, I leave all observations as to dress fit for the hunting-field, or such promenade riding as that of Rotten Row, for a future paper, and proceed to say something about that very important consideration, the matter of the riding master.

In the first place, then, it is necessary that the professor of equitation should be one who has been regularly brought up to his business. If such a man is not within reach, then I submit that it is better to entrust the riding education of the young lady to any staid middle-aged gentleman who is a thoroughly good horseman, and who will undertake the task con amore. If the gentleman has daughters of his own, all the better. I do not recommend young men for the office, because, naturally enough, they are more likely to be engrossed with the charms of their pupils than the progress they are making with their riding. Youthful preceptors, too, have a tendency to "make the pace a trifle too good," and there are not even wanting instances where they have "bolted" with their pupils altogether. This by the way.

To return to the professional riding master. I may add that, in addition to thoroughly understanding his craft, he should be a man of education and a gentleman. Of such men there are several in the metropolis; in the provinces they are few and far between. In most of our fashionable watering-places one sees very neatly got-up horsey-looking men, duly booted, spurred, and moustached, tittuping along with a small troop of young ladies, who, with their skirts ballooned out with the fresh breeze from the "briny," and "sitting all over the saddle," are making themselves very uncomfortable, when they could have enjoyed the bracing air just as well, for less money, in an open fly. The riding master, in all probability, has promoted himself from the office of pad groom. He knows how to saddle and turn out a lady's horse, and how to put the lady into the saddle; he knows, also, the cheapest market in which to go for fashionable-looking screws upon which to mount his customers. There his qualifications as a riding master end. The inductive steps by which a lady should be taught, the reason for everything she is asked to do, the "aids" by which she should control her horse and establish a good understanding with him, are all sealed mysteries to the stamp of man I speak of. From such men and their ten-pound screws there is nothing to be learnt in the way of riding.

Assuming, then, that some of my fair readers may be so placed as to render access to a professional riding master impossible, I have ventured upon this brief manual of "Equitation for Ladies," because I believe that there are many gentlemen, good horsemen, who would willingly undertake the teaching of their young friends, but that the former are unacquainted with the readiest way of going to work. Let me hope that the following may be of use in such case, both to preceptor and pupil. Addressing myself first to the former, let me advise him to be guided from first to last by the following maxims: 1st. Never do anything to shake the confidence or nerve of your pupil, and never give away a chance of doing it to the horse she rides. 2nd. Never talk to her about lesson No. 2 until she thoroughly understands lesson No. 1. While tittuping hacks are useless, and it is necessary to have an animal, even for a beginner, that has still plenty of life, vigour, and action in him, such a horse requires to be thoroughly well-broken to carry a woman, and should have plenty of work, so as to do away with the possibility of his flirting when she is mounted. It should be borne in mind that, although a woman who has had years of practice will be equally at home on almost every horse upon which you can put her, yet only a particular stamp of animal is adapted to carry her in her earlier essays.

Let me endeavour to give my idea of him. In height he should be from 15.2 to 15.3. A very tall woman may look better on a taller horse, but it is rarely that one finds an animal over 15.3 with the requisite proportions to ensure good action. Colour is of little account, except that grey horses in the summer time part with their coats so freely as to spoil a lady's habit. Quality is indispensable. A three-part-bred horse, however, is the best, because he is likely to have more substance in the right place than a thoroughbred. A good blood-like head and neck are warranty for fashion. Good shoulders, in the ordinary acceptation of the term, are not always good shoulders for a lady's horse, because while they should be clean and sloping as to the scapula, the withers should not be too fine. A little thickness there causes a side saddle to fit better for the comfort of the rider. There should be plenty of depth in the girth and rare good back ribs, for a woman's riding calls very much on a horse's power. A short back is not conducive to ease for the rider, whatever it may be as to the staying powers of the horse. On the contrary, what is generally called a long-backed horse carries a lady most pleasantly; but there must be plenty of power in the quarters, muscular upper thighs, and strong hocks. The quarters, too, should be good, and the setting on of the tail such as finishes the topping of the horse well, and gives him a fashionable appearance. If conjoined to the above-named points he stands on moderately short legs, with plenty of bone, and has good round and sound feet, he will be found as nearly as possible what is required.

CHAPTER III.

If a horse has been broken, so as to be obedient to the hand and leg of a man, and steady to sights and sounds, it is considered by many that the animal has only to be ridden with a skirt, and accustomed to strike off without hesitation with its off legs in the canter, and it is fit to carry a lady.

This is a great mistake. It is true that teaching it to canter collectedly with its off legs is necessary, as well as habituating it to the skirt, but there are other and important matters to be considered which are too often overlooked.

In the first place, a man, to break a horse properly for a lady, must be sufficiently well up at his craft to train the animal to obey the lightest possible application of the aids of the leg; because a lady, having but one leg to the horse, cannot give him the same amount of support that can be given by a man, who applies both.

To supply the absence of the leg on the off side, in the case of the lady, the only substitute is the whip. But all men accustomed to breaking know that the effect of the whip is altogether different from that of the leg, and that while the whip is occasionally necessary to rouse a slightly lazy horse, and put him into his bridle, in the case of one very free, or at all hot, the whip must be used with great caution by a lady. As I have remarked elsewhere, most young horses are inclined to strike off in the canter with the near leg, which is most unpleasant to the fair equestrian. To correct this, the breaker applies certain well-known aids, which it is unnecessary here to repeat. But in order to confirm the horse in his lesson of cantering with his off leg, the man must give the animal a considerable amount of support with both his own and both hands. If this is continued after the horse is advanced to the stage of breaking where the trainer begins to fit him for a lady, and carried on until she rides him, he will be far from a pleasant mount to her, because, missing the support of the man's legs, the horse will not understand the light and delicate ones which the lady will use. It is necessary, therefore, that the breaker should accustom his charge readily to obey the slightest indication of the rider's will, and then ride him in a side-saddle, in precisely the same way as he will afterwards be ridden by the lady.

I remember once seeing a man, really a capital rider in his own way, giving a lady a lesson on a horse of her own which he had broken for her. Both master and pupil were sorely puzzled—the former because the horse would not obey the hand and leg of the rider, as directed by the master, and the pupil, by finding that all she was doing produced an effect diametrically opposite to that which was intended. Perhaps the horse, too, was as much puzzled to know what to be at as either rider or master.

The animal was a very shapely chesnut, nearly thoroughbred, very good-tempered, but full of courage. Evidently he was unaccustomed to carry a lady, and was beginning to give indications that his temper was getting up. The object was to canter him to the right round the school, "going large," as it is technically called. He had trotted to the other hand well enough, and the young lady had ridden him fairly; but when turned to the reverse hand, and the word "canter" was given, he evidently missed the support afforded by the legs of a male rider. When pressed gently forward to a shortened rein, he stepped very high in his trot. "Touch him on the right shoulder with the whip sharply, miss," said the riding master. In answer to the sharp cut of the whip, the horse jumped off passionately in a canter, with his near legs first—a dangerous thing when going round the school to the right. "Stop him, miss," said the preceptor; "take him into the corner, bend his head to the right. Now the leg and whip again." The same result followed—the lady flurried as well as her horse. The riding master at last took the lady off, and mounted the horse himself; but he rode with a man's seat, not a woman's. The horse cantered collectedly and well into his bridle when the master asked him. "You see, miss, it is easy enough," said the master; "a little patience, and you will do it presently." But the second essay of the lady was as unsuccessful as the first; nay more so, as the horse was getting very angry. "What can be the reason?" at last said the lady, halting her horse; "I must be very stupid." "It is some peculiarity in your hand," said the master, soothingly; "it will be all right by-and-by." "Do you think," said the lady, deferentially, "that the difference of seat—your leg on the right side—has anything to do with it?" "Not a bit," replied the preceptor. But it had all to do with it, and eventually the lady had to be put upon an old school hack for her ride in the park, leaving her own horse at the riding school.

When the lady was gone the master observed, "Most extraordinary thing! I can't get this horse to do wrong, and Miss A. cannot get him to go a yard." "Did you ever ride him in a side-saddle?" I inquired. "I? Certainly not," was the answer; "no man can break a horse in a side-saddle" (this was true enough as regards the early stages), "and," continued the professor, "I can't ride a bit in a side-saddle." The latter observation settled the matter in my mind; for it has been always clear to me that, if a man cannot acquire a true and firm seat himself on a side-saddle, it is impossible he can teach a woman to ride. He may teach her to sit square and upright on an old horse that has been carrying women for years, but "going about" on such an animal is not riding—my idea of which, as regards a lady, is, that on a horse still full of courage and action (though not too fresh or short of work) the rider should be able, by the application of aids sound in theory and practice, to render the horse thoroughly obedient to her will. This is riding. Cantering along upon an old tittuping hack is merely taking horse exercise in a mild form.

As regards a man riding in a side-saddle, I may say that some years ago a young friend of mine, now deceased—than whom there never was a better man with hounds—hunted in a side-saddle for three or four seasons before his death. He had injured his right foot so badly in a fall as to necessitate amputation at the instep, and he preferred the side-saddle seat to the awkward and disagreeable feeling occasioned by trusting to a cork foot in the off-side stirrup. Some of your readers may probably remember the dashing youngster I allude to, who was always to be seen going true and straight in the front rank, when he hunted eighteen years ago with the Royal Buckhounds. I can safely say that the horses he rode in his side-saddle were the perfection of ladies' hunters, and that he was one of the best instructors of female equitation I ever met.

I repeat, then, that before a horse can be pronounced fit to carry a lady he should have been ridden in a side-saddle for some time by a man.

Riding in this way, the breaker's first object should be to make the horse walk truly and fairly up to his bridle, without hurrying or shuffling in his pace, than which nothing is more unpleasant to a lady, especially if she is engaged in conversation with a companion. Of course it is indispensable that a horse should be a good natural walker, but at the same time the animal should be carefully taught to work right up to his bit in this most important pace; action in the others can then be easily developed.

In the trot the breaker should gradually accustom the animal to go with the least possible amount of support from the leg. This he will easily do by using a very long whip, and, when he feels the horse hanging back from his work, touching him lightly on the hind quarters instead of closing the leg.

In the foregoing I am assuming that the horse has been previously well broken, mouthed, and balanced to carry a man. To teach a horse readily to obey such delicate aids of hand or leg, as a lady can apply, I have found the following method most effectual: Use a side-saddle which has no head crutch on the off side; this gives more freedom of action to the right hand. Ride without a stirrup; your balance is sure then to be true. Use a long whip, and wear a spur on the left heel, furnished with short and not very sharp rowels. Make your horse walk well, and trot well up to his bridle, with as little leg as possible, touching him sharply with the spur if he tries to shirk his work. The long whip on the off side will prevent him from throwing his haunches in. Before cantering, collect him well. Keep his forehand well up, and his haunches under him. Keep his head well bent to the right; take him into the corner of the school or manége; then, keeping him up to his work rather by the aid of the spur and whip than by the leg, strike him lightly off to the right. A sharp touch of the spur behind the girth, and a light firm feeling of both reins, the inward the strongest, will cause him to strike off true. Where no riding house or walled manége is available, the above may be successfully carried out in a small paddock, having tolerably high fences and corners nearly square.

Manner in riding the horse at this stage of his breaking is of vital importance. The hands, while kept well back, should be light and lively; the whip and spur (never to be unnecessarily applied) should be used so as to let the horse know that they are always ready if he hangs back from his work; and the rider, sitting easily and flexibly in the saddle, should ride with spirit and vivacity, making much of the horse from time to time as he answers with alacrity to the light and lively aids applied. A dull rider makes a dull horse, and vice versâ. Gradually, a well bred, good tempered animal will learn to answer smartly to the slightest indication of the rider's will, and while giving a good appui to the hand, will convey a most enjoyable feeling from his well-balanced elastic movement, without the necessity of strong or rough aids. In a very brief time the long whip can be dispensed with, and all inclination to throw the haunches in will cease. The animal has then acquired the aplomb necessary to fit him for the lady equestrian. He should then be taught by gradually inductive lessons to walk quietly up to his fences and jump freely, his haunches well under him; and subsequently to execute his leap from a steady, collected canter, without rush or hurry.

During the latter part of each lesson he should be ridden with a skirt or rug on.

He should then be accustomed to all kinds of sights and sounds, from the rattle of a wheelbarrow to the pattering file firing at a review, and the loud report of a great gun; and especially he should be habituated to having all sorts of colours about him.

I well remember seeing a fine horse, that had been some time in the breaker's hand, and was perfect in his mouth and paces, put a general officer and his lady into a complete fix. The lady went to a review, having been assisted into her saddle by her husband in his mufti costume before he dressed for parade. After the review, the lady dismounted to partake of luncheon in a marquee, and, after the repast, the general proceeded to put his wife on her horse; but the gallant steed by no means understood the dancing plume of red and white feathers in the officer's cocked hat, and he would none of him. He snorted, pawed the ground in terror, ran back, and did everything but stand still, although he had stood the marching past and firing well enough. Unluckily the groom had been sent home, and there was nobody in mufti on the ground who could put the lady on her saddle. Even when the general took off his cocked hat, the horse, having taken a dislike to him, would not let his master come near him. Finally, as there was no carriages on the ground, the lady had to walk a considerable distance, her horse led by an orderly. The above goes to show that to make a horse perfect for a lady, nothing likely to occur in the way of sights or sounds should be overlooked. If the horse possesses the requisite power and form to fit him for a hunter, and the lady for whom he is intended graces the hunting field with her presence, the animal should be ridden quietly in cubhunting time as often as possible, in long trots, beside the hounds going to covert, and accustomed gradually to the music of the "sylvan choir," to stand quietly at the covert side, and take no heed of scarlet coats. If the horse has been otherwise well broken, the above is simply a question of time and patience.

Let me now say something with regard to saddlery and appointments. The most important of these, of course, is the side-saddle, as to the form of which considerable diversity of opinion exists.

My own experiences induce me to believe in a saddle which is as nearly as possible flat from between the pommels to the cantle; any dip in the stretcher of the tree, while it renders the lady's seat less secure, has also the effect of throwing her weight too much upon the horse's forehand, and thus cramping his action. When a lady has acquired skill and confidence in her riding, a saddle with a very low-cut pommel on the off side is best, because it not only admits of the rider getting her hands lower (for which occasion may frequently occur), but on the off side it gives the lady and the horse a far better appearance, the high off side pommel spoiling the graceful contour of figure in both. Worked or plain off-side flaps are matters of taste, and have nothing to do with utility. The stirrup should be a Victoria, well padded. The leather should be fitted on the near side, in a similar manner to a man's stirrup leather, and be quite independent of the quarter strap. The reason for this is obvious. If you fit a lady's stirrup leather ever so carefully after she is up, you cannot tell how much the horse "will give up" in his girth after an hour's riding, or even less; and the leather which takes up on the off side may give to the extent of three or four holes, thereby greatly incommoding the rider, especially if she is in the hunting field and has to jump her horse, as it is ten to one, although she has the power of pulling up the leather herself, if, in the excitement of the chase, either she or anybody else will notice the rendering of the leather, and a drop leap may bring the rider to grief, whereas the near side arrangement is a fixture, and always reliable. For really comfortable riding, I believe also that it is quite as necessary that a saddle should be made in such proportion as to fit the lady, as that it should fit the horse. Even a thoroughly accomplished horsewoman cannot ride easily in a saddle that is too short from pommel to cantle, or too narrow in the seat. In either case, both discomfort and ungainly appearance are the result; while to a lady of slight petite figure, a saddle too long from front to rear is equally unsightly, though possibly not quite so uncomfortable to the rider. Broad girths of the best materials are indispensable. There should be three of them. The quarter strap or girth should lead from the near side fork of the tree to a buckle piece attached to a ring on the off-side quarter, the ring giving the quarter strap a better bearing. A crupper should never be used; a horse that requires one is not fit for a lady. Saddle cloths are unnecessary to a carefully-pannelled saddle, and hide the symmetry of the horse. Breastplates or neck straps may be used for hunting, or the fitting of martingales (necessary sometimes). But the less leather about the horse, where it can be dispensed with, the better he will look.

As to bridles, as a rule, I maintain that a lady's horse properly broken should ride right into an ordinary double bridle, bit, and bridoon, the port of the bit proportioned to the contour and setting on of the horse's head and neck, as should also be the length of the cheek piece and jaw of the bit; while the question of a plain or twisted bridoon or snaffle must be regulated by the hand of the rider and the mouth of the horse. For park or promenade riding, fashion of late years inclines to a single rein bridle or "Hanoverian," or hard and sharp. No doubt they are very sightly and neat in appearance; but with a high-couraged horse they require very nice and finished hands, and in the majority of cases, in my humble opinion, are safe only for the most accomplished female riders.

I leave the question of bridle-fronts, bound with ribbon of pink, blue, or yellow, to the taste of my readers; when neatly put on and fresh, they look gay in the park. But either there or in the hunting field, I believe more in the plain leather front, as having, if I may so express it, a more workmanlike appearance.

Having now endeavoured to describe the best preparations on foot for the pupil, the style of dress most suitable for her first lessons in equitation, the stamp of horse a lady should ride, the training he should undergo for the special service required of him, and the kind of saddlery and equipment he will travel best in, in my next chapter I will attempt briefly, but minutely, to detail the first step in the riding lesson proper, namely, the form in which the pupil should approach her horse in order to be assisted into the saddle, and the mounting motions, all of which are of great importance, as each motion should be executed gracefully, without hurry, and in a well defined and finished manner. Nothing connected with riding stamps the style and tournure of a lady more than the fashion in which she mounts her horse and arranges her habit; it ought, in fact, to be a matter as carefully looked to by the instructor as her mode of entering a room would be to a master of deportment.

CHAPTER IV.

The manner in which a lady should approach her horse in order to be assisted to mount should be carefully looked to by the instructor. Anything like hurry, while it is calculated to render the horse unsteady, is at the same time ungraceful, and the beginning of a bad habit always to be avoided.

Everything in the way of mounting or dismounting a horse, either by a lady or gentleman, should be done with well-defined and deliberate, although smart motions. This precision once acquired is the good habit which becomes second nature to the rider, and is so highly indicative of good manners in equitation.

To some persons the formula I am about to describe may appear too punctilious, and possibly carried to too nice a point of precision. But my idea is that in all these matters it is well to begin by overdoing them a little. We are all more or less prone to become careless in our carriage and bearing, both on foot and horseback, as we grow older; therefore overdoing them a trifle with young people may safely be pronounced an error on the right side.

I have frequently heard the remark that it is of no consequence how a man or woman gets upon a horse, provided they can ride when once up. I maintain that graceful riding is true riding, and that if it is worth while to ride gracefully, it is equally worth while to mount gracefully.

Let us then suppose the lady to be dressed and ready for her ride in school or manége. She should take the skirt of her habit in the full of both hands, holding her whip in the right; the skirt should be raised sufficiently to admit of the wearer walking freely. Then she should walk from a point in the school at right angles with her horse quietly to his shoulder, and face square to her left, standing just behind the animal's near elbow and parallel to his side. Thus facing to the front, and still holding her skirt with both hands, she should pass her whip from her right hand into the left, and "make much of her horse" by patting him on the near shoulder—the best method anybody (man or woman) can adopt as a first step to acquaintance with a strange horse; at the same time she should speak soothingly to her new equine friend. The horse should be held by a groom standing in front of him, and holding him by both reins. On the assistant approaching to lift the pupil to the saddle, the lady should return the whip to the right hand and drop her habit. She should then take the snaffle or bridoon rein in the centre with the left hand, at the end close to the buckle piece with the right, and draw them through the left until she has a light and equal feeling upon both sides of the horse's mouth. The right hand should then be placed firmly on the near side upper crutch of the saddle, the snaffle rein held between the pommel and the hand, the whip in the full of it. The left hand should then grip the reins, and the lady should resume her position square to the front, without moving her right hand or relaxing her grasp of the pommel of the saddle. The assistant (who should be a gentleman, not a groom) should then stoop low enough to place both his hands locked together in such a position that the pupil can place her left foot firmly on them, the left knee slightly bent. At the same time she should also place the flat of her left hand firmly on the right shoulder of the assistant, keeping her arm perfectly straight. The instructor should then give her the following directions: "On the word 'one,' bend the right knee; on the word 'two,' spring smartly up from the right foot and straighten the left knee." If the pupil executes these movements simultaneously, keeping her left elbow perfectly firm and the arm straight, the assistant can lift her with the greatest ease to the level of the saddle, where, firmly grasping the pommel, she has only to make a half turn to her left, and she is seated sideways on her horse. The assistant should then straighten the skirt down, and taking the slack of it in his left hand, lift it over the near side upper crutch while the lady turns in her saddle, and facing square to her point, lifts her right knee over the pommel, bringing her right leg close to the forepoint of the saddle, with the leg well drawn back, and the toe raised from the instep. The assistant should then place the lady's foot well home in the stirrup. Before raising the right knee over the pommel, the lady should lift the snaffle reins with her right hand high enough to admit of her moving the leg without interfering with them. The right knee being firmly placed between the pommels, and the left foot in the stirrup, the pupil should then place her right hand with the snaffle reins between the finger and thumb and the whip in the full of the hand, firmly on the off-side pommel of the saddle. She should then draw her left foot well back, and getting a firm bearing on the stirrup, raise herself well up from the saddle, leaning forward sufficiently to preserve her balance. She should then pass her left hand back, and pull her skirt well out, so that there remains no ruck or wrinkle in it, and then quietly lower herself down to the saddle again. This act of clearing the slack of the skirt is one which it is so frequently necessary for the lady to execute when riding that she should practise it frequently in her early lessons. It is true that when the assistant first places her on the horse he can arrange her habit as she rises from the saddle; but, for some time, until she has acquired firmness and perfect balance, her habit will inevitably ride up, particularly in trotting, and it is necessary that she should learn to be independent in this respect of the gentleman who attends her. Moreover, as to arrange the habit gracefully requires considerable practice, it should form a distinct part of the lesson at first when the horse is standing perfectly still, afterwards at a walk, and finally at a trot. In cantering it cannot be done.

Having arranged the hind part of her skirt, the lady should then take the front in her left hand, and pull it well forward, raising her right knee at the same time, to insure that she has perfect freedom of action for it. The left knee should then be placed firmly against the leaping crutch (or, as it is generally called, the third crutch) of the saddle; although with saddles devoid of an off-side pommel, it is, in fact, the second crutch. This important adjunct to a lady's firmness and security in riding should always be most carefully looked to by Paterfamilias when purchasing the saddle, and by the master after it is bought. I can well remember when the third crutch was unknown; and in these days, when its efficiency has been so abundantly proved, it really seems marvellous how ladies years ago could not only ride well without it, but even acquit themselves creditably in the hunting field. The secret of the matter, however, lies in this: First, although there was no third support for the rider, the off-side and near-side pommels were much closer together than those now made; the off-side one was well padded, and in most cases where ladies rode hunting it was usual to have an extra pad, which fitted on to the off-side crutch, and again narrowed the interval, according to the size of the lady, until her leg fitted tightly between the two crutches, thus giving her a very firm hold with the right knee. Nevertheless, it is evident that only the truest balance would enable the fair equestrians of those days to maintain their seats.

When a young lady is first put on horseback, I believe in anything that can give her confidence, and for this purpose the third crutch is admirable, because she finds a firm purchase between the crutch and the stirrup. As this hold, however, is apt to degenerate into a complete reliance on the third pommel, it is necessary in a more advanced stage of the lessons in equitation to use a saddle without any such support for the pupil. The third crutch, when forming part of a side-saddle, should never be removed, as is too frequently done by grooms for the purpose of cleaning the saddle. The crutch itself is so constructed as to screw into a socket in the tree. By constantly screwing and unscrewing it, the thread of the screw wears out; in fact, this will occur much sooner than would be supposed. The consequence is that, let the lady or her assistant turn the third crutch to what angle they may in order to suit the length and formation of the lady's leg, the crutch will not remain in its proper position, but is continually shifting, turning, and wobbling, to the great discomfort of the rider; nay, I have seen more than one case where the crutch has turned edgeways to the rider's leg, and caused severe pain and bruising of the delicate limb. Let it be a strict injunction then, to your groom, "Never unscrew the third crutch;" and if you find the support shifting in its socket, shift the groom as soon as possible, and send the saddle to the saddler to be firmly fixed in.

Why saddlers should fit these supports to turn at all, I can see no good reason. Some men, it is true, say that in putting a lady on horseback it is necessary to turn the third crutch round, so as to prevent it from catching the skirt; but for my own part I could never find any necessity for this, or any difficulty in clearing a lady's skirt when lifting her to the saddle. In purchasing a side-saddle, I repeat, the greatest judgment is necessary as regards the third crutch; while it should be long enough to give a good purchase and be well padded, it should be but slightly curved. A crutch that forms a considerable segment of a circle is both inconvenient and dangerous—inconvenient because it is a support of this description (if any) that is in a lady's way in mounting, and dangerous because, if in the hunting field a horse should chance to fall with his fair rider, she would be unable to extricate herself from her fallen steed, inasmuch as the nearly half-circular crutch would completely pin her leg to the horse. It is, in fact, almost as dangerous as if a man were to strap himself to his saddle (which, by the way, I once saw a very determined hunting man do when suffering from weakness in one leg). He had no opportunity, however, of testing his experiment, as the master of the hounds very judiciously told him that, if he persevered, he (the master) would take the hounds home.

Nor is there any possible use in the enveloping of the leg by the thick crutch of the side-saddle. With the slightest possible bend, the support is sufficient if the rider sits fair and true in her saddle, while plenty of stuffing is necessary to avoid bruising the leg, especially in leaping. These "stumpy-looking" third crutches are certainly less sightly in the saddle-room than the more circular ones; but I submit that, inasmuch as it is not seen when the lady is up, it is of more consequence to consult her comfort and safety than the eye of the groom.

When the lady has arranged her dress to her satisfaction, as above described, the next section of the lesson should consist in teaching how she should take up her reins; and here again the greatest care should be taken by the instructor that this is done coolly and gracefully, without hurry or "fumbling." A great deal of trouble in this way may be saved by the instructor teaching the lady how to take up her reins on foot. Thus, take an ordinary double bridle, let a lad hold the upper part of the head-stall in one hand, and the bits in the other, and stand opposite the pupil. Hang both reins over your left arm just as they would rest on the neck of the horse, the curb rein underneath, the bridoon rein above. Let the pupil then take hold of both reins at the end with the right hand; place the second finger of the left hand between the bridoon reins with the nearside rein uppermost, and the little finger of the same hand between the curb reins, the near-side curb rein uppermost. Let her then place both bridoon and bit reins perfectly flat over the middle joint of the forefinger of the left hand, and drop the end of the reins over the knuckles, then close the thumb firmly down on them. She will find then both bit and bridoon reins equally divided, and an equal facility of causing them to act on the horse's mouth, according to the direction in which she turns the wrist of her left or bridle hand proper, or assists it with her right hand, according to the aids hereafter to be described. The mode of holding the reins above laid down is called in the French school "Mode de Paysanne," or civilian method. The military fashion, which is far more elegant, but not so well adapted at first for a beginner, is as follows.

The pupil takes the end of the bridoon reins between the finger and thumb of the right hand, and passes them over the full of the left, or, to render the explanation still more simple, passes all the fingers of the left hand between them, the off side rein above, and the near side one below; the buckle piece on the knuckle of the forefinger, the rest of the rein hanging loosely down. Let the lady then take the bit or curb reins between the finger and thumb of the right hand, and pass the little finger of the left between them, the near side rein uppermost. With the right hand then let her draw the reins through the left, until—keeping the left hand perfectly quiet—she has a light, almost imperceptible, feeling on the horse's mouth. Let her then turn the bit reins over the middle joint of the forefinger of the left hand, and close the thumb down closely and firmly on them. The reins will then be precisely in the form in which a dragoon's reins are arranged when he is riding a finished horse at a field day or elsewhere. This method is therefore called the "mode militaire." But inasmuch as only a highly-finished horse can be ridden on the bit rein alone by an equally finished rider, in order to assist the latter, and to prevent the horse unduly feeling the action of the curb on his mouth, it is necessary that the rider should draw up the bridoon reins so as to obtain an equal feeling upon both bit and bridoon. Nothing can be more simple than to do this, as the rider has only with the right hand to take hold of the bridoon rein on the left or near side of the buckle or centre, and draw it up until the part passing under the lower edge of the hand is of equal length with the bit reins. She then closes her left thumb on both reins, and shortens the right bridoon rein until it is of equal length with the others. The rider has then an equal feeling of all four reins. She should then hold the ends with her right hand, and let the reins slip through the left until both hands are drawn back close to her waist, the wrists slightly rounded outwards, the back towards the horse's head, and the elbows drawn slightly back behind the waist.

The instructor having placed the pupil's hands, should then proceed to correct her general position. The figure should be well drawn up from the waist, shoulders perfectly square and well thrown back, head and neck erect, the upper part of the arm hanging almost perpendicular from the shoulder, the elbows well back, so that a thin rod would pass between them and the waist; the obvious reason for this position of the hands and elbows being that, if they are allowed to go forward, the whole flexibility of the waist—upon which depends the comfort, grace, and security of the pupil's riding—is destroyed, and the lithe figure of the fair rider becomes rigid and wooden in appearance, and stiff in action.

The upper part of the figure being thus placed, the master's attention should be directed to the position of the feet and legs. That of the right leg I have already described. The left leg, with the knee well bent, should be placed firmly against the third crutch, the heel well sunk, the toe raised from the instep, the foot at first well home in the stirrup. By well stretching down the heel the rider braces all the muscles at the back of the leg, and this, joined to drawing the figure well up from the waist, secures that true balance so indispensable to good riding. The right leg should be well bent and drawn back as near as possible to the left leg.

This should be the position at a walk, the aids for which, and the turns I leave for another chapter.

CHAPTER V.

Let me now offer a few remarks on a subject upon which considerable diversity of opinion exists, namely, whether the teaching of a young lady in riding may or may not be entrusted to a female professor of equitation in preference to a man. At the first glance, there seems to be good reason for preferring the tuition of the lady but, on careful consideration, I believe most of those interested in the matter will agree with me that, under many circumstances likely to occur, one lady, however good a horsewoman herself, is likely to be quite unable to render the desired assistance to a pupil, conceding, at the same time that, as regards the details of dress, the opinion of a lady who has had long practice in the saddle may be very useful.

In the first place, the placing of the pupil on the horse and taking her off cannot possibly be as well done, to say the least, by a lady instructor as it can by a gentleman; neither would the performance of such an office be graceful or convenient to either. Secondly, all that portion of the instruction which should be given by the instructor on foot while the pupil is on horseback can be better given by a man who understands his business than by a lady, because, although the tone of voice in which the instruction is conveyed should be kindly, and the manner cheerful and encouraging, a degree of firmness and conciseness is necessary, which few ladies possess, for the reason that the art of teaching riding, like riding itself, requires a considerable practice and long drilling into the instructor in a school where smartness of diction and expression form part of the education of an intended professor of equitation. Thirdly, assuming both instructor and pupil to be in the saddle, a lady, although thoroughly mistress of her own horse, is unable to aid her pupil as easily as a man can.

In the early lessons given (the instructor being on horseback), it is necessary that the latter should be close enough to the pupil's horse on the off side to be able at any moment to place the hands of the learner, to check any exuberant action of the horse by laying the left hand firmly upon the reins; and in the first essays made by the pupil in the trotting lesson, to assist her by the left hand of the instructor placed under the right elbow of the beginner.

And finally, should any necessity arise during a ride for dismounting the pupil, a lady instructor labours under this difficulty, that having dismounted herself, and both pupil and teacher being on the ground, the act of mounting again by two ladies, unattended by a man, is one of considerable difficulty and possible danger.

From the very necessity of her position in the saddle, a lady teaching another cannot, without inconvenience to both legs (the left especially), approach near enough to her pupil's horse to assist the latter with her left hand, because her left leg is always in danger of coming in contact with the other horse; while on a windy day the skirt of her habit is likely enough to be blown into his flank, and thereby make him unsteady. Not long since I saw two ladies who were riding, unattended by a man, in a very awkward predicament. Both are practised riders, possessing capital seats and hands, and are equal to any contingency likely to occur as long as they are in the saddle; nay, one of the ladies is, I believe, the most accomplished horsewoman I ever saw. Her seat is both fine and graceful to a degree; her hands perfection, her nerve first-rate, and her experience in riding even difficult horses with hounds considerable. This lady was the elder of the two; her companion was considerably younger, but although a very accomplished rider, she lacked the experience of her friend. Something had gone amiss with the younger lady's saddle, and both ladies dismounted to arrange it. The elder was quite equal to this, for I have seen her many times saddle and bridle her own horse, and with one that would stand quietly (being herself exceedingly supple and active), she can put her hands on the upper pommel and vault into the saddle without any assistance. But in the case I allude to she was completely fixed. Her horse was a chesnut thoroughbred, only four years old; and, although, despite all difficulty I believe, had she been alone, she would have succeeded in mounting, her friend and her horse placed her in an awkward dilemma. She was compelled from time to time to use one hand to disengage the folds of her habit, and she had to hold both horses, even if her friend could have gained her saddle unassisted. Neither horse would stand still; the one, as is invariably the case in such little difficulties, setting a bad example, which the other was not slow to follow. To hold two horses, keep clear of her own habit, while the horses were shifting their positions continually, and give her friend even the least help in mounting, proved too much even for the highly-finished lady equestrian, and as the contretemps occurred on a lone country road, I believe they would have been compelled to lead their horses a considerable distance, had I not chanced opportunely to arrive. In such places as Rotten-row a lady instructor may get on tolerably well with her pupil, because, in case of any mishap, there are plenty of men always at hand who know what a horse is; but in out-of-the-way country places it is very different. The British rustic, whatever other good qualities he may possess, is not celebrated, as a rule, for over politeness to ladies—strangers particularly. In proof of the above, there is a story current in this neighbourhood which is likely enough to be true, although I cannot vouch for it myself. The tale runs thus:—A lady (one of the daughters of a noble house) having married, had gone abroad with her husband, and been absent from the home of her early days so long that the uprising generation of young people about the estate knew her not. She was taking a ride one day unattended, and mounted on a steady cob, had been visiting the long-cherished scenes of her childhood, when she came to a very awkward bridle gate, seated on which was a juvenile "wopstraw" in duck frock, leather leggings, and wideawake. The boy jumped down and opened the gate for the lady, at the same time taking off his hat. Now the fair recipient of this delicate attention was well aware of the fact that the village people on the paternal estate were celebrated in the county for their rough manners to strangers, ladies forming no exception, so she was agreeably surprised at the exceptional good behaviour of the youngster, the more so as she was quite sure he did not know her. Taking a shilling out of her purse she gave it to him, observing: "You are a very good boy," and added, laughing, "I am sure you were not born at D." (the name of the principal village on the estate). But to the donor's horror the youngster, grasping his hat firmly in one fist and the shilling in the other, with a fiery glare of indignation in his fat face and flashing eye, replied, "Thou be'st a loyar (liar), I wor."

Verbum sap. All rustics are not so ill behaved as the one above mentioned. But as very few of them will go far out of their road to assist a stranger, it is as well that ladies riding in remote country parts should be attended by a gentleman; and I repeat, for all purposes of instruction, the attendance of a man will be found far more efficient than that of a lady.

CHAPTER VI.

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 the manége; 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 back not 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 and vice versâ, in order to enable her to move exactly on the same line as the horse, and so to preserve completely her due aplomb or 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 steady appui between 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 or appui given 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 cavalry manége—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 pupil not to 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 the appui.

"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 ounce against 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 true appui, 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 the manége, the aids being simply continued until the animal faces the reverse way, the pupil turning her horse upon his centre in the middle of the manége, 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, and vice 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 the aplomb for 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 light firm feeling 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 own aplomb in the saddle, and acquire a true appui on 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 to hurry back, 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 thoroughly au fait at 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 on terra 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 is outré, 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.

CHAPTER VII.

The Trotting Lesson.

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 the habitués of 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 riding per 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 the manége, 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 the retour 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 the manége or 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 then take 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 good appui. 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 the appui by 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), the appui of 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.

CHAPTER VIII.

The Trotting Lesson (continued).

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 true appui, 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-named appui (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. Lightly and firmly feeling 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 point downwards) 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 his souplesse, 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.

CHAPTER IX.

The Bending and Cantering Lesson.

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 the neck and ribs, 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 école riding," even in its simple 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 rather coaxes, 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, however au fait at 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 corner of 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 of both reins 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 "high manége" 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, or vice 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 aids smoothly, 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 horse vif and 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 word Ca-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 case yielding to the bit—because, in cantering, it is necessary to have an appui upon 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 and aplomb in 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.

CHAPTER X.

The Cantering Lesson (continued).

Having satisfied himself as to the proficiency of his pupil in cantering "going large"—that is, round the school or manége,—the attention of the instructor should next be directed to teaching her to make the turns and circles, and execute the "half passage" with precision.

The use of these exercises is to confirm (while riding upon both snaffle and curb reins) the steadiness of hand and seat and true balance of the rider, because, although these may appear good enough while a lady is riding her horse on a straight line, or only with the turns at the corners of the school, many shortcomings will be detected when she attempts to turn him square from the boards, or asks him to make a true circle, in which the hind legs follow exactly over the same track as the fore legs.

To commence this lesson in proper form, the pupil should collect her horse, by reining him quietly back, then move him forward well up to the hand, at a walk and at a smart active pace. When she arrives at the centre marker at the end of the school, the master should give the word "down the centre," when the rider should turn her horse square to the right (assuming, as is usually the case, that she commences her lesson to that hand). The aids for turning at a walk having been already given, it is only necessary to say that the turn down the centre requires only a trifle stronger application of the left leg, to counteract any tendency of the horse to throw his haunches outwards, and that, looking steadily to the centre marker at the other end of the school, the pupil should sight that marker well between her horse's ears, and ride true and straight to it, taking care, by closing the leg in time, that the horse does not cut off any of the ground, but plants his near fore foot close to the boards and makes the corner equally square, because whenever a horse is allowed to "cut the corners off" he endeavours to get behind the bridle, and generally succeeds. The pupil, therefore, should be cautioned in time by the instructor, and if she fails to make good every inch of ground, the word "halt" should be given and the horse reined back. Arrived about midway down the school, the turns to the right should be made square from the boards, the horse's haunches kept under him so that he does not hit the side of the school with his hind feet. His doing which is at once a proof that he is out of hand. Arrived at the centre of the school, the words "right turn" should be given again, instead of allowing the pupil to ride right across the school to the boards on the opposite side. She should then ride a couple of lengths down the centre, and again turn her horse, by word from the master, square to the right, and once more to the left, when arrived at the boards. This, repeated two or three times, is a good preparation for executing the circle; in order to facilitate the correct riding of which, the master should cause his pupil to halt her horse at the side, and himself walk over the ground he desires her to ride over. If he does this correctly, the pupil will find little difficulty in riding the circle with precision.

Starting from a point close to the boards, a couple of horses' lengths in front of the pupil, the master should make an incline to the right, at an angle of about forty-five, until he is half-way between the boards and the centre of the school; he should then bring up his left shoulder, and make another incline at the same angle to the centre of the school. Down the centre he should walk straight, the distance of a horse's length; again bring up his left shoulder, and make two inclines to the side. The figure he will thus describe does not quite represent a circle as he walks; but when the horse is called upon to move his fore and hind legs on the same track, it will be a circle in his case as nearly as possible. Having caused the pupil to move her horse forward, the instructor should give her the aids for circling, which are a double feeling of the inward rein, the horse well supported with the outward, and well kept up to the hand by the leg.

In circling to the right, the horse to be well bent to the right, so that the rider can see his inward eye; fore and hind legs moving exactly on the same track, the horse not throwing his haunches out. The great use of this circling is, that as the horse changes his direction no less than six times in a small space, to keep him up to his work the lady must bring up her left shoulder as many times as the horse alters his direction. To do this, she must be quite supple in the waist, and circling is therefore a capital practice to insure this freedom of action at that portion of the figure. To render the lesson still more easy to the pupil, I have found it answer well, after walking over the ground, to mark it out on the tan with a stick. In military schools the circle to the right or left is followed by the "circle and change," in which, when arrived at the boards, the pupil, instead of turning the horse's head to the hand he is working to, changes the bend, and turns to the reverse hand. This, however, cannot be executed at a canter with due precision without the use of the right leg, and is therefore (in my opinion) better omitted in a lady's course of equitation, an additional reason being that, when she is taught to make the change at a canter, she can do it much more effectually and elegantly by the "half passage."

The circles having been neatly done, the pupil should rein her horse back, put him well upon his haunches, and strike him off at a collected canter, about five miles an hour, the cadence true, the position of the rider correct.

It is at this point that the instructor should begin carefully to get his pupil to supple herself in the saddle, while she still rides her horse well up to his work. It should be borne in mind that a horse cannot make turns or circles at the "pace of manœuvre" without considerable danger to himself and his rider, because at such a pace it is next to impossible to keep him fairly balanced, and he is liable, even on well-kept tan, to slip up, whereas at a very collected pace, with his haunches well under him, there is no danger whatever, although at first it will call very much upon the energy and close attention of the rider. Having her horse well into his bridle, the give-and-take action of the hand should now come gradually from the shoulder joint, and the pupil should be frequently reminded to avoid resisting the action of the horse in his canter, but to endeavour, on the other hand, to accompany him in his short stride. This is to be done by simply keeping both heels well down, the hands back, the waist bent slightly forward and perfectly supple, and avoiding too strong a grasp with the right leg upon the upper crutches of the saddle. The figure from the waist upwards, however, should be perfectly erect, leaning neither backwards nor forwards, either position being both unsafe and ungainly.

Nothing is more common than to see a lady sitting with the upper part of her figure bent forward in a canter, and, if not overdone, the effect is by no means ungraceful to the eye of a looker-on. But it is a habit likely to increase in degree, and unsafe in any case, because it is opposed to the principle of true balance.

With the shoulders well back, the body, neck, and head upright, the waist slightly bent forward, the hands well back, and acting by an easy play of the upper arm at the shoulder joint—sitting, in fact, with freedom in the saddle—the action of the horse at a collected pace will give the rider a slightly gliding motion from the cantle towards the pummels, and gradually she will thus acquire the habit of suppling herself on her horse; ready, however, at any moment "to seize her seat" (to use the expression of old Sam Chifney) by muscular grip if the horse flirts or plunges, which, however, it is difficult for him to do when going well within himself and up to his bridle.

The left leg at a canter should not be drawn back, as in trotting, but kept close to the horse's side, with the heel down, and the foot as nearly as possible under the knee. Of course, the above-described easy deportment in the saddle is not to be acquired in a single lesson; it requires considerable practice and close watching by both master and pupil. Once learnt, however, the lady has gained another important step in her equitation.

The length of time requisite to insure complete souplesse at this point is dependent upon several circumstances, over which the master has only a moderate amount of control.

The figure of the pupil is an important point in the matter. If she is naturally lithe and has been well suppled on foot, the task will be considerably easier. If, on the contrary, she is of a square figure—short in the neck and waist, and stiff in the shoulders—considerably more time is requisite. But with care, attention, and perseverance it can be acquired by all in early youth.

I know a lady who rides with both dash and judgment with hounds who is anything but a good figure; but she began under proper tuition when she was very young, and, although no longer so, she has preserved the souplesse and true balance acquired in her early days. Natural aptitude, too, is of great assistance to both master and pupil, and should be energetically developed by the former; at the same time, care should be taken that the pupil does not overrun her lessons.

As an instance of what can be accomplished even at a first essay by a lady gifted with natural talent for riding, I cannot refrain from relating the following:—Some years ago I chanced to be at the school of a fashionable riding master in London, when a class of young ladies was going through a ride. In the gallery from which I was observing them was also the mother of one of the young ladies who was riding, and of another much younger, who was standing by her side watching with the most intense interest the riding below. The younger lady was not more than ten or eleven years old, but of a form and figure exactly fitted for performing well in the saddle, being tall of her age, and lithe and supple in her movements. She did not speak, but I could see from the excitement of her manner, the glitter of her large dark eyes, and her changing colour, that she was heart and soul with the fair equestrians. The ride finished with a leaping lesson, and there was some capital jumping over a gorsed bar, hurdles double and single, and an artificial brook. The last performance completely overcame the little spectator in the gallery. Bursting into a violent fit of sobbing and weeping, she clutched her mother's dress, and cried convulsively, "Dear mamma, let me ride, let me ride." The lady, quite surprised and very much affected by the emotion and excited state of the child, nevertheless, refused, declaring she was too young. But the young supplicant for equestrian honours was not to be denied; she continued to implore and weep, and, the riding master coming to her aid, the mother gave way. Her little daughter was put on a quiet horse, and the master himself led him round the school at a walk, but this by no means satisfied our ambitious little tyro. "Let me trot," she said; "I am sure I can trot." The professor was quite sure she could not, and told her so; and, to convince her, he started the horse trotting, and ran by his side. He was never more mistaken. The lessons the pupil had been witnessing from the gallery must have made a strong impression on her mind; for, to the surprise of all of us, she caught the action of the horse at the first step, and made the best attempt at trotting I ever saw for a beginner. Feeling that trotting fatigued her, she asked to be allowed to canter, and this she did in very good form. But the crowning part of the thing was, that when we were about to take her off her horse, she begged to be allowed to have a jump. I confess, I thought the riding master wrong in consenting to this. But again our little friend electrified us all. A hurdle was put up, well sloped, so as to make the jump a very moderate one, the little pupil's hands placed, and her position rectified. No sooner had the horse turned the corner of the school, and before the riding master had time to check her, than the girl's eye lit up just as I had seen it in the gallery. She caught the horse fast by the head, hit him with her heel, put down her hands, and sat as though she had been hunting for years. It was too late to stop her, and any interference at the moment would have done more harm than good. With my heart in my mouth, I saw the horse go at the hurdle. He was one that had "an eye in every toe," and did not know how to make a mistake. But his daring little rider had roused him thoroughly, and he jumped high enough to clear a big fence, and far enough to take him over a small brook. Just as the horse took off, I shouted involuntarily, "Sit back;" and the little enthusiast answered as though my voice had been inspiration. Her lithe little figure was bent from the waist, precisely at the right moment; and she landed safe, except that the concussion threw her slightly up in the saddle. Her marvellous aptitude (talent the professionals would have called it) induced the riding master to let her make another attempt, and this time, putting her horse at the hurdle at the same dashing pace (which, by the way, with her wonderful nerve and confidence, made it easier for her), she sat in the saddle, as the old groom who tended the hurdles said, "as if she had grown there," and landed fair and true without jolt or concussion.

This young lady is now one of the most brilliant horsewomen in England. Her genius (if I may be permitted the expression), joined to close application and the best of opportunities of riding good horses, enabled her in a brief space to far outstrip all her youthful competitors, and in less than twelve months after the time I speak of she could execute most of the "bending lesson," at a canter as well as a professional rider, while over the country with hounds she was always close to her pilot, than whom there was no better man. This when she was barely thirteen years old.

Such instances of extraordinary aptitude, nerve and courage, combined with the necessary elasticity and physical power to ride, are very rare indeed; in fact, in a long experience of such matters, I do not know of a parallel case. Nevertheless, if the natural dash and fitness for riding possessed by this young lady had not been carefully watched, moulded into proper form, and restrained within due bounds, they would inevitably have run riot with her, and brought her to grief. It is in such cases as the above, or rather such as tend in that direction, that the tact and judgment of a riding master is required. If the young lady I speak of had been allowed, and the opportunity had offered, she would have mounted without hesitation any brute that would carry a saddle, and mischief, of course, would have resulted.

To return to the cantering lesson proper. When the instructor has succeeded in completely regulating the cadence of the horse in his pace and the position of his pupil, he should give her due caution to wait for the last sound of his word, to keep her body back and her leg close, supporting the horse well with the outward rein, and he should then give the word, well drawn out, gently and without hurry, "right turn," when the pupil should turn her horse from the boards with the same aids as at a walk, but more firmly applied, and if the horse leans upon her hand she should keep him up with her spur.

"Many a horse" (says the "Aid Book") "keeps a tolerable canter on a straight line, but when turned he feels too much constraint laid upon him, and leans upon the rider's hand. If at such a moment the rider yields the reins instead of closing the hand firmly on them, turning the little fingers up towards the waist, and closing the leg firmly, the horse comes upon his forehand."

Concise as the above passage is, it describes exactly what occurs on first making a turn at a canter, and it calls upon all the energy and attention of the pupil to keep the horse up to his work. But as in other exercises in the course of equitation, her reward will be in her thorough command over her horse under all circumstances, because by learning to ride him with such minute precision she is always able to anticipate his every movement.

The first three or four turns at a canter should be made square across the school, from side to side, and no second word should be given on arriving at the boards; the pupil turning her horse again to the right without any caution, and continuing to "go large" round the school until she again gets the word to turn. This practice will teach her to be constantly on the alert, and to maintain such a balance as will enable her in turning to move exactly on the same line as her horse, bringing her left shoulder up precisely at the right moment.

Three or four turns are quite sufficient for the first lesson, because the horse before completing these must go several times round the school, and the pupil should ride him well up to his bit. After a few turns, smoothly and correctly made, the pupil should bring her horse to the walk, halt, make much of him, and sit at ease.

Making much of a horse when he has performed well is always a judicious mode of letting him know that he has been doing right; at the same it affords him an interval of rest, which is quite necessary. This may appear absurd to those who are accustomed to see horses continue galloping for hours. But it must be remembered that the sort of work I have been endeavouring to describe is altogether artificial; that the animal thrown upon his haunches only goes through the lesson with considerable exertion, and that if he is kept too long at it, this can only be done by an amount of fatigue on the part of the rider which would be far from beneficial to a lady. The object of the lesson is to induct the pupil into a mode in which she can obtain complete mastery over her horse. It is, as it were, a gymnastic exercise for both steed and rider, and must not be persevered with too long at one time. After about ten minutes' rest the pupil should again collect her horse, rein him back, and prepare him again for cantering. She should then strike him quietly off, and ride him very collectedly, so as to be ready to make the circles. These should be made from about midway down the boards; and on the last sound of the words "circle right," the pupil should turn her horse's head from the boards, and, supporting him well with the left leg and rein, ride in a figure exactly similar to that she described at a walk. She will find, however, that the horse requires considerably more support in making the circles than he did in the simple turns. Being on the bend from the time he leaves the boards until he arrives at them again, the nicest riding is necessary to keep his fore and hind feet on the same track, and prevent him from throwing his haunches out. The pace, too, should be more collected than when the turns were made. Four miles to four miles and a half an hour is quite fast enough, and, if necessary, the horse must be halted and reined back several times in order to get him thoroughly collected. Two circles well done are quite sufficient. The pupil should then again halt, "sit at ease," and make much of her horse. By this time both he and the pupil will have gone through a tolerably severe lesson, because the collected pace necessary to execute it, and especially the circles, necessitates a great deal of cantering before a beginner can ascertain the true cadence—without which, and a considerable amount of support from her hand and leg, it is unsafe and useless for her to attempt her turns and circles; frequently, too, a horse will have to go several times round the school before the instructor can see the opportunity to give the word. Reining back again, and collecting him, call very much upon the horse's powers, while, on the other hand, over-fatigue is specially to be avoided as regards the pupil. After resting ten minutes or so, the lady should conclude this lesson by walking him quietly about till he is quite cool.

CHAPTER XI.

The Cantering Lesson (continued)—The Half Passage and Change.

Although the last-named exercises belong, strictly speaking, more to the curriculum of the military riding school than to female equitation, still, to be able to execute them with precision is of great advantage to a lady, because they teach her that by getting a good bend on her horse, and placing him in a certain position by the application of the proper aids, she can compel him at her pleasure to canter with either near or off foot leading; and, although it may not be agreeable to her to keep her horse going with the near leg, unless she is riding on the off side, nevertheless, the practice of the half passage and change is an admirable, and indeed very elegant, mode of acquiring ready facility in the effective use of hand and leg. I have said before that the horse in the "half passage" places one foot before the other, instead of crossing his legs completely, as in the full passage. The former mode of progression enables the horse therefore to gain ground diagonally to his front, instead of moving upon a line at right angles with the boards as in the latter.

The aids by which the half passage is executed are the same as those of the "full passage," with the following exceptions. First, there is a lighter pressure of the leg on the outward side; and in the case of a lady it is necessary that she should use her whip on the off side behind the saddle alternately with her leg on the near side, in order to cause the horse to gain ground to the front, as well as to place one foot before the other.

After starting her horse at a walk, "going large," the rider should rein him back, collect and balance him—riding equally upon snaffle and curb reins—she should make the corner perfectly square; and when midway between it and the centre marker, the instructor should give the word "right half passage," upon which the pupil should still further collect her horse into the slow pace she used in the bending lesson, and, having arrived at the centre marker, she should bring the horse's forehand in, by a double feeling of the right rein; the outward leg closed, to prevent the haunches from flying out. The inward rein leads; the outward balances and assists the power of the inward. A pressure of the left leg causes the horse to place one foot before the other (see Aid Book). The whip used in alternate action with the leg will cause him to move to his right front, towards the boards.

A very light and delicate application of the leg, in unison with a similar application of the whip, is sufficient with a well-broken horse to enable the rider to do the "half passage" correctly at a walk. The point at which, strictly speaking, she should arrive at the boards is just midway between the ends of the school; and in a properly-regulated one there should always be a white marker on the wall, just above the place where the sockets for the leaping bar are inserted in it.

Keeping her eye upon this marker, the rider should lead her horse's forehand lightly with the right rein, maintaining an easy, playful, feeling of the snaffle in his mouth, and carefully balancing his every step with the left rein, while she presses him up to his work with the leg and whip. The horse's head should be bent to the right, so that his right eye is visible to the rider as she sits perfectly square in the saddle. The pace can scarcely be too slow, but every step must be taken up to the bridle, the horse's forehand up, and his haunches well under him.

In no part of a lady's course of equitation is it necessary for the instructor to pay more close attention to his pupil than in this: the temptation to the latter to relax her position, and sit, as it were, "all over the saddle" is great, from the difficulty she at first experiences in applying the aids effectually, and her anxiety to do well, causing her to twist her figure in pressing the horse with the left leg. The horse, too, is moving with his fore and hind feet in two distinctly different lines, which renders it far from easy, without considerable practice, to sit fair and square in the saddle. Close attention and quiet correction, however, will obviate all this.

Many people, I am aware, assert that riding with such precision is unnecessary to a lady. From this opinion I beg leave to dissent in toto, my idea being that a course of equitation for a lady means teaching her everything (less the lessons of the "Haute École") connected with the subject, and that whether she chooses hereafter to practise the "bending lesson," "half passage," and change at a canter or not, a thorough knowledge of them will give her a facility of riding unattainable by any other means, and make her also thoroughly au fait to the reason for everything she does in order to control the animal under her.

Again, I can see no possible reason why the nicest precision should be considered unnecessary in a lady's riding any more than it is in music; and, to try back on my old simile, I submit that as the same scale is written for a Thalberg as for the fair daughter of the house who performs on the pianoforte for the post prandial amusement of paterfamilias, and inasmuch as the mode in which the music is performed is dependent in a great measure upon precision and practice, so in riding it is necessary to make a young lady acquainted with the principles of equitation in their minutest details, and carefully to watch that she executes them with the most rigid exactness.

To return to the half passage. On arriving at the boards the lady should halt her horse for a moment and make much of him, then rein him back, and again walk him round the school to the left. The half passage should then be done to that hand, reversing the aids, and using the whip instead of the left leg. This will bring the horse again upon the right rein. He should now be well put up to his work, and pressed smartly off at a very collected canter. The instructor should be most careful that the proper cadence in pace is arrived at before he gives the word, and should caution the pupil also that when she arrives at the boards she should bring her horse to the walk.

To facilitate this exercise also, it may be advisable in some cases to take the whole school instead of half of it; but in that case the horse should go over the same ground in the "half passage" at a walk, as he afterwards does at a canter.

When the exercise is done at the latter pace, no attempt should be made at the first effort to change the horse at the boards. The master should give the word very quietly directly the pupil turns the corner of the school, and she should then press her horse well up, and turn his head smoothly from the centre marker, applying her aids with firmness and decision, endeavouring at the same time to prevent him from hurrying his pace. This, however, at the first attempt, it is scarcely to be expected that she will accomplish.

If the whole school is taken, the point of arrival at the boards should be about a horse's length from the end, where he should be brought quietly to a walk, the rider for this purpose keeping the body back, turning the little fingers of both hands up towards the waist, and drawing the hands themselves well towards her waist. The bend of the horse's head should then be changed to the left, by allowing the off side reins to slip through the right hand about two inches, and drawing the near-side reins through the left hand, with the right, to an equal extent. The near-side reins should then be passed into the right hand, while with the left the rider "makes much" of her horse on the near side. This, of course, should only be done if he has executed the movement with reasonable precision, for (to repeat) perfection cannot be expected in the pupil's first effort.

Plenty of time should be taken between these "half-passage" lessons, because they are severe, calling very much upon the physical powers of both horse and rider.

In order to give both a fair chance, the lesson should be again done at a walk, then at a canter, the pupil carefully instructed on arriving at the boards to strike the horse off collectedly to the left. To do this she should quietly change the bend to that hand, carry her left foot well forward towards the horse's shoulder, so as to use an action of her leg reverse to that she had recourse to in striking him off to the right. She should keep him well bent, but well supported with the outward rein. When she has him in the corner of the school, and bent both in his neck and ribs (which in turning and putting his off fore foot into the angle must be the case, if she applies her whip smartly behind the flap of the saddle, and presses her left foot to his near elbow, keeping his forehand well up at the same time), he can scarcely refuse to strike off with his near leg; but it must be borne in mind that a lady cannot be expected to execute this movement with any certainty unless the horse has been previously taught by a man to obey the aids the lady applies as above directed. This, however, every breaker who knows his business can easily do.

When a fair amount of proficiency is acquired in this lesson, the change may be made from what is technically called a "half halt," which means simply that, the horse being thrown more upon his haunches, the aids are applied with great firmness, and the horse compelled to change his leg without being brought completely to the walk. The degree of proficiency, however, should be when the pupil can change her horse with certainty after halting him.

The pace at which the half passage is done should be very collected, and, I repeat, if the rider and horse do it only reasonably well (that is, the latter continuing true and united in his pace, and changing freely after being halted), that for some little time it should be considered sufficient, and every allowance made for the fact that the lady, unlike the male rider, cannot give support to her horse with both legs.

Most likely at first the horse will throw his haunches out a little, and the rider slightly lose her position. Practice and the close application most ladies give to riding will suffice to correct all this, and in due time the pupil will be able to execute the lesson with smoothness and ease to herself and her horse. She will then be sufficiently advanced to commence cantering on the curb rein alone. This, as regards finish in the rider's hand, is in equitation what tone is in music. Every motion of the little finger, or the slightest turn of the wrist, acts upon the curb when it is unrelieved by the snaffle with so much more power, that the greatest care is necessary to keep the bridle hand steady at first, and to avoid anything approaching to suddenness or roughness of action.

This steadiness is best accomplished by causing the pupil to ride with the reins arranged military fashion, with the snaffle reins hanging over the full of the left hand, the off side rein uppermost, and the right hand holding the end of the curb reins, as before described, which affords greater facility for easing and feeling them than can at first be expected, when the action is given altogether from the left wrist. In the latter case, the hand without considerable practice would be far too heavy, even when the arm was kept quite firm, and unbearably heavy to the horse if there was any motion from the shoulder of the rider.

I must repeat that the lines of action of the little finger of the bridle hand are four—namely, towards the right and left shoulder respectively, according as the rider desires to turn the horse right or left; and towards his neck and her own waist, as she wishes to collect, rein back, or move him forward.

Now, while in trotting on the curb rein only the hand and arm should be kept as steady as possible, in order that the horse may make a free appui between mouth and hand, "taking hold a little of the latter;" in cantering the direct reverse of this is the case, and the hand of the rider should give and take to every stride of the horse.

It is in the mode of timing these give-and-take motions in exact harmony with the action of the horse that fine and finished hands consist; and I will endeavour to give an idea of the readiest way in which this delicate manipulation may be acquired, with as much precision as the fair rider can exercise when pressing the keys of a pianoforte.

Let us suppose, then, that in preparing for the cantering lesson on the curb, in order nicely to collect the horse, the reins are drawn quietly through the left hand by the right, as above described, the object being to rein the horse back a step or two, and balance him well with forehand up and haunches under him. By the above-named drawing up of the reins a firmer appui is created against the horse's mouth. By closing both leg and whip, however, while still maintaining this appui, the horse will step back. The instant he does the reins should be yielded to him, and he will bend in the poll of the neck and yield to his rider's hand. So that the appui is then scarcely perceptible. This alternate action of hand and leg, aided by the whip, should be repeated just as many times as it is desired to rein the horse so many steps backward, the latter moving very slowly; a couple or three steps for the purpose above named are always sufficient. To move the horse to the front again at a walk, the leg should be closed, and the reins eased until he moves forward, when he should be again collected. But if the rider desires to strike him off at once at a canter, at the moment she eases her hand she should apply her spur smartly just behind the girth, and touch the horse lightly on the off shoulder with her whip. Being properly bent and prepared, he will then strike off with his right leg first, and well within himself; but having eased the reins as the horse takes his first short stride forward, the rider should feel them again the next instant, keeping her left hand well back, her arm steady, and manipulating the reins with the right hand and the fingers of the left, so that she feels them just as the horse's fore foot is on the ground, and eases them as he raises it.

This may appear to the uninitiated a very difficult matter, but in reality it is not at all so, any more than it is difficult in dancing to keep time to music, or for the musician to count the time to himself; and by careful watching it can be mastered as well as either of the above, or the stroke in swimming.

Anybody who has witnessed a cavalry field day will have noticed that the regimental band and the action of the horses both in trotting and cantering past the commanding officer are in exact harmony; and many people believe that the horses are taught to canter to the music. The reverse of this, however, is the case. The leader of the band, having himself passed through a course of equitation, knows the exact cadence of the pace of manœuvre, and regulates the time of the music accordingly; but it is because he is able to count the time of the horses' footfall so well that he is also able to set the time of the music. In like manner the fair equestrian, with a little practice, can learn to count the time of her horse's canter to herself, and regulate the action of her hand accordingly.

The pupil must throw plenty of life into her riding, and, while she sits easily and flexibly as regards her whole figure on the saddle, should keep the horse equally upon his mettle. In a riding school he requires more calling upon than when out of doors, and more "pressing up," as it is technically called; but when once the rider has him going, well balanced, and bending nicely, the great thing is to "let well alone," and not ask too much, by which she would only fret and upset him. In bringing the horse to the walk, the pupil should be cautioned to feel him up very gradually, avoiding any sudden jerk on his mouth. The gradual stronger feeling for two or three strides, of the taking action of the hand, followed by a much slighter giving of the reins, will bring the horse smoothly to the walk. The body of the rider should be inclined slightly back from the perpendicular.

When the lady has acquired ease and freedom in riding on the curb, the turn, circles, "half passage" and change may be practised, close attention being given that the aids are applied smoothly and quietly.

After a few such lessons, the pupil may commence riding with the left hand entirely unassisted by the right. For this purpose it is necessary first to carry that portion of the reins held in the right hand over the middle joint of the fore finger of the left; close the thumb firmly down on them, and drop the slack of the rein to the off side of the saddle near the horse's shoulder.

The give-and-take action must at first be from the wrist only, the arm being kept firm, and the hand opposite the centre of the body.

For a time this will be a little difficult, especially in turning, when the rider has only the motion of the little finger to depend upon for the action of the bit in the horse's mouth; but by supporting the horse well with the leg and whip, she will find that he will presently answer readily to her aids. In turning to the right, the hand must be turned with the knuckles up, and the little finger down towards the left shoulder, the whip pressed to the horse's side, and the leg kept close, in order to make the turn square. In turning to the left, the little finger should be directed inwards and upwards towards the right shoulder, and the left leg pressed to assist the turn, while the whip on the off side insures its squareness. The wrist must be quite easy and supple. In collecting, reining back, halting, or bringing the horse to the walk, the action by which he is restrained should again at first be altogether from the wrist, because motion from the shoulder would be too heavy. In yielding to the horse, nothing more is necessary than to turn the knuckles up and the little finger towards the horse's neck.