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diff --git a/39605-h/39605-h.htm b/39605-h/39605-h.htm new file mode 100644 index 0000000..f3f0903 --- /dev/null +++ b/39605-h/39605-h.htm @@ -0,0 +1,3109 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Hand-Book for Horsewomen, by H. L. De Bussigny. + </title> + <link rel="coverpage" href="images/cover.jpg" /> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +.p2 {margin-top: 2em;} + +.chapt-summary { +text-indent: -2em; +padding-left: 2em; +margin-left: 5%; +margin-right: 10%; +} + +.ralign {position: absolute; right: 10%; text-align: right;} + +.adverts p { +text-indent: -4em; +padding-left: 4em; +} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +hr.tb {width: 45%;} +hr.chap {width: 65%} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + +.center {text-align: center;} + +.smcap {font-variant: small-caps;} + +.smaller {font-size: smaller;} + +/* Images */ +.figcenter { + margin: auto; + text-align: center; +} + +/* Transcriber's notes */ +.transnote {background-color: #E6E6FA; + color: black; + font-size:smaller; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; } + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Hand-book for Horsewomen, by H. L. De Bussigny + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org/license + + +Title: Hand-book for Horsewomen + +Author: H. L. De Bussigny + +Release Date: May 3, 2012 [EBook #39605] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK HAND-BOOK FOR HORSEWOMEN *** + + + + +Produced by Julia Miller, Paul Clark and the Online +Distributed Proofreading Team at http://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive) + + + + + + +</pre> + +<div class="transnote"> +<p>Transcriber's Note:</p> + +<p>Every effort has been made to replicate this text as faithfully as +possible, including inconsistencies in spelling and hyphenation.</p> +</div> +<div class="figcenter" style="width: 379px;"> +<a href="images/cover_full.jpg"><img src="images/cover.jpg" width="379" height="600" alt="" /></a> +</div> + + + + +<h1>HAND-BOOK FOR HORSEWOMEN.</h1> + +<p class="center">BY<br /> +<span class="smcap">H. L. De BUSSIGNY</span>,<br /> +<br /> +FORMERLY LIEUTENANT OF CAVALRY AND INSTRUCTOR OF RIDING<br /> +IN THE FRENCH ARMY.<br /> +<br /> +NEW YORK:<br /> +D. APPLETON AND COMPANY,<br /> +1, 3, AND 5 BOND STREET.<br /> +1884.<br /> +</p><p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p> + +<hr class="chap" /> +<p class="center"> +<span class="smcap">Copyright, 1884</span>,<br /> +<br /> +<span class="smcap">By D. APPLETON AND COMPANY</span>.<br /> +</p><hr class="chap" /><p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> + + + + +<h2><a name="PREFACE" id="PREFACE">PREFACE.</a></h2> + + +<p>For many years two styles of riding have +prevailed in Western Europe—the English and +the continental or school system. The two are +usually supposed to be somewhat antagonistic, +so much so that the followers of each are not +unapt to regard the other with feelings of +more or less dislike, not to say contempt; the +one side being sneered at as pedants, the other +despised as barbarians. To the unprejudiced +both seem somewhat unreasonable.</p> + +<p>The English method, originating in the +national taste for field sports, has developed a +race of horsemen worthy of that noblest of +animals, the thorough-bred horse. The chief +essential for the race-course and the hunting-field, +however, being high speed on lines that +are practically straight, the tendency of Englishmen +is to leave their horses very much +alone, provided they can gallop and jump and +are sufficiently under control not to run away,<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> +the rider usually keeping a pretty even pressure +on the bit and making comparatively little +attempt to regulate the animal's action by the +use of his own legs.</p> + +<p>The school, on the other hand, is the nursery +of cavalry; and, for the army, speed is not so +much needed as uniformity of movement and +general handiness in rapid and complicated +evolutions. Hence the great military riders +of the continent have aimed at bringing the +horse under complete control, and to this end +they have applied themselves to the problem +of mastering his hind legs, which are the propelling +power, and therefore the seat of resistance. +And it is precisely this subjection that +horses dislike and try to evade with the utmost +persistence. To accomplish the result, +the rider is taught so to use his own legs and +spurs as to bring the animal's hind legs under +him, and thus carry him forward, instead of +letting him go forward in his own way, as the +English do. By balancing the effect of leg and +spur upon the hind quarters, against the effect +of hand and bit upon the mouth, the horse is +brought into a position of equilibrium between +the two, either at rest or in motion; he is then +in complete subjection, and can be moved in +any direction at his master's will. This is the<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> +basis of the whole manege system, and it is +thus that horses are made to <i>passage</i>, to <i>piaffer</i>, +or even to trot backward.</p> + +<p>The objection to the method is that, as equilibrium +is gained, initiative is diminished, and +this, together with the pedantry of the old-fashioned +professors of the <i>haute école</i>, served to +bring the whole theory into disrepute.</p> + +<p>Looked at impartially, nevertheless, it must +be admitted that each system is well adapted +to accomplish its own peculiar objects, and +thus it seems at least reasonable to suppose +that ordinary people may be the better for +learning something from both.</p> + +<p>Amateurs, and especially ladies, do not expect +to confine themselves to the silk jacket or +even to the hunting-field, any more than they +propose to give <i>haute école</i> exhibitions in the +circus. What the majority of men and women +need for the park, the road, or even for hunting, +is well-bitted, well-gaited animals, with +light mouths, broken to canter on either leg, +and easily gathered for a jump.</p> + +<p>But such horses when bought are not to be +ridden off-hand. To begin with, the finer the +training the more likely the beast is to turn +restive if the rider leans on the reins. A seat +independent of rein and stirrup is therefore<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> +the first requisite. Secondly, supposing the +seat satisfactory, no one can know, by the light +of nature, how to stop a highly-broken horse, +to say nothing of making it change its leg or +gather for a jump. A certain amount of the +art of management must therefore be learned to +make an accomplished rider.</p> + +<p>Now, beginners can get a seat in one of two +ways. As children in the country they may be +brought up on horseback, as they often are in +the Southern States and in England, in which +case the difficulty will quickly settle itself; and +this is doubtless best if practicable. But supposing +it to be impossible, a pupil may be well +taught by exercises in the school, just as officers +are taught at West Point or at Saumur. One +thing alone is certain: seat can never be acquired +by desultory riding or by riding exclusively +on the roads or in parks.</p> + +<p>Next, as to management. Without doubt +the English dash and energy—in a word, +rough-riding—is the first essential for any +one who hopes to be either safe or happy on +a horse. It is the foundation, without which +nothing can avail. It means seat, confidence, +and decision. Yet there is something more +that may be learned without at all impairing +these qualities. To handle the horse rap<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>idly +and neatly, a control more or less complete +must be established over his hind legs. +In no other fashion can the thing be done. +To attain this, it is not necessary or even desirable +to go into all the niceties of the <i>haute +école</i>. Horsemen want to arrive at certain +practical results for their own safety and comfort, +and the problem to be solved is, how to +accomplish them by rational and gentle means.</p> + +<p>Ladies certainly do not care to <i>passage</i> in +the streets, but they do want to know how to +stop their horses cleverly when they take +fright, to turn their corners neatly at the trot +without danger of a fall, and to avoid instantly +any obstacle they may unexpectedly meet. It +is also well to understand something of the +simpler methods of regulating gaits. All +these things may be learned best by studying +the rudiments of the school system, and it is +with rudiments only that this treatise pretends +to deal.</p> + +<p>During the last twenty-five years many +hand-books on equitation have been written for +men, but few for women. This is the more +remarkable as a woman's seat is such that she +can not produce the same effects or use the +same means as a man. Instruction for him is +therefore largely useless for her. Men astride<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> +of a horse hold him between their legs and +hands in a grip from which he can not escape, +and can direct and force him with all the resolution +and energy they possess. Women, sitting +on the left side, must supply the place of +the right leg as well as they can. They are, of +course, obliged to resort to various expedients, +all more or less artificial and unsatisfactory +certainly, but still the best they can +command. Yet it is for these very reasons far +more important for women than for men to +understand the art of management, since they +must rely entirely on tact, skill, and knowledge, +not only to overcome the difficulties of the +cramped and unnatural seat imposed on them +by fashion, but to supply their lack of physical +strength. Still, there is no reason for discouragement, +for that these obstacles can be surmounted +by intelligence and patience, and that +women can learn to ride on something like +an equality with the best men, the number +of undoubtedly fine horsewomen sufficiently +proves.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> + + + + +<h2><a name="CONTENTS" id="CONTENTS">CONTENTS.</a></h2> + +<p> <span class="smaller ralign">PAGE</span></p> + +<p class="chapt-summary">Introduction +<span class="ralign"><a href="#Page_11">11</a></span></p> + +<h3>CHAPTER I.</h3> +<p class="chapt-summary">Mounting—Dismounting—The position +on horseback—Manner of holding the reins +<span class="ralign"><a href="#Page_22">22</a></span></p> + +<h3>CHAPTER II.</h3> +<p class="chapt-summary">Exercises of pupils in private +lessons—Words of command—Walking—Turning to the +right or left—Voltes and reversed +Voltes—Trotting +<span class="ralign"><a href="#Page_38">38</a></span></p> + +<h3>CHAPTER III.</h3> +<p class="chapt-summary">Classes—Successive and individual +movements—The gallop—Leaping—Suggestions for riding +on the road +<span class="ralign"><a href="#Page_51">51</a></span></p> + +<h3>CHAPTER IV.</h3> +<p class="chapt-summary">Resistances of the horse +<span class="ralign"><a href="#Page_66">66</a></span></p> + + +<hr class="chap" /><p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + + + + +<h2><a name="INTRODUCTION" id="INTRODUCTION">INTRODUCTION.</a></h2> + + +<p>It has been held by some professors of the art +of horsemanship that it is impossible for a lady to +ride with as much ease and as much control of her +horse as a man, on account of the disadvantages of +her high saddle and the absence of the right leg as +a controlling agent; but the result of my experience +has shown me that this is a mistaken opinion. Under +the systems according to which riding was formerly +taught, however, the judgment was a just one, because +the object to be attained was the maintenance of the +horse in what may be called a state of momentary +equilibrium, or equilibrium of the second degree, by +means of a double bit, curb and snaffle, aided by repeated +slight pressure of the spurs. Under the more +modern system the double bit is often replaced by a +simple snaffle with one direct rein and one passing +through a running martingale. The results obtained +are more scientific and delicate, and the horse may +be kept in a state of sustained equilibrium, or equilibrium +of the first degree, in which condition he is +entirely under the control of the lady who knows +how to make a judicious use of her whip in place of +the absent spur.</p><p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> + +<p>There are two very different ways of riding; the +more usual, because the easier, consists in letting the +horse go forward at a walk, a trot, or a gallop, the +rider contenting herself with guiding him, and staying +on his back; while, in the other, the will as well +as the action of the animal is controlled, and he is +<i>carried</i> forward in obedient and intelligent sympathy +with his rider. This requires study, tact, +and discretion; but the result well repays the labor, +and, until it is reached, no lady, however well she +may look on horseback, can be reckoned a horsewoman.</p> + +<p>I can not too strongly recommend to parents the +greatest care in the choice of a teacher for their children, +as in later years it always takes more time and +trouble to correct bad habits than it would have +done to acquire good ones in the beginning. As a +general rule, riding-teachers are promoted grooms, or +men of that class, who may be able to show boys +how to become good rough-riders, but who are quite +incompetent to teach a young lady the scientific +principles by which alone she can obtain a thorough +mastery of her horse.</p> + +<p>And here I hope that my readers will allow me +to offer them, with the deepest respect, a few suggestions +in regard to dress, as years of teaching have +shown me that much of a lady's power on horseback +depends upon her feeling at ease in the saddle, and +consequently free to give her attention to her teacher +and her horse.</p><p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> + +<p>For full dress, such as park-riding, no hat is so +distinguished as a plain high silk one; but in the riding-house, +or in the country, the low Derby shape, or +a soft felt, is now generally worn. If the shape is +stiff, it should be carefully fitted to the head, for +greater security and to avoid the risk of headache, +and in any case an elastic should hold it firmly in +place. Little girls usually wear their hair flowing +on their shoulders, which saves trouble; but older +riders should braid it closely to the back of the head +below the hat, and pin it very securely, as the motion +of the horse is apt to shake it loose, and a teacher +can scarcely expect much attention from a pupil +whose hat vacillates on her head at every step, or +who is obliged to stop her horse in order to replace +rebellious hair-pins.</p> + +<p>It may be laid down as a rule that ornaments of +every kind, and even flowers, charming as they are +at other times when worn by a lady, are out of place +now that horsewomen have deigned to copy in their +dress the simplicity of the sterner sex. Rings are +especially to be avoided, as they are apt to cause the +fingers to swell, and thus hinder a firm grasp of the +reins.</p> + +<p>The best gloves are of thin, flexible dog-skin, +and they should be a size larger than those usually +worn, to allow the hand and wrist as much freedom +as possible.</p> + +<p>If a lady does not object to sacrificing appearances, +she will find great benefit from riding some<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>times +without gloves. A horse's mouth is often a +very delicate instrument, and the vibrations which +it gives to the reins are felt much more readily by +the bare hand.</p> + +<p>Tailors almost always try to make a habit very +tight fitting, especially at the waist; but a lady's position +on horseback is at best an artificial one, and +unless she is at ease in her habit she will never look +at home on her horse. The constraint caused by a +tight collar or arm-hole soon becomes intolerable, +and the chances are that a tight waist will give the +rider a pain in her side if her horse leaves a walk.</p> + +<p>Whether trousers or breeches are worn, they +should fit closely, and no seams should be allowed +where they will come between the wearer and the +saddle, for a seam, or even a fold, is apt in a short +time to mean a blister. Trousers should be kept in +place by straps of cloth about two inches wide, which +pass under the feet. Gaiters are warm and comfortable +for winter; but care must be taken to have very +flat buttons on the outside of the right leg, as that +presses against the flaps of the saddle; and, for the +same reason, when breeches and boots are worn, +the buttons which fasten the former above the ankle +should be on the inside of the right leg. It is better +to wear laced boots instead of buttoned, with +trousers, because the Victoria stirrup, which is now +generally used, is liable to press against the buttons +and catch them in a way that is uncomfortable, and +may be on occasion even dangerous.</p><p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> + +<p>Woven merino under-clothing will be found more +comfortable than linen, as that is apt to get into folds +and wrinkles, and ladies may also find it convenient +to have their collars and cuffs attached to a sort +of shirt, as that will remove the necessity for pins +and elastics, which are always likely to get out of +place.</p> + +<p>Although her single spur is at times a most valuable +adjunct to a lady, it should never be worn by +beginners, nor until its use has been thoroughly +taught in the course of study.</p> + +<p>It is with regret that I see the riding-whip becoming +superseded by the handle of the English +hunting-crop, as this is neither rational nor practical, +being too short and light to replace the right leg +advantageously or to give efficient punishment if it +is needed. A good whip, flexible, without being +limp, rather long than short, not too heavy, but well +balanced, is best, especially in the riding-school.</p> + +<p>I would strongly recommend to parents that, +when a daughter begins to ride, it should be on her +own saddle, made on her measure, or at least amply +large for her, as riding on a short saddle leads to a +cramped and ungraceful seat. The correct size +should allow the space of three fingers between the +end of the saddle and the base of the spine, when +the right knee is round the second pommel. Some +teachers recommend that the saddles of young pupils +should be covered with buckskin, and this is +often very useful; but when a firm and well-bal<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>anced +seat is once acquired, there is nothing like +pig-skin.</p> + +<p>The third pommel, or leaping-horn, is an important +and now almost invariable addition to a lady's +saddle, and should be so placed that it does not +press, nor even touch, the left leg, while it is not +needed, and yet so that its aid may be obtained at +any time by slightly drawing up the left leg. It +should stand out enough from the saddle to cover +the top of the thigh, and be slightly curved but +not too much. I have seen this pommel made so +long and so sharply curved that the left leg was fairly +inclosed, and this may be dangerous. As it is movable, +a pupil need not be allowed to become dependent +on it; nor should it be too tightly screwed into +place, as, during a long ride or lesson, it is sometimes +a relief for a lady to be able to turn it slightly. +The slipper stirrup is often used for children and +beginners, and has the advantage of being warm in +winter, but the disadvantage that a habit of pushing +the foot too far home is easily acquired, and not so +easily got rid of when the Victoria, or, better still, a +plain, open stirrup, is used later.</p> + +<p>The material and workmanship of a saddle +should be of the best quality, and the less stitching +and ornamentation the better. Style on horseback +depends on simplicity.</p> + +<p>Girths seem to hold better if crossed—that is to +say, if the girth which is buckled to the forward +strap on the right side of the saddle is fastened to<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> +the second strap on the left; and the saddle should +be so firm in its place that a lady may hang for a +moment by her hands from the first pommel on the +right side, or the second on the left, without causing +it to shift its position. The stirrup-leather should +pass under the horse outside the girths, and be +connected with another strap on the right side of +the saddle, in order to counterbalance the pressure +on the stirrup. I may as well say here that a lady's +saddle is well placed when there is a space, of the +breadth of four fingers, between the right side and +the upper end of the shoulder.</p> + +<p>I am accustomed to use for my pupils a simple +snaffle with double reins and martingale, as by +this means beginners do less harm to the mouth; +and my own experience, as well as that of many +others who have given it a thorough trial, is that this +bit is preferable to any other for the riding-school, +the road, or perhaps even for hunting, both on account +of the simplicity of its effects upon the horse +and of its mildness, so much greater than that of +the curb, which often irritates and exasperates a +spirited animal. No horses are more ready to bolt +than the thorough-breds on the race-track, yet jockeys +never ride with anything but a snaffle. They +allow their horses to gain a pressure on the bit, and, +as the jockey pulls, the horse quickens his pace. If +you do <i>not</i> permit your horse to bear on the bit, you +will gain by its simple means all those "effects of +opposition" of which I shall speak later, and which<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> +are difficult to master, especially for beginners. I +am aware that this opinion is contrary to that usually +held both here and in Europe, as it certainly is +to the teaching of Mr. Baucher. Yet, as it is the +final result of many years of experience, I venture +to submit it to the public, although I can hardly +hope that it will win general assent. It may be +necessary to add that success with the snaffle presupposes +a fine seat and some experience, as tact and +skill must replace the loss of leverage. I consider +the "Baucher" snaffle the best, as the bars on either +side prevent it from slipping into the horse's mouth +under a strong lateral pressure.</p> + +<p>Almost all riding-teachers have been educated +in the army, where the reins must be held in the +left hand, to leave the right free for the saber, and +they continue to teach as they were taught, without +considering that in civil life the right hand is +practically unoccupied. When the horse is moving +in a straight line, it is easy to gather the reins into +one hand; but when the rider wishes to turn him to +the right or left, or make him give to the bit, two +hands are just twice as good as one, and I can see +no reason for always riding with the reins in one +hand.</p> + +<p>I have been often asked at what age a little girl +should begin to ride, and I should suggest eight +years as a reasonable time. If a child begins thus +early, it is as well that she should take her first half-dozen +lessons in her jacket and trousers, as the cor<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>rect +position of the legs is of great importance, and +it is, of course, much more difficult for a teacher to +judge of this through a skirt.</p> + +<p>Riding lessons are best begun in the autumn, as +winter is apt to be cold for beginners, who are not +able to keep themselves warm by trotting, and in +summer flies often make the horses nervous, which +may disturb young or timid pupils.</p> + +<p>The duration of the first lesson should be from +twenty-five to forty-five minutes. The older the +pupil is the shorter the lesson ought to be, although +this rule is not without exceptions.</p> + +<p>The usual proportion is: From 8 to 12 years, 45 +minutes; from 12 to 20 years, 30 minutes; after 20 +years, 25 minutes.</p> + +<p>After the first five or six lessons they may be +gradually lengthened, day by day, until an hour is +reached, and one hour in the riding-school under instruction, +if the pupil holds herself in the correct +position, is sufficient. When the lesson is over, the +pupil should rest for a short time before changing +her dress, and walk about a little in order to re-establish +a free circulation of the blood. It is always +wise for a lady to walk her horse for at least +ten minutes before she dismounts, both for his sake +and her own.</p> + +<p>The morning after her first lesson the pupil will +feel tired and stiff all over, especially in the shoulders, +legs, and arms. The second day the stiffness +will be worse, and on the third it will be at its height,<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> +after which it will gradually wear away—that is to +say, if she continues to ride every day; but if she +stops between her lessons the stiffness will come +back after each one.</p> + +<p>If a child has any organic weakness, the teacher +should, of course, be told of it, in order that he may +allow intervals for rest during the lesson; and it is +probably needless to add that a child should not be +allowed to ride during digestion. Here I should like +to say a few words to the pupils themselves.</p> + +<p>Never hesitate to ask your teacher to repeat anything +you are not certain you understand. Teachers +often take too much for granted, and in riding all +depends on mastering the rudiments.</p> + +<p>Have confidence in your teacher, and do not be +disappointed if your progress is not perfectly regular. +There are days in which you may seem able to do +nothing right, and this is discouraging, and may +last for several days at a time; but, on looking +back at the end of a week, or, better still, a month, +you will see how much ground you have gained.</p> + +<p>Remember that upon your teacher rests a grave +responsibility. Other instructors are only brought +into contact with one will, and that one harmless; +while the riding-master has to deal with two: that of +the pupil, which is dangerous from inexperience, +and that of the horse, which is dangerous from his +strength, consequently he is often obliged to speak +with energy in order to keep the attention of the +horses as well as their riders. To ride well on<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> +horseback is to place yourself, or cause yourself to +be placed, upon a saddle; to remain there at ease +in a position which has been calculated and regulated +by certain rules, and to make your horse go +when, where, and as you will. You cannot learn to +do this if you are impatient of correction or sensitive +to criticism, even though sometimes severe.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p> + + + + +<h2><a name="CHAPTER_I" id="CHAPTER_I">CHAPTER I.</a></h2> + +<p class="chapt-summary">Mounting—Dismounting—The position on horseback—Manner +of holding the reins.</p> + + +<h3>MOUNTING.</h3> + +<p>The custom which prevails in many riding-schools +of allowing pupils to mount from steps or platforms +seems to me not only unscientific, but irrational, unless, +indeed, the pupil is too small, too old, or too +stout to be mounted in any other way; unscientific, +because there is a correct and prescribed method of +mounting from the ground, and irrational, because, if +a lady dismounts away from the riding-school, and +has not been taught this method, she will be obliged +to go to the nearest house in search of a chair or +bench, or at least must find a fallen tree-trunk or a +big stone before she can mount again.</p> + +<p>The pupil should advance to the left side of her +horse, which is supposed to be standing quietly with +a groom at his head, to whom she will hand her whip, +taking care not to flourish it in such a manner as to +startle the animal. She should then turn and face +in the same direction as the horse, let her skirt fall, +and put her right hand on the second pommel of<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> +her saddle, her left hand on the right shoulder of +her assistant, who is stooping in front of her, and her +left foot, the knee being bent, into his left hand. +She should then count three aloud: at one, she +should prepare to spring, by assuring herself that she +is standing squarely on her right foot; at two, she +should bend her right knee, keeping the body straight; +and at three, she should spring strongly from her +right leg, straightening also her left as she rises, and +steadying herself by a slight pressure on the shoulder +of her assistant, who rises as she springs. She must +be careful not to push his hand away with her left +foot, as this weakens his power to help her, and as +she rises she should turn her body slightly to the +left, so that she will find herself, if she has calculated +her spring rightly, sitting on the saddle sideways, +facing to the left. She will then shift her right hand +from the second to the first pommel, turn her body +from left to right, lift her right leg over the second +pommel, and put her left foot into the stirrup. +Afterward she will arrange her skirt smoothly under +her with her left hand.</p> + +<p>Two elastic straps are usually sewn on the inside +of a riding-skirt to prevent it from wrinkling. The +right foot is intended to be slipped into the upper +one, the left into the lower, and, if possible, the +pupil should do this just before she mounts, as it +will save her and her assistant time and trouble after +she is in the saddle. As soon as she can mount +with ease, she should also learn to hold her whip in<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +the right hand, which rests on the second pommel. +These are trifling details, but they help to render a +lady self-reliant, and it may happen to her at some +time to ride a horse who will not stand patiently +while straps are being arranged and a whip passed +from hand to hand.</p> + +<p>I offer here a few suggestions for the use of any +gentleman who may wish to assist a lady to mount. +He should stand facing her at the left side of the +horse, his right foot slightly in front of his left. He +should then stoop and offer his left hand for her +foot. Unless the lady is an experienced rider, he +should place his right hand lightly under her left +arm to steady her as she rises. He should count +aloud with her, one, two, three, and at three he +should straighten himself, giving a strong support +for her left foot.</p> + +<p>There are two other ways of helping a lady to +mount: the first consists in offering both hands, +with the fingers interlaced, as a support for her foot; +and in the second he appears to kneel, almost touching +the ground with his left knee, and holding his +right leg forward with the knee bent, in order that +she may step on it and mount as if from a platform. +Both these ways seem to me to be dangerous, as, in +case the horse moves his hind-quarters suddenly to +the right, as the lady rises, which is not uncommon, +she will be suspended in space, with nothing to +steady her but her hand on the pommel, and may +fall under the horse's feet.</p><p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> + +<p>If a lady wears a spur she should always tell her +assistant, who will then be careful that her left heel +does not touch the animal's side. I have often been +asked if it is possible for a lady to mount alone; +and it is certainly possible, although not very convenient. +She may either avail herself of a fallen +tree, a stump, a fence, or any slight elevation, which +is, of course, as if she were to mount from a platform +in the school; or she may let down her stirrup +as far as she can by means of the strap on the right +side of the saddle, take firm hold of the second +pommel with her left hand and the back of the saddle +with her right, put her left foot into the stirrup, +and give a quick spring with her right leg, which, if +she is active, will land her in the saddle, after which +she can shorten her stirrup-leather. A lady will +probably never in her life be called upon to mount +alone in a flat country, but she can never have too +many resources, and it is easy to make the attempt +some time when riding alone in the school.</p> + + +<h3>DISMOUNTING.</h3> + +<p>The horse having come to a full stop, the pupil +may let the reins fall on his neck if he is very docile, +slip her left foot out of the stirrup and both feet +out of their elastic straps, pass her right leg over the +second pommel, and sit sideways on her saddle for +an instant; then give her left hand to her assistant, +who stands at the side of the horse, and let herself +slip to the ground. If she should be very stout, or<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> +if her feet are cold, or she is tired, it will be easier +for her to drop both reins and to place her hands on +the shoulders of her assistant, who can steady her +arms with his hands.</p> + +<p>A lady may, of course, dismount without help by +keeping her right hand on the second pommel and +slipping down; but she must be careful not to jerk +her horse's mouth with the reins, which she should +hold in her right hand.</p> + +<p>I strongly recommend teachers and parents to +insist that these exercises of mounting and dismounting +be practiced frequently, as their usefulness is +great.</p> + + +<h3>THE POSITION ON HORSEBACK.</h3> + +<p>It has often surprised me to see the indifference +of parents to the manner in which children carry +themselves and manage their bodies and limbs,s +whether standing, walking, or sitting.</p> + +<p>Although they have sometimes more than enough +of science, literature, and music, their physical culture +has been neglected, so that they are not conscious +of the bad habits into which they have fallen, and +which become deeply rooted and almost second nature. +At last the riding-master is called upon to render +graceful the bodies which have been allowed for +years to acquire ungraceful tricks. If a lady wishes +to ride really well, and to look well on her horse, she +must be supple and straight, without stiffness, as +rigidity precludes all idea of ease and elegance, to<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> +say nothing of the fact that no horse looks at his ease +under a stiff rider.</p> + +<p>During the first lessons a pupil is apt to have a +certain unconscious fear, which causes a contraction +of the muscles; and it is in order to overcome this +fear, and consequent rigidity, that the following gymnastic +exercise is recommended:</p> + +<p>The pupil should be mounted on a very quiet +horse and led into the middle of the school, where +the teacher, standing on the left side, takes in his +left hand her right foot, and draws it very gently, +and without any jerk, back toward the left leg; the +pupil should then place her left hand in his right, +and her right hand on the first pommel, and, thus +supported, lean back until her body touches the +back of the horse, straightening herself afterward +with as little aid from the teacher as possible, and +chiefly by the pressure of the right knee on the second +pommel. This movement should be repeated, +the pupil leaning not only straight back, but to the +left and the right, the teacher holding the right foot +in place and making the pupil understand that it is +to the fixity of contact between her right knee and +the pommel that she must look for the firmness and +consequent safety of her seat on horseback. When +the pupil has acquired some ease in this exercise, +the teacher will allow her to practice it without his +hold on her right foot, and will afterward withdraw +the support of his right hand, until finally she becomes +able to execute the movements while the<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> +teacher leads the horse at a walk in a circle to the +left, his right hand being always ready to replace her +foot in position if she should extend it forward.</p> + +<p>This exercise will indicate at once to the teacher +any muscular rigidity on the part of the pupil, which +he can therefore correct by the following movements: +Stiffness of the neck may be removed by +flexions to the right, to the left, back and to the +right, back and to the left, straight forward, and +straight back, always gently and without any abruptness. +For stiffness in the spine, the pupil should +lean far forward and then backward, bending easily +at the waist and keeping the shoulders well down +and back. If the shoulders are stiff, the pupil should +keep her elbows close to her body, the fore-arm being +curved, and the wrists on a level with the elbow; +then let her move her shoulders as far forward, backward, +up, and down as she can, first separately, then +together, and at last in different directions at the +same time. Very often rigidity in the shoulder comes +from stiffness in the arm, when the following flexion +will be found useful: The arm should be allowed +to fall easily by the side, and afterward lifted until +the wrist is on a level with the elbow, the fingers +being shut. The elbow should then be moved out +from the sides and raised until it is on a level with the +shoulder, with the fore-arm horizontal; after which +the wrist should be raised in the air, keeping the +elbow bent at a right angle, and the fingers in front, +the arm being afterward stretched to its full length<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> +perpendicularly, and finally returned to its place by +the side, after going through the same motions in +reversed order. This exercise should be done first +with one arm, then the other, then with both together; +it is somewhat complicated, but no force +of habit can resist its good effect.</p> + +<p>Another simpler flexion consists in first raising +and then lowering the arm, stretching it out in front +and behind, and at last turning it round and round, +the shoulder acting as a pivot. It is impossible to +see whether a pupil has too much stiffness in the +knees, but she can ascertain for herself by stretching +out both her feet in front and then bending +them as far back as they will go, and she may also +correct the same fault in her ankles by turning her +feet from left to right, from right to left, and up and +down, without moving the leg.</p> + +<p>All this gymnastic practice must be done slowly, +quietly, and patiently, however tiresome it may seem, +as the result in the future will be of the greatest importance, +and it must also be done intelligently, for +the object is not to learn a certain number of movements, +but to gain flexibility and ease throughout +the body.</p> + +<p>Parents can help a teacher considerably by making +children go through these flexions at home; +and it seems scarcely necessary to add that the +greatest care and discretion must be used in order +not to fatigue pupils, especially young girls.</p> + +<p>When the teacher is satisfied that his pupil has<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> +overcome all nervousness and stiffness, so that she +feels at home in the saddle, he should explain to her +the details of the position during motion, and should +insist that she correct her faults without help from +him, in order that she may learn the quicker to take +the initiative and be responsible for herself.</p> + +<p>Experience has shown me that it is easier for a +pupil to keep her shoulders on the same line, and sit +square, if she holds a rein in either hand; therefore +I recommend this method. And I have also found +that to learn by heart the following rules produces +excellent results, especially in cases where ladies +really wish to study, and to improve any bad habits +into which they may have fallen:</p> + +<p><b>The head straight, easy, turning upon the +shoulders in every direction, without involving +the body in its movement.</b></p> + +<p>If the head, being at the end of the spinal column, +is stiff, this stiffness will be communicated to +all the upper part of the body; if it can not turn +freely without making the shoulders turn also, the +stability of the seat will be impaired each time that +the head moves.</p> + +<p><b>The eyes fixed straight to the front, looking +between the horse's ears, and always in +the direction in which he is going.</b></p> + +<p>If the eyes are dropped, the head will tend to +droop forward, and little by little a habit of stooping +will be acquired, which will destroy the balance and +steadiness of the seat; while, if the rider does not<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +look out ahead, she may not be able to communicate +with her horse in time to avoid accidents—as he is +not supposed to know where he is going, and the +responsibility of guiding him rests with her.</p> + +<p><b>The upper part of the body easy, flexible, +and straight.</b></p> + +<p>If the upper part of the body is not easy, its stiffness +will extend to other parts which should be free +to give to the motion of the horse, and thus avoid +any shock; if it is not straight, the effect is lost of +the perpendicular line upon the horizontal one of the +horse's back, which corrects the displacement of equilibrium +when the animal is in motion.</p> + +<p><b>The lower part of the body firm, without +stiffness.</b></p> + +<p>If it were not firm, the spine would bend forward +or back from the perpendicular, and derange +the center of gravity, with dangerous results in case +the horse made a sudden bound; but there must be +no stiffness, as that detracts from the ease and suppleness +indispensable to a good seat.</p> + +<p><b>The shoulders well back, and on the same +line.</b></p> + +<p>Well back, in order to give the lungs full space +to breathe, and to prevent stooping. The most +common fault among ladies who ride is, that the +right shoulder is held farther forward than the left, +which is not only ungraceful, but bad for the horse, +as the rider's weight does not come evenly on his +back.</p><p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> + +<p><b>The arms falling naturally, the elbows +being held close to the body without stiffness.</b></p> + +<p>If the arms are held as if tied to the body, or if +the elbows are stuck out, the wrists and hands can +not guide the horse with ease.</p> + +<p><b>The fore-arm bent.</b></p> + +<p>Forming with the upper arm a right angle, of +which the elbow is the apex, in order to give the +wrist an intermediate position, whether the hand is +held high or low.</p> + +<p><b>The wrists on a level with the elbows.</b></p> + +<p>Because, if the wrists are held too low, the rider +will get into the habit of resting her hands on her +right knee, and will consequently neglect to occupy +herself with her horse's mouth.</p> + +<p><b>Six inches apart.</b></p> + +<p>In order to give the rider a fixed intermediary +position between the movements of the hands forward, +to the left, or to the right, by which she governs +her horse: if the wrists are held farther apart, +the elbows will appear pinioned to the sides; if nearer +together, the elbows, on the contrary, will stick +out in an angle.</p> + +<p><b>The reins held in each hand.</b></p> + +<p>I attach great importance to this disposition of +the reins, as it gives a novice confidence, makes it +easier for her to sit square in the saddle, and easier +also to manage her horse.</p> + +<p><b>The fingers firmly closed, facing each other,<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> +with the thumbs extended on the ends of the +reins.</b></p> + +<p>The fingers should face each other, because, if +they are turned up or down, the elbows will get out +of position; and the reins must be held firmly and +kept from slipping by the thumb, as the horse will +be quick to take advantage if he feels the reins +lengthen whenever he moves his head.</p> + +<p><b>The right foot falling naturally on the panel +of the saddle, the point forward and somewhat +down, and the right side of the leg held closely +to the saddle.</b></p> + +<p>As the firmness of the seat depends greatly upon +a close hold of the pommel by the muscles of the +right knee, it is important that they should have as +free play as possible; and, if the foot is turned outward, +not only is the effect ungraceful, but the muscles +soon become fatigued and the whole position +constrained, even that of the right shoulder, which +will be held too far forward.</p> + +<p><b>The left foot in the stirrup, without leaning +on it.</b></p> + +<p>If a lady leans her weight on the stirrup, her natural +tendency will be to sit over too much to the left, which +may cause the saddle to turn, and is very hard on the +horse's back; besides, as she is out of equilibrium, any +sudden movement will shake her loose in her seat.</p> + +<p><b>The point of the foot turned slightly to the +right, and the heel held lower than the rest of +the foot.</b></p><p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p> + +<p>If the point is turned somewhat in, the whole leg +will rest more easily and closely against the saddle; +and, if the heel is lower than the ball of the foot, additional +contact of the leg will be gained, which is +important in managing a horse, and, when a spur is +worn, it will not be so apt to touch him at a wrong +time.</p> + +<p><b>The part of the right leg between the knee +and the hip-joint should be turned on its outer +or right side, and should press throughout its +length on the saddle; while, on the contrary, +the inside of the left leg should be in permanent +contact with the saddle. The knees +should, in their respective positions, be continually +in contact, without any exception. +The lower or movable part of the leg plays +upon the immovable at the knee-joint, the sole +exception being when the rider rises to the +trot, at which time the upper part of the leg +leaves the saddle.</b></p> + +<p>This position on horseback may be called academic, +or classical; and, from the beginning, a lady +should endeavor to obtain it, without, of course, becoming +discouraged if, for some time, she fails to +attain perfection.</p> + +<p>I have met with excellent results by allowing my +pupils to leave this correct position, and then resume +it again, at first standing still, then at other +gaits progressively. "Progression" in horsemanship +means the execution of a movement at a trot<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> +or gallop after it has been learned and practiced at +a walk. In this way pupils soon become conscious +both of the right and the wrong seats, and the difference +between them, and it is consequently easy to +correct any detail in which they may find themselves +defective. I have done this in accordance with a +principle in which I firmly believe, i. e., that the +best teacher is he who soonest makes his pupil understand +what is expected of her, and how to accomplish +it. The former is theoretical, the latter +practical horsemanship, and there is a great difference +between them.</p> + +<p>If the teacher finds it hard to make a pupil understand +the foregoing position, he may help her in +the following manner: He should take her right +foot, as indicated in the flexions, and, going as far +back as he can, place his right elbow on the horse's +croup, with his fore-arm perpendicular, and his fingers +open and bent backward. He will then request +the pupil to lean back until she feels the support of +the teacher's hand between her shoulders, and to +allow her head and shoulders to go back of their own +weight, when it will be easy for him, by pressure of +his hand, to straighten the body until it is in the correct +position. Some teachers adopt the Hungarian +method of passing a round stick through the arms +and behind the back; but this is only practicable +when a horse is standing still, or at a walk, and +even then great care should be used, as the rider +is quite helpless. It has also the disadvantage of<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> +making tall and slender persons hollow their backs +unduly.</p> + +<p>Pupils should be warned to avoid, as much as +may be, clasping the pommel too tightly with the +right knee, as a constant strain will fatigue them +and take away the reserve force which they may +need at a given moment; indeed, a rider should be +taught from the first to economize his strength as +much as possible.</p> + +<p>As soon as the pupil can sit her horse correctly, +at a walk, holding the reins in both hands, she should +practice holding them in the left hand only, in case +she should wish to use her right hand during the +lesson.</p> + +<p>The English method of holding the reins of a +double bridle is, to bring all four up straight through +the fingers; for instance, the curb-reins, being outside, +go outside the little finger and between the +first and second fingers, while those of the snaffle +come between the fourth and middle and the middle +and first fingers.</p> + +<p>In France and in this country the reins are crossed, +the curb being below, outside the little finger, and between +the third and middle fingers, while the snaffle +comes between the fourth and middle and the second +and first fingers.</p> + +<p>The latter method seems to me preferable, as it +is easier to separate the reins, and also to regulate +the amount of tension required on one pair or the +other. In either position, the hand is held in front<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> +of the body, with the palm and shut fingers toward +it, and the reins are held firmly in place by the pressure +of the thumb.</p> + +<p>The teacher should explain that, as the curb is a +much more severe bit than the snaffle, its effects must +be used with delicacy, and he should give his pupils +plenty of practice in taking up, separating, and reuniting +the reins, in order that they may learn to +handle them quickly and with precision at any gait.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> + + + + +<h2><a name="CHAPTER_II" id="CHAPTER_II">CHAPTER II.</a></h2> + +<p class="chapt-summary">Exercises of pupils in private lessons—Words of command—Walking—Turning +to the right or left—Voltes and reversed +voltes—Trotting.</p> + + +<p class="p2">Although private lessons can not begin to take +the place of exercises in class, it is advisable that the +pupil should have some lessons by herself first, in order +that she may learn to manage her horse to some +extent at the walk, trot, and canter.</p> + +<p>Words of command in the riding-school are of +two kinds; the first being preparatory, to enable +the pupil to think over quickly the means to be employed +in order to obey the second or final order. +Example: "Prepare to go forward"—preparatory. +"Go forward"—final order, given in a loud voice, +with emphasis on each word or syllable. Between +the two orders, the teacher should at first explain to +the pupil what is wanted, and the means of obtaining +it, and later should require her to repeat it herself, +so that she may learn it by heart. The teacher +commands the pupil, the pupil demands obedience +from the horse, and the horse executes the movement; +but this triple process needs time, all the more<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> +because a novice is likely to hesitate, even if she +makes no mistake. By giving the pupil time to +think, she will gain the habit of making progressive +demands on her horse, through means which she has +calculated, and she will thus gradually become a true +horsewoman, able to make her horse know what she +wants him to do; for, in almost every case, obstinacy +or resistance on the part of the horse comes +from the want of due progression between the demand +made of him and its execution.</p> + +<p>When the teacher is satisfied that the pupil is in +a regular and easy position, before allowing her to +go forward, he will give her the directions necessary +to stop her horse, and will make sure that his explanation +has been understood. To stop: The horse +being at the walk, to stop him, the pupil should place +her leg and whip in contact with his sides, lift her +hands and bring them close to the body, and lean +her body back, drawing herself up. When the horse +has come to a stand-still, she should resume the normal +position. To go forward: The whip and leg +should be placed in contact, the hands moved forward, +and the body inclined also forward.</p> + +<p>When the pupil has a clear idea of these movements, +the teacher will give the orders:</p> + +<blockquote><p>1. <i>Prepare to go forward.</i>—2. <i>Forward.</i></p></blockquote> + +<p>And, after some steps have been taken,</p> + +<blockquote><p>1. <i>Prepare to stop.</i>—2. <i>Stop.</i></p></blockquote> + +<p>While making his pupils advance at a walk, the<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +teacher will explain succinctly the mechanism of +locomotion.</p> + +<p>The horse at rest is said to be square on his base +when his four legs are perpendicular between two +parallels, one being the horizontal line of the ground, +the other the corresponding line of his back. If his +hind legs are outside of this square, he is said to be +"campé," or planted, because he can neither move +forward nor back unless he changes this position. +If his fore legs are outside this line, he is "campé" +in front, as, for instance, when kicking; if, on the +contrary, his fore legs are inside his base, he is said +to be "under himself" in front; and it is a bad sign +when a horse takes this position habitually, as it +shows fatigue or weakness in those limbs.</p> + +<p>The horse goes forward, backward, trots or gallops, +by a contraction of the muscles of the hind +quarters, the duty of the fore legs being to support +his weight and get out of the way of the hind ones; +and the whole art of riding consists in a knowledge of +the means which give the rider control of these muscular +contractions of the hind quarters. The application +of the left leg and of the whip on the sides of +the horse serve to make him go forward, backward, +to the right or left, and the reins serve to guide and +support him, and also to indicate the movement required +by the whip and leg.</p> + +<blockquote><p>1. <i>Prepare to turn to the right.</i>—2. <i>Turn to the right.</i></p></blockquote> + +<p>To turn her horse to the right, the pupil should +draw her right hand back and to the right, incline<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> +her body also to the right, turning her head in the +same direction, and use her whip lightly, without +stopping the pressure of her left leg. When her +horse has turned far enough, she will cease pressure +on the right side, and carry her horse straight forward.</p> + +<p>In the beginning, regularity of movement is not +so important as that the pupil should understand the +means by which she executes it; that is to say, that +she disturbs the equilibrium of her horse by carrying +the weight of her body to the right; and, while her +hand and whip combine on that side, the left leg +prevents him from stopping or straggling over the +ground.</p> + +<p>Riders in a school are said to be on the right +hand when the right side of the body is toward the +middle of the ring; and this is the easier way for +inexperienced pupils, because they are less shaken +when their horses move to the right, as they sit on +the left side of their saddles.</p> + +<p>It follows, naturally, that to be on the left hand is +to have the left side toward the middle; and, when +riding on the right hand, all movements are executed +to the right, and <i>vice versâ</i>.</p> + +<p>The teacher must watch carefully that pupils do +not allow their horses to turn the corners of their +own accord, as a regular movement to the right +should be executed by the pupil at each corner when +riding on the right hand, and to the left when going +the other way.</p><p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> + +<p>If left to guide himself around a school, the horse +will describe a sort of oval, rounding the corners, instead +of going into them, and thus much valuable +practice is lost to the rider.</p> + +<p>The pupil being at a walk, and on the right hand, +the teacher will give the word of command:</p> + +<blockquote><p>1. <i>Prepare to trot.</i>—2. <i>Trot.</i></p></blockquote> + +<p>To make her horse trot, she must advance her +wrists, lean the body forward, and use the leg and +whip, resuming the normal position as soon as her +horse obeys her.</p> + +<p>In order not to fatigue the pupil, the teacher will +only allow her to trot a short distance, and will remind +her to keep her right foot well back and close +to the saddle, and to sit close without stiffness. He +will also take care that she passes from the walk to +the trot gradually, by making her horse walk faster +and faster until he breaks into a slow trot.</p> + +<p>Each time that a pupil changes from a slow to a +faster gait, she should accelerate the former as much +as possible, and begin the latter slowly, increasing +the speed gradually up to the desired point; and the +same rule holds good, reversing the process, if she +wishes to change from a fast to a slower gait.</p> + +<p>As the pupil gains confidence, and feels at home +in the trot, the teacher will let her practice it at +shorter intervals, and for a longer time, taking care, +however, that she does not attempt to rise to it; +if she loses the correct position, she must come<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> +to a walk, and, having corrected her fault, resume +the trot.</p> + +<p>In the intervals of rest, in order not to lose time, +the pupil should repeat at a walk the movements +which she has learned already, the teacher becoming +gradually more exacting in regard to the correctness +of the positions and effects, adding also the +three following movements, which are more complicated, +and which complete the series, dealing with +changes of direction.</p> + +<p>The volte is a circular movement, executed by +the horse upon a curved line, not less than twelve +of his steps in length. The pupil being at a walk, +and on the right hand of the school, the teacher will +say:</p> + +<blockquote><p>1. <i>Prepare to volte.</i>—2. <i>Volte</i>,</p></blockquote> + +<p>explaining that the pupil should direct her horse to +the right, exactly as if she merely meant to turn him +in that direction, continuing, however, the same position, +and using the same effects, until the twelve +paces have been taken, which will bring her to the +point of beginning, when she will resume the normal +position, and go forward on the same hand.</p> + +<p>The half-volte, as its name implies, comprises the +first part of the movement, the pupil coming back to +her place by a diagonal line.</p> + +<blockquote><p>1. <i>Prepare to half-volte.</i>—2. <i>Half-volte.</i></p></blockquote> + +<p>The pupil uses the same effects as in the volte, +but, when she has described half the circle, she re<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>turns +to her starting-point by a diagonal, using the +same effects, but with much less force, since, to regain +her place by the diagonal, she will only have one +fourth of a turn to the right to make; then, at the +end of the diagonal, she must change her effects +completely, in order to execute three fourths of a +turn to the left, which will bring her back to her +track, but on the left hand.</p> + +<blockquote><p>1. <i>Prepare for the reversed half-volte.</i>—2. <i>Reversed +half-volte.</i></p></blockquote> + +<p>To make her horse execute a reversed half-volte, +the pupil uses the same means and effects as in the +preceding movement, exactly reversing them at the +end; that is to say, when on the diagonal, about six +paces from her track, she makes a half-circle to the +left, following the rules prescribed for the volte.</p> + +<p>The teacher must be careful to explain that, in +the voltes, the pupil does not change the direction in +which she is going, because she describes a circle; +but in the half-volte, if she is on the right hand at +the beginning, she will be on the left at the end. He +must also see that her horse executes all these movements +at a steady pace; and, if she will practice +faithfully these different changes of direction, with +the positions and effects which govern them, she will, +in time, acquire the habit of guiding her horse +promptly and skillfully in any direction.</p> + +<p><i>To go backward.</i>—The pupil, being at a stand-still, +the teacher will give the word of command:</p><p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> + +<blockquote><p>1. <i>Prepare to back.</i>—2. <i>Back.</i></p></blockquote> + +<p><i>Explanation.</i>—To make her horse go backward, +the pupil should draw herself up and lean back very +far, using her leg and whip together, in order to +bring the horse's legs well under him, and at the +same time raise both wrists and bring them near the +body. As soon as the horse has taken his first step +backward, the pupil should stop the action of her +leg, whip, and hands, only to resume them almost +immediately to determine the second step; to stop +backing, she will stop all effects, and resume the normal +positions.</p> + +<p>After a few steps, the teacher should say:</p> + +<blockquote><p>1. <i>Prepare to stop backing.</i>—2. <i>Stop backing.</i></p></blockquote> + +<p>The movement is only correct when the horse +backs in a straight line, and step by step. If he +quickens his movement, he must be at once carried +vigorously forward with the leg and whip.</p> + +<p>When the pupil begins to have a firm seat at the +trot, the teacher will gradually let her pass the corners +at that gait, and, at his discretion, will also let +her execute some of the movements to the right and +left. To do this, she will use precisely the same +means as at the walk, the only difference being that, +as the gait is quicker, the changes of equilibrium are +greater for both horse and rider, and the effects +should be lighter and more quickly employed and +stopped.</p> + +<p>I have given most of the movements to the right,<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> +to avoid useless repetition, but they should be frequently +reversed; and care must always be taken to +avoid over-fatigue.</p> + +<p>When the teacher is fully satisfied that his pupil +has advanced far enough to profit by it, he may begin +to teach her to rise at the trot; but he must not +be in too great a hurry to reach this point, and he +must make her understand that to rise is the result +of a good seat, and that a good seat does <i>not</i> result +from rising.</p> + +<p>For the last fifteen years I have looked in vain, in +all the treatises on riding, for the reason of that rising +to the action of the horse known as the "English +trot," and yet I have seen it practiced among races +ignorant of equestrian science, who ride from childhood +as a means of getting from one place to another. +The Arabs, Cossacks, Turks, Mexicans, and Apaches, +all employ it, in a fashion more or less precise and +rhythmical, rising whether their stirrups are short or +long, and even if they have none. It is certain that +this way of neutralizing the reaction spares and helps +the horse; and it was calculated, at the meeting of +the "Equestrian Committee" at Paris, in 1872, that +each time a rider rises he relieves the horse's back +of one third of the weight which must rest on it permanently +if he sits fast; and since that time rising +at the trot has been practiced in all the cavalry of +Europe.</p> + +<p>After the siege of Paris, in 1871, I was obliged to +undertake the training of the horses of my regiment,<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> +which was then stationed at Massy. These horses +were all young and unbroken; and, as a result of +their youth and the fatigues they had undergone, +they were in poor condition, and nearly all had sore +backs. I directed all the teachers who were under +me, and the men who rode the horses during their +training, to rise at the trot; and, three months later, +the young horses were in perfect health, while their +riders, who had been exhausted by a severe campaign, +had gained on an average seven pounds in +weight; and it was this experiment which was submitted +by me to the "Equestrian Committee."</p> + +<p>I was tempted to make this digression, which I +hope will be forgiven me, because I have heard in +this country a great deal of adverse and, in my opinion, +unjust criticism of the English trot, which I +ascribe to the neglect of teachers, and the indifference +of ladies brought up in the old school of riding +to prefer horses which cantered all the time, or were +broken to artificial gaits, like racking and pacing.</p> + +<p>The rider who wishes to rise to the trot should +be careful that the stirrup is not so short as to keep +her left leg in constant contact with the third pommel, +or leaping-horn, as, unless there is the space of +three or four fingers between the pommel and the +leg, the latter may be bruised, and the rider forced +down too soon.</p> + +<p>In order to explain this movement, the teacher +may proceed as follows: Placing himself at the left +side of the horse, he will ask the pupil to take the<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> +reins in her left hand and put her right hand on the +first pommel, with the thumb inside and the palm of +the hand on the pommel; he will then take her left +foot in his left hand, in order to prevent her from +pushing it forward, explaining that, by pressing on +the stirrup, she will develop the obtuse angle formed +by her leg, of which the knee is the apex; whereas, +if she pushes her foot forward, the angle will cease +to exist, and she can not lift herself. With his right +hand placed under her left arm, he will help her to +lift herself perpendicularly; while she is in the air +he will count one, will let her pause there for a short +space of time, and will then help her to let herself +slowly down, continuing the pressure on the stirrup, +and, when she has regained her saddle, he will count +two; then he will recommence the movement of rising, +and will count three while she is in the air, and +four when she is again seated; and this may be +continued until he sees that she is beginning to be +tired. The foot must only be one third of its length +in the stirrup; for, if it is pushed home, she will +lose the play of the ankle, which will tend to stiffen +the knee and hip. When the pupil begins to understand, +the teacher will let her go through the movement +rather more quickly, still counting one, two, +three, four; then he will allow her to practice it +without his help: all this preparatory work being +done while the horse is standing still. It is important +that she should not drop into her saddle, but +let herself down by pressing on the stirrup; and on<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> +no account should the right knee cease to be in contact +with the second pommel, as this is the sole case +in which the lower part of this leg is motionless while +the upper part moves. As soon as the pupil can rise +without too much effort, and tolerably quickly, she +may practice it at the walk, and then at the trot, +counting for herself, one, two, three, four; and she +must put a certain amount of energy into it, for all +the theory in the world will not teach her to rise in +time with the horse unless she also helps herself. +The theory of the rhythmical cadence is easy enough +to give: the rider rises when the horse takes one +step, and sinks back at the second, to rise again at +the third; but the cadence itself is not so easy to +find; and to rise at the wrong step is like beginning +on the wrong beat of a waltz. Many young persons +get into the bad habit of lowering the right knee +when they rise, and lifting it when they regain their +seat; but this is a mistake, as the right knee should +be immovable, and in constant contact with the second +pommel.</p> + +<p>As soon as the pupil has struck the cadence (and, +once found, it comes easily afterward), she should +discontinue the use of her right hand on the pommel, +and the teacher may be more exacting as to +the regularity of her position than is necessary in +her first efforts. During rising to the trot, the upper +part of the body should be very slightly bent forward; +and, if the teacher notices that the pupil is +rising from right to left, or left to right, instead of<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> +perpendicularly, he should make her put the fingers +of her right hand on the top of her saddle behind, +and thus give herself a little help in rising, until she +gets used to it. Each time that the rider wishes to +make her horse trot, she should sit close while he +changes from a walk to a trot, and until he is trotting +as fast as is necessary, because he does not +arrive at that speed instantly, but by hurrying his +steps, so that there is no regular cadence of the trot +to which she can rise; and she should follow the +same rule when she makes him slacken his pace +before coming to a walk.</p> + +<p>The teacher must be careful to see that the hands +do not follow the movements of the body, as they +must keep quite still, the arms moving at the elbow.</p> + +<p>There is not, nor can there be, any approximate +calculation of the height to rise, as that depends +entirely upon the gait of the horse. If he takes +short steps, the rider must rise oftener, and consequently +not so high; but, if he is long-gaited, she +must rise high, in order not to get back into the +saddle before he is ready to take his second step.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> + + + + +<h2><a name="CHAPTER_III" id="CHAPTER_III">CHAPTER III.</a></h2> + +<p class="chapt-summary">Classes—Successive and individual movements—The gallop—Leaping—Suggestions +for riding on the road.</p> + + +<p class="p2">When the pupil has taken from ten to fifteen lessons, +she ought to be able to execute the movements +she has studied with a certain degree of correctness, +and to remain a full hour on horseback without fatigue; +and she should then, if possible, be placed in +a class composed of not less than twelve nor more +than twenty-four members. Children in a class +should be of the same sex, and, as near as may be, +of the same age and equestrian experience. It is +not necessary that the class should meet every day; +it may come together one, two, or three times a week, +under the guidance of the same teacher, and this +need not prevent a pupil who is in it from coming to +the school at other times to practice the various +movements by herself.</p> + +<p>All concerned should do their best to have all +the members of the class present, and the school +should be kept clear of other riders during such +classes. The presence of spectators is objectionable, +particularly where there is a class of young girls.<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> +Granted that they are the parents, for instance, of +one or two of the pupils: to the rest they are strangers, +who cause constraint, as the teacher is obliged +to criticise, correct, and, in a word, instruct, in a +loud voice, so that the observation made to one +may serve as a suggestion to all.</p> + +<p>The difference of progress between classes and +individual pupils is so great that one may calculate +that, after one hundred private lessons, a pupil will +not ride so well as if she had taken fifty lessons in +class. In a class she is obliged to keep her horse at +a certain distance from the others, and in his own +place, and, in her turn, go through exercises directed +by a will other than her own, while the constant +repetition of principles by the teacher fixes them in +her memory. On the other hand, the private pupil +takes her time to make her horse go through a movement; +and, that movement once understood, there is +no reason for the repetition of the explanations which +can alone make the theory and principle of riding +familiar. I am certainly not an advocate for theory +without practice; but I insist that a rider must know +what she ought to do before she can do it really well, +as all good results in riding are obtained by long +practice, based on a rational theory.</p> + +<p>The teacher should choose out of his class the +four most skillful pupils, whose horses are free and +regular in their gaits, to serve as leaders, one at the +head and one at the end of the two columns, which +should be drawn up on the long sides of the school,<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> +each rider having a space of at least three feet between +the head of her horse and the tail of the one +in front of her, the heads of the leaders' horses being +about six feet from the corner of the school. While +the columns are standing still, the teacher should +explain distinctly the difference between distance and +interval, and he had better be on foot at the end of +the school, facing the columns.</p> + +<p>By "distance" is meant the space between the tail +of one horse and the head of the next in the column.</p> + +<p>"Interval" is the space between two horses who +are standing or going forward on parallel lines.</p> + +<p>All movements are executed singly or in file: in +the first case each pupil goes through the movement, +without regard to the others; in the second, the +pupils execute the movement in turn after the leaders +of the column.</p> + +<p>A movement in file, once known, may be repeated +individually, but only at a walk in the beginning, +in order to insure attention. The columns should +both be on the right hand; consequently the head +of one will be opposite the end of the other as +they are drawn up on their respective sides. First +order:</p> + +<blockquote><p>1. <i>Prepare to go forward.</i>—2. <i>Go forward.</i></p></blockquote> + +<p>When the final word of command is given, the pupils +will advance simultaneously, each one using the +same effects as if she were alone, and being careful +to preserve the correct distance.</p><p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p> + +<p>The two leaders should so regulate the gait of +their horses as to pass the opposite corners of the +school at the same moment, and this gait should be +uniform. If a pupil loses her distance, she should +regain it by making her horse walk faster; but she +should try to keep her place, as the whole column +must quicken its pace when she does, and all suffer +from the carelessness of one.</p> + +<p>When the columns are on the short sides of the +school, the teacher should give the order:</p> + +<blockquote><p>1. <i>Prepare to halt</i>;</p></blockquote> + +<p>and when they are on the long side,</p> + +<blockquote><p>2. <i>Halt.</i></p></blockquote> + +<p>When they are again going forward, always on +the right hand, the order should be given:</p> + +<blockquote><p>1. <i>Prepare to turn to the right.</i>—2. <i>Turn to the right.</i></p></blockquote> + +<p>At the final order each pupil will turn to the right +on her own account, and according to the rules already +prescribed; at the end of this movement all +will find themselves on parallel lines, and about +twelve feet apart; they should then turn the head +somewhat to the right, in order to see that they are +on the same line, and cross the width of the school +in such a way that the columns will meet and pass +each other in the middle. When they have reached +the opposite side, they will turn to the right without +further order, the leaders at the end of the column +being now at its head. This movement should <i>never</i> +be executed except at a walk.</p><p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> + +<p>To replace the columns in their accustomed order, +the teacher should have this movement executed a +second time. When the columns are going forward +on the right hand, the order will be given:</p> + +<blockquote><p>1. <i>Prepare to volte in file.</i></p></blockquote> + +<p>In this movement the same principles and the +same means are used as in a private lesson; the +leaders, however, describe a larger circle proportionate +to the length of their columns, and at the end +their horses' heads should be about three feet behind +the tails of the last horses in their respective +columns. The other pupils then, in turn, execute +the movement upon the same ground as the leader. +The leaders having moved two thirds down one of +the long sides, the teacher will order:</p> + +<blockquote><p>2. <i>Volte in file</i>;</p></blockquote> + +<p>and, when the columns are again going forward on +the right hand,</p> + +<blockquote><p>1. <i>Prepare to half-volte in file.</i></p></blockquote> + +<p>The leaders turn to the right, describe their half-circle, +and go forward on a diagonal line ending just +behind the last rider in the column; once there, they +turn to the left and fall into line, being duly followed +by each pupil over the same ground.</p> + +<p>When the leaders are about eighteen feet from +the corner of the school, the teacher will order:</p> + +<blockquote><p>2. <i>Half-volte in file.</i></p></blockquote><p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> + +<p>The next order should be:</p> + +<blockquote><p>1. <i>Prepare for the reversed half-volte in file.</i></p></blockquote> + +<p>The leaders must execute diagonals proportional +to the lengths of their respective columns, in such a +manner as will enable them to begin their half-circles +when about thirty feet down the long sides, and +thirty-five or forty feet before the turn or corner, +followed in turn by the other pupils, as in the foregoing +movements.</p> + +<p>As soon as the leaders are on the long sides, having +passed the second corners, the teacher will order:</p> + +<blockquote><p>2. <i>Reversed half-volte in file.</i></p></blockquote> + +<p>The columns being on the long sides, and on the +right hand, the next order should be:</p> + +<blockquote><p>1. <i>Prepare to back.</i>—2. <i>Back.</i></p></blockquote> + +<p>And, to execute this movement correctly, each +pupil will make her horse back as she would in a +private lesson, being careful to keep in a line with +her companions.</p> + +<p>When the class can execute these movements +correctly at a walk, the teacher will allow them to +be practiced at a trot, insisting, however, that the +pupils shall stop rising as soon as the preparatory +order is given, not to begin again until they have +returned to the side of the school at the end of the +movement. When there is a full class, it is better +not to allow turns to the right or left to be attempted +at a trot, as the riders may strike one another's knees +in crossing.</p><p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> + +<p>When these movements in file, at the walk and +the trot, have given the pupils the habit of controlling +their horses with decision and regularity, the +teacher should explain to them the difference between +these and individual movements. The column +being at a walk, and on the right hand, the +teacher will say:</p> + +<blockquote><p>1. <i>Prepare to volte singly.</i></p></blockquote> + +<p>Each pupil leaves the line at the same moment +as the others, executes a circular line of twelve steps +as in a private lesson, and takes her place in the line +again.</p> + +<blockquote><p>2. <i>Volte singly.</i></p></blockquote> + +<p>Next in order comes:</p> + +<blockquote><p>1. <i>Prepare to half-volte singly.</i></p></blockquote> + +<p>This is done exactly as in a private lesson, the +pupils taking care to do it in time with one another, +in order to reach their places at the same moment.</p> + +<blockquote><p>2. <i>Half-volte singly.</i></p> + +<p>1. <i>Prepare for the reversed half-volte singly.</i></p></blockquote> + +<p>The pupils leave their places simultaneously by +a diagonal line, and return to the same track; but, +on the other hand, by a circular line of six steps.</p> + +<blockquote><p>2. <i>Reversed half-volte singly.</i></p></blockquote> + +<p>These movements are here given on the right +hand; but they may, of course, be done equally well +on the left hand by reversing the terms.</p> + +<p>I recommend teachers not to keep their pupils<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> +too long on the left hand, but to seize that opportunity +to rectify any incorrect positions of the feet.</p> + +<p>When the class can execute the foregoing movements +correctly at the walk and the trot, the teacher +may explain to them the canter or gallop.</p> + +<p>A horse is said to "lead" at a canter with his +right foot when the lateral movement of his right +foot is more marked than that of his left. This +causes a reaction from left to right, which makes +this lead easier for a lady, who sits on the left side, +than that of the left foot, where the reaction is from +right to left. When a horse who is leading with his +right foot turns to the left, he must change his lead, +and <i>vice versâ</i>.</p> + +<p>To make her horse lead at a canter with his right +foot, the rider must put her left leg very far back to +act in opposition with her whip, which should make +very light attacks, incline the upper part of her body +forward, and lift her hands, without, however, drawing +them nearer her body. When the horse has +obeyed, she will resume the normal position for +hands and body, renewing the pressure of her whip +and leg from time to time to keep the gait regular. +During the canter or gallop the right foot should be +held well back, close to the saddle, without rigidity, +and the rider should sit firm in her saddle, while allowing +the upper part of her body to give freely to the +motion of the horse, in order to neutralize any shock. +To change his lead from right to left at a gallop, the +horse pauses for an imperceptible space of time, im<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>mediately +puts his left hind leg in front of his right, +and, by the contraction of the muscles of his left leg, +projects his body forward to the left, his equilibrium +being again disturbed, but in a new direction; to +compensate which, his left fore leg comes at the first +step to support the weight by putting itself before +the right, which, until then, has been carrying it all.</p> + +<p>It requires a great deal of tact, the result of long +practice, to make a horse change his feet when he is +galloping in a straight line, and I therefore recommend +teachers to proceed with their classes in the +following manner:</p> + +<p>The column being at a gallop, each pupil should +execute a half-volte in file, turning at the gallop, coming +down to a trot on the diagonal, and resuming the +gallop when she is on the opposite track and on the +other hand. As the horse is galloping with his right +foot, the rider will calculate the movement of his +right shoulder by watching it without lowering her +head, and, when she sees that shoulder move to put +down the right leg, she must instantly change her +effects of leg and whip, and lift her hands, the right +rather more than the left, to support the horse while +he pauses with his right shoulder, while an energetic +action of her leg will make him bring his left hind +leg under him and put it in front of the right; and, if +she holds her left hand low, the left fore leg will be +free to take its place in front of the right. Care +must be taken not to throw a horse while he is +changing his feet, that is to say, he must not be<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> +turned suddenly to the right in order to be jerked +suddenly to the left; and, during the short time which +it takes him to change his feet, the rider should sit +close in order not to disturb him by a shifting +weight.</p> + +<p>When the pupils can make their horses change +their feet by changing their gait, they should be made +to execute half-voltes and reversed half-voltes in file, +at a gallop, without changing to a trot; and, when +they can do this, they may execute them individually, +according to the rules already prescribed.</p> + +<p>I must again recommend great prudence, that +accidents may be avoided, and plenty of pauses for +rest, that the horses may not become discouraged.</p> + +<p>A lady's equestrian education can not be considered +complete until she can make her horse leap +any obstacle which is reasonable, considering her age +and experience and the capacity of her horse. When +her seat has become flexible and firm at the walk, +trot, and gallop, when she is mistress of her horse in +changes of direction, of gait, and of feet, the teacher +should allow her to leap a hurdle not less than two +nor more than three feet high.</p> + +<p>The class being formed into a single column, +close together, each rider should make an individual +turn to the right on the long side of the school opposite +where the hurdle is to be placed, as she can thus +see for herself any faults which may be committed by +her companions. Leaping should be practiced by the +pupils one at a time, at a walk, a trot, and, finally, a<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> +gallop. The class being drawn up in line, the teacher +will proceed to explain to them the animal mechanism +of the leap.</p> + +<p>If a horse is at a walk, and wishes to jump over +an obstacle, he draws his hind legs under him to +support his weight, pauses for an instant, then lifts +his fore legs from the ground, thus throwing all his +weight upon his hind legs; whereupon, by a powerful +contraction of the muscles, these latter project +his body forward and upward, and it describes a +curve through the air, alighting on the fore legs, +braced to receive the shock, the hind legs dropping +on the ground in their turn, only to contract again +sufficiently to form a forward motion.</p> + +<p>The pause before a leap is more noticeable at a +walk than at a trot, and least of all at a gallop. The +most favorable gait for leaping is what is known as +a hand-gallop, which is an intermediate pace between +a riding-school canter and the full gallop of +the race-track, as, while he is at this gait, the horse +is impelled forward with his hind legs constantly +under him.</p> + +<p>In order to aid and support her horse at a leap, +the rider should bring him straight up to the obstacle +at a slow and regular gait, and should put her own +right foot very far back, that she may make her seat +as firm as possible; at the moment when he pauses +she should lean back and lift both of her hands a +little, in order to enter into the slight approach to +rearing, without encouraging it too much; then, as<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> +soon as she feels the horse project himself forward, +she must give her hand, straighten herself, and lean +back as the horse goes over, lifting her wrists with +energy as soon as he touches the ground. When he +has begun the motion of rearing, a simultaneous action +of the whip and leg will help to determine his leap.</p> + +<p>It may be noticed that I use the words "aid" +and "support" instead of "<i>make</i>," and also that I +indicate first the positions of the body, next of the +hands, and last the effects of the leg and whip, to +the end that the pupil may not be confused as to +the very short time in which these latter may be +rightly used. Before leaping, the teacher may allow +the pupils to practice their positions in the following +manner:</p> + +<p>He should make them count one, leaning the +body and drawing the wrists backward; two, the +body and wrists forward; three, the body and wrists +backward again. This series, slow in the beginning, +may be quickened little by little until it is as near as +may be to the speed necessary in these movements +during the short duration of a leap.</p> + +<p>When the pupils have gone through these motions +intelligently, the teacher will take his place in +front and to the right of the hurdle, facing the wall. +The hurdle should always be placed in the middle +of one of the long sides; and ladies prefer to jump +on the left hand, in order to avoid touching the wall +with their legs if the horse should go too near it. +Notwithstanding this, if the horses are free jumpers,<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> +and the school well arranged, I prefer the right +hand, because a fall to the right is then clear of the +wall. This is a case in which an instructor must +depend upon his own judgment.</p> + +<p>The teacher stands as I have indicated above, +holding a whip with a long lash, not to strike the +horses, but to prevent refusals.</p> + +<p>One after another the pupils should leave the +line, and advance at a walk, until they get on +the side of the school where the hurdle has been +placed, when they will canter, but without any excitement; +and they will find it useful to count one, +two, three, until the three movements of the body +have become mechanical from practice.</p> + +<p>During the course of the more advanced lessons, +it will still be useful to practice some flexions, in order +to be sure that pupils keep supple. They should +also learn to take the foot out of the stirrup at any +gait, and replace it without stopping, and to rise at +the trot, the foot being out of the stirrup, which is +not so difficult as it appears. They should also be +drilled to walk, trot, or gallop by twos and threes, to +learn to accommodate their horses' gait to that of a +companion. The teacher should be sure that, at the +end of their lessons, the pupils can trot or gallop for +at least a mile without stopping; and, to gain this +result, he must proceed by degrees, with the object +of developing the lungs and giving a freer respiration. +Nothing is more ridiculous than to see a +rider, who has proposed a trot or canter to her com<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>panion, +obliged to pull up after a few steps, puffing +and panting for breath. She is apt to ruin her own +horse; and gentlemen who have spirited animals are +likely to avoid riding with her. Except in the prescribed +effects of the whip and leg, there is no definite +position in which a lady is obliged to hold her +whip, and she should learn to carry it as suits her +best. She should be able to arrange her skirt while +at a walk, without assistance, and also to shorten or +lengthen her stirrup by the strap on the right side of +the saddle, without taking her foot out.</p> + +<p>From the very beginning of the lessons the teacher +should suppress all the little chirpings and clackings +of the tongue, which, however useful they may +be to a coachman or a horse-trainer, are out of +place in the mouth of a lady. I was once invited +to accompany a lady in Central Park, in New York; +and, as I had been told that she rode very well, I +did not hesitate to ride Général, a noble animal, +whose education in the <i>haute école</i> I was just finishing. +We started. She managed her horse with +her tongue as an effect on the right side, instead +of using her whip. The consequence was, that +my horse, hearing these appeals, and not knowing +whether they were meant for him or not, remained +at the <i>passage</i> all the way from the gate to the reservoir, +where I took it upon myself to beg her to do +as she chose with her own horse, but to allow mine +to be under my own control.</p> + +<p>I recommend not giving dainties to horses be<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>fore +mounting, unless they are allowed time to eat +them. If a horse has a piece of sugar or apple in his +mouth, the bit will be worse than useless; it will +irritate him, as he can not open his mouth without +dropping the delicacy, and he can not swallow it if +he gives his head properly.</p> + +<p>I have noticed that most gentlemen riding with +ladies place themselves on the right side; but this +seems to me a mistake, where the rule of the road is +to pass to the right, because it is the lady who protects +her companion, and not he who shields her. +Besides, he takes the place where his horse is most +likely to be quiet, as no one has the right to pass +inside him. Still further, should the lady's horse +become frightened, he will be seriously embarrassed +on the right side, with the reins in his left hand; +and, if she should fall, what can he do? He can +only transfer his reins to the right hand, and endeavor +to push her into her saddle with his left; +and, if they are going fast, this will not be easy.</p> + +<p>I may say here, that in ninety-five cases out of +a hundred the lady falls to the right. If the gentleman +is riding on her left, he gives up to her the best +place, and protects her legs; she can use her whip +more freely; he has the use of his right hand to +stop or quiet her horse; he can arrange her skirt, +should she need his help; if she falls, he has but to +seize her left arm, and draw her toward him, calculating +the strength which he employs, and he may +even lift her from the saddle.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p> + + + + +<h2><a name="CHAPTER_IV" id="CHAPTER_IV">CHAPTER IV.</a></h2> + +<p class="chapt-summary">Resistances of the horse.</p> + + +<p class="p2">In all the best riding-schools of Europe two posts +are firmly fixed into the ground, parallel with and +about twenty paces from one of the short sides of +the school. These are called pillars, and between +them is fastened a horse who is trained to rear or to +kick at command, in order that the teacher may explain +to his pupils what they must do when they +encounter one or other of these resistances. These +pillars are almost unknown in riding-schools in this +country, and the reason of their absence may be +found, I think, in the moral qualities of the American +horse, which are really astonishing when looked +at from the point of view of animal character.</p> + +<p>A teacher should, however, give his pupils some +instructions about the most common tricks or vices +of the horse, which are usually only defensive action +on his part. Before any active form of resistance, +the horse always makes a well-marked pause; for +instance, in order to rear, he stops his motion forward, +draws his hind legs under him, throws his +weight on them, and lifts his fore legs from the<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> +ground, holding his head high. When he is almost +upright on his hind legs, he stands for a longer or +shorter time, moving his fore feet as if beating the +air, and then either comes down to earth again or +falls backward, which is acknowledged to be the +most dangerous thing which can happen on horseback. +If the rider feels that her horse is on the +point of going over with her, she must instantly slip +her foot out of the stirrup, loosen the hold of her leg +on the pommel, and lean as far to the right as she +can, turning her body to the left in order to fall on +the right of the horse, who almost always falls to the +left, and, as soon as she is on the ground, she must +scramble away from her horse as quickly as possible.</p> + +<p>The best way of preventing a horse from rearing +is not allowing him to stop; and, if it should be too +late or too difficult to manage this, all effects of the +hands should stop at once, and the rider should +attack his right flank with her whip vigorously. If +a horse rears habitually, he should be got rid of.</p> + +<p>In order to kick, on the contrary, the horse braces +himself with his fore legs, lifting his hind quarters by +a contraction of his hind legs; and, when his croup +is in the air, he kicks as hard as he can with his hind +legs, and brings them suddenly to the ground again, +holding his head low and sticking out his neck meanwhile.</p> + +<p>An inexperienced rider may be frightened by the +shock of this movement, which is very disagreeable, +besides being dangerous to people behind; but, with<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> +calm presence of mind and a little energy, this trick +may be fought without too much annoyance. In +this case also the great thing is to hinder the horse +from stopping, by keeping his head up; and, if, in +spite of the rider, he gets it down and his legs braced +in front of him, she should lean very far back and +strike one or two vigorous blows with her whip on +the lower part of the neck where it joins the chest, +trying at the same time to lift the head with the reins.</p> + +<p>Some teachers recommend using the whip on the +flank, as in rearing, and I usually do this myself; +but I have always noticed that the horse kicks again +at least once while going forward; so I do not recommend +this for a lady.</p> + +<p>In bucking, the horse puts his head down, stiffens +his fore legs, draws his hind legs somewhat under +him, and jumps forward, coming down on all four +feet at once, and jumping again almost immediately.</p> + +<p>Without being particularly dangerous, this vice is +very unpleasant, as it jars the rider terribly. To neutralize +the shock, therefore, as much as she can, she +must sit very far back, lean her body back, lift her +hands vigorously, and try to make her horse go forward +and slightly to the right.</p> + +<p>When a horse refuses to slacken his pace, or to +stop when his rider wishes it, he is running away +with her, and he does this progressively—that is, if he +is at a walk he will not stop when he feels the bit, but +shakes his head, quickens his pace to a trot, throws +his head into the air, or holds it down, bearing against<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> +the bit, breaks into a gallop, and goes faster and +faster until he is at full speed; and, once arrived at +this point, he is quite capable of running straight into +a wall or jumping over a precipice.</p> + +<p>Some high authorities maintain that this state of +the horse is one of temporary insanity; and this theory +is admissible in certain cases where, when the animal +is stopped, the nostrils are found to be very red +and the eyes bloodshot; but, in most cases, horses +run away through sudden fright, or from fear of punishment, +or because they are in pain from one cause +or another. When a horse is subject to this fault, +his rider should give him to a man, either a skilled +amateur or a professional rider, as I have seen very +few ladies who could undertake the proper treatment +without danger.</p> + +<p>Such a horse being put into my hands for training, +I take him to some place where the footing is +good and where he can have plenty of space, which +means plenty of time for me; and, once there, I provoke +him to run away, in order that I may find out +why he does so. If he fights against my hand, shuts +his mouth, or throws his head in the air, as soon as he +has stopped I carefully examine his mouth, his throat, +his breathing, his sight, his loins, and his houghs. +Sometimes the mouth is without saliva, the lips are +rough and irritated, the bars are dry, bruised, and +even cut; and in that case I try to see whether the +bad habit does not come from severe bitting, or too +tight a curb-chain, or perhaps the teeth may be in<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> +bad order. A few flexions of the jaw and neck will +tell me at once if the mouth is the cause of the +trouble; but I must make sure that this bad state of +the mouth is the cause, and not the consequence.</p> + +<p>The sight of a horse is often defective; the sun +in his eyes dazzles and frightens him; or else a defective +lens makes objects appear larger to him than +they really are; or he may be near-sighted, and consequently +nervous about what he can not see; and +a moving bird, or a bit of floating paper, is enough +to make him bolt.</p> + +<p>Sometimes the throat is sore inside, and then the +horse suffers from the effect of the bit on the extremity +of his neck when he gives his head. Bolting +is often caused by suffering in some internal organ; +and in that case the breathing is apt to be oppressed.</p> + +<p>But in seven cases out of ten the cause of a +horse's running away is to be found in his hind +quarters. The loins are too long, weak, and ill-attached, +so that when he carries a heavy weight the +spinal column feels an insupportable pain. What +man would not become mad if he were forced to +walk, trot, and gallop, carrying a weight which caused +him frightful suffering? The remembrance of an +old wound made by the saddle is sometimes enough +to cause a nervous and sensitive animal to bolt. The +legs are sometimes beginning to throw out curbs or +spavins, or they may be too straight and narrow, +lacking the strength necessary to carry the horse at<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> +a regular gait; so he suffers, loses his head, and runs +away.</p> + +<p>We will suppose the horse to be well-proportioned, +with his sight and organs in a normal condition, +his mouth only being hurt as a consequence, +not as a cause. I change the bit, and substitute an +easier one, treating the mouth meanwhile with salt, +or alum, or marsh-mallow; and yet my horse still runs +away. In that case it is from one of two reasons: +either it is from memory and as a habit, or else it is +the result of ill-temper. If the former, I take him +to some spot where I can have plenty of space and +time, preferably a sea-beach with soft sand, or a large +ploughed field; and there I let him go, stopping when +he stops, and then making him go on again, and in +this way he soon learns that submission is the easiest +way for him. If he should be really ill-tempered, +I would mount him in the same place with sharp +spurs and a good whip, and before long his moral +condition would be much more satisfactory.</p> + +<p>But often a horse takes fright and runs away when +one least expects it. Allow me to say that nothing +which a horse can do should ever be unexpected. +On horseback one should be ready for emergencies; +and the best way to avoid them is to prevent the +horse from a dangerous initiative. Besides, the +horse does not get to his full speed at once; and, if +the rider keeps calm, she will probably be able to +master him before he reaches it. But, if, in spite of +herself, her horse is running at a frightful pace, what<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> +should be done? In the first place, she must try to see +that he does not slip and fall; and, in any case, she +should take her foot out of the stirrup, let her whip +drop if necessary, choose at once a straight line, if +that be possible, and give to her horse with hands +and leg, calming him with the voice, and speaking +loud, in order that it may reach his ear. She should +endeavor to remain calm, and to take long breaths; +then, when his first rush is over, she should lift her +wrists, holding the reins short, lean very far back, +and saw his mouth vigorously with the bridle, two +reins being in either hand. "Sawing" is the successive +action of the two hands acting separately +on the mouth of the horse, and, by pulling his head +from side to side, it throws him out of his stride and +checks his speed. I can not say too often that it is +easier to prevent a horse from running away than it +is to stop him when he is once fairly off.</p> + +<p>It would be very difficult to foresee all the possible +defensive actions of the horse and the means +of counteracting them; but, as the rider gains experience, +she will get to recognize these actions from +the outset, and counteract them so naturally that +she will scarcely think about it. To a good rider +there is no such thing as a restive horse. The animal +either knows what to do, or he does not. If he +knows, the rider, by the power of her effects, forces +the horse to obey; if he does not know, the rider +trains him. If a horse resists, there is always a +cause; and that cause should be sought and de<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>stroyed, +after which the horse will ask no better than +to behave himself.</p> + +<p>If a horse fidgets and frets to get back to the +stable (which is a common and annoying trick), he +should be turned round and walked for a moment +or two in an opposite direction, away from home, +and in a fortnight he will have lost the bad habit.</p> + +<p>Horses often have a trick of fighting the hand by +running out their heads and trying to pull the reins +through the fingers of their riders. This comes from +stiffness in the hind quarters, and will stop as soon +as the horse has been taught, by progressive flexions, +to keep his hind legs under him.</p> + +<p>A timid horse may always be reassured and quieted +by a persevering rider, provided his sight is not bad; +and he should never be punished for shying, as that +comes from fright; he should be allowed time to get +used to the sight or sound of a terrifying object, and, +when he is convinced that it will not hurt him, he +will disregard it in future, as, although timid, he is +not a coward. For instance: if a horse shies at a +gnarled stump in a country lane, his rider should +stop and let him come slowly up to it, which he will +do with every appearance of fear. She should cheer +him with her voice, and caress him with her hand; +and, when once he has come near enough to smell +the dreaded shape, he will give a contemptuous sniff, +and never notice it after.</p> + +<p>If a horse should fall with his rider, she should +at once slip her foot out of the stirrup, lift her right<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> +leg over the pommel, and turn her body quickly to +the left. If the horse falls to the right, she will fall +on him, which will deaden the shock, and, as his legs +will be on the left, she can get away from his feet +easily; if he falls to the left, she must try to let her +head fall to the right, and, if she has time, she will +attempt to fall to the left, on her knees, and must +get away from the horse on her hands and knees +with all speed.</p> + +<p>If she should be thrown from her saddle, she +must not stiffen herself, and must keep her head as +high as possible.</p> + + +<p>CONCLUSION.</p> + +<p>Before closing this slight treatise, I would most +respectfully say a parting word to the ladies for +whose use I have prepared it.</p> + +<p>The principle of the proper control of a horse by +a lady may be thus roughly summed up: Keep him +well under your control, but also keep him going +forward; <i>carry</i> him forward with the pressure of +your left leg and with the whip, which must take +the place of the right leg. Never let a horse take a +step at his own will; and, as soon as he shows the first +sign of resistance, try to counteract it. Great care +and tact must be used to avoid sudden changes of +gait, which irritate a horse by throwing him off his +balance and measure; and he should never be teased +with the whip and spur in order that he may prance +and fidget, for such foolishness on horseback proves<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> +nothing, and is only fit to amuse ignorant spectators.</p> + +<p>Be prudent; accidents always happen too soon. +Be calm, if you wish your horse to be so. Be just, +and he will submit to your will. Remember that, in +riding, the greatest beauty consists in being simple +in your means of control; do not appear to be always +occupied with your horse, for you and he should +seem to have the same will.</p> + +<p>Do not read or study one method only; there is +good to be found in all.</p> + + +<h3 class="center">THE END.</h3> +<hr class="chap" /><p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> + + + + +<h2><a name="Hygiene_for_Girls" id="Hygiene_for_Girls"><span class="smcap">Hygiene for Girls</span>.</a></h2> + +<p class="center">By IRENÆUS P. DAVIS, M. D.</p> + +<p class="center"><i>18mo. Cloth, $1.25.</i></p> + + +<p>"Many a woman whose childhood was bright with promise endures +an after-life of misery because, through a false delicacy, she remained +ignorant of her physical nature and requirements, although on all other +subjects she may be well-informed; and so at length she goes to her +grave mourning the hard fate that has made existence a burden, and +perhaps wondering to what end she was born, when a little knowledge +at the proper time would have shown her how to easily avoid those +evils that have made her life a wretched failure."—<i>From Introduction.</i></p> + +<p>"A very useful book for parents who have daughters is 'Hygiene +for Girls,' by Irenæus P. Davis, M. D., published by D. Appleton & Co. +And it is just the book for an intelligent, well-instructed girl to read +with care. It is not a text-book, nor does it bristle with technical +terms. But it tells in simple language just what girls should do and +not to do to preserve the health and strength, to realize the joys, and +prepare for the duties of a woman's lot. It is written with a delicacy, +too, which a mother could hardly surpass in talking with her daughter."—<i>Christian +at Work.</i></p> + +<p>"If the reader is a father, and has a daughter of suitable age, let +him place this volume in her hands with an earnest and affectionate +charge to read it through deliberately, with much thought and self-examination; +if a mother, let her sit down with her daughter and read +together with her these chapters, with such comments and direct +application of its teachings, and such instructions and tender entreaties +coming of personal experience and observation, as are befitting +only the sacred confidences of mother and daughter. It is the most +sensible book on the subject treated we have ever read—simple and +intelligible, the language always fitting and delicate in treating subjects +requiring judgment and discretion, and pervaded with such a +parental and solicitous kindness that it can not fail to win the attention +and confidence of every young woman."</p> + +<p><i>For sale by all booksellers; or sent by mail, post-paid, on receipt of price.</i></p> + +<p>New York: D. APPLETON & CO., 1, 3, & 5 Bond Street.</p><hr class="chap" /><p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> + + + + +<p>"<i>We can not too highly commend this latest scheme for presenting +good literature in comely and convenient shape, at extremely low +prices.</i>"—<span class="smcap">New York Evening Post.</span></p> + +<hr class="tb" /> +<p class="center">APPLETONS'</p> + +<h2><span class="smcap">New Handy-Volume Series.</span></h2> +<hr class="tb" /> + +<p class="center">Brilliant Novelettes; Romance, Adventure, Travel, Humor; +Historic, Literary, and Society Monographs.</p> +<hr class="tb" /> + +<div class="adverts"> +<p>1. JET: <span class="smcap">Her Face or her Fortune?</span> A Story. By Mrs. <span class="smcap">Annie Edwardes</span>. +Paper, 30 cts.</p> + +<p>2. A STRUGGLE. A Story. By <span class="smcap">Barnet Phillips</span>. Paper, 25 cts.</p> + +<p>3. MISERICORDIA. A Story. By <span class="smcap">Ethel Lynn Linton</span>. Paper, 20 cts.</p> + +<p>4. GORDON BALDWIN, and THE PHILOSOPHER'S PENDULUM. +By <span class="smcap">Rudolph Lindau</span>. Paper, 25 cts.</p> + +<p>5. THE FISHERMAN OF AUGE. A Story. By <span class="smcap">Katharine S. Macquoid</span>. +Paper, 20 cts.</p> + +<p>6. THE ESSAYS OF ELIA. First Series. By <span class="smcap">Charles Lamb</span>. Paper, +30 cts; cloth, 60 cts.</p> + +<p>7. THE BIRD OF PASSAGE. By <span class="smcap">J. Sheridan Le Fanu</span>. Paper, 25 +cts.</p> + +<p>8. THE HOUSE OF THE TWO BARBELS. By <span class="smcap">André Theuriet</span>. +Paper, 20 cts.</p> + +<p>9. LIGHTS OF THE OLD ENGLISH STAGE. Paper, 30 cts.</p> + +<p>10. IMPRESSIONS OF AMERICA. By <span class="smcap">R. W. Dale</span>. Paper, 30 cts.</p> + +<p>11. THE GOLDSMITH'S WIFE. A Story. By Madame <span class="smcap">Charles Reybaud</span>. +Paper, 25 cts.</p> + +<p>12. A SUMMER IDYL. A Story. By <span class="smcap">Christian Reid</span>. Paper, 30 cts.; +cloth, 60 cts.</p> + +<p>13. THE ARAB WIFE. A Romance of the Polynesian Seas. Paper, +25 cts.</p> + +<p>14. MRS. GAINSBOROUGH'S DIAMONDS. A Story. By <span class="smcap">Julian +Hawthorne</span>. Paper, 20 cts.</p> + +<p>15. LIQUIDATED, and THE SEER. By <span class="smcap">Rudolph Lindau</span>. Paper, +25 cts.</p> + +<p>16. THE GREAT GERMAN COMPOSERS. Paper, 30 cts.; cloth, 60 cts.</p> + +<p>17. ANTOINETTE. A Story. By <span class="smcap">André Theuriet</span>. Paper, 20 cts.</p> + +<p>18. JOHN-A-DREAMS. A Tale. Paper, 30 cts.</p> + +<p>19. MRS. JACK. A Story. By <span class="smcap">Frances Eleanor Trollope</span>. Paper, +20 cts.</p> + +<p>20. ENGLISH LITERATURE. By <span class="smcap">T. Arnold</span>. From the <i>Encyclopædia +Britannica</i>. Paper, 25 cts.<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> + +<p>21. RAYMONDE. A Tale. By <span class="smcap">André Theuriet</span>. Paper, 30 cts.</p> + +<p>22. BEACONSFIELD. By <span class="smcap">George Makepeace Towle</span>. Paper 25 cts.; +cloth, 60 cts.</p> + +<p>23. THE MULTITUDINOUS SEAS. By <span class="smcap">S. G. W. Benjamin</span>. Paper, +25 cts.</p> + +<p>24. THE DISTURBING ELEMENT. By <span class="smcap">Charlotte M. Yonge</span>. Paper, +30 cts.</p> + +<p>25. FAIRY TALES: their Origin and Meaning. By <span class="smcap">John Thackray +Bunce</span>. Paper, 25 cts.</p> + +<p>26. THOMAS CARLYLE: His Life—his Books—his Theories. By <span class="smcap">Alfred +H. Guernsey</span>. Paper, 30 cts.; cloth, 60 cts.</p> + +<p>27. A THOROUGH BOHEMIENNE. A Tale. By Madame <span class="smcap">Charles +Reybaud</span>. Paper, 30 cts.</p> + +<p>28. THE GREAT ITALIAN AND FRENCH COMPOSERS. By +<span class="smcap">George T. Ferris</span>. Paper, 30 cts.; cloth, 60 cts.</p> + +<p>29. RUSKIN ON PAINTING. With a Biographical Sketch. Paper, 30 +cts.; cloth, 60 cts.</p> + +<p>30. AN ACCOMPLISHED GENTLEMAN. By <span class="smcap">Julian Sturgis</span>, author +of "John-a-Dreams." Paper, 30 cts.; cloth, 60 cts.</p> + +<p>31. AN ATTIC PHILOSOPHER IN PARIS; or, a Peep at the World +from a Garret. Being the Journal of a Happy Man. From the +French of <span class="smcap">Emile Souvestre</span>. Paper, 30 cts.; cloth, 60 cts.</p> + +<p>32. A ROGUE'S LIFE: From his Birth to his Marriage. By <span class="smcap">Wilkie +Collins</span>. Paper, 25 cts.; cloth, 60 cts.</p> + +<p>33. GEIER-WALLY: A Tale of the Tyrol. From the German of <span class="smcap">Wilhelmine +von Hillern</span>. Paper, 30 cts.; cloth, 60 cts.</p> + +<p>34. THE LAST ESSAYS OF ELIA. By <span class="smcap">Charles Lamb</span>. Paper, 30 +cts.; cloth, 60 cts.</p> + +<p>35. THE YELLOW MASK. By <span class="smcap">Wilkie Collins</span>. Paper, 25 cts.; cloth, +60 cts.</p> + +<p>36. A-SADDLE IN THE WILD WEST. A Glimpse of Travel. By +<span class="smcap">William H. Rideing</span>. Paper, 25 cts.; cloth, 60 cts.</p> + +<p>37. MONEY. A Tale. By <span class="smcap">Jules Tardieu</span>. Paper, 25 cts.</p> + +<p>38. PEG WOFFINGTON. By <span class="smcap">Charles Reade</span>. Paper, 30 cts,; cloth, +60 cts.</p> + +<p>39. "MY QUEEN." Paper, 25 cts.</p> + +<p>40. UNCLE CÉSAR. By Madame <span class="smcap">Charles Reybaud</span>. Paper, 25 cts.</p> + +<p>41. THE DISTRACTED YOUNG PREACHER. By <span class="smcap">Thomas Hardy</span>. +HESTER. By <span class="smcap">Beatrice May Butt</span>. Paper, 25 cts.</p> + +<p>42. TABLE-TALK. To which are added Imaginary Conversations of +Pope and Swift. By <span class="smcap">Leigh Hunt</span>. Paper, 30 cts.; cloth, 60 cts.</p> + +<p>43. CHRISTIE JOHNSTONE. By <span class="smcap">Charles Reade</span>. Paper, 30 cts.; +cloth, 60 cts.</p> + +<p>44. THE WORLD'S PARADISES. By <span class="smcap">S. G. W. Benjamin</span>. Paper, +30 cts.</p> + +<p>45. THE ALPENSTOCK. Edited by <span class="smcap">William H. Rideing</span>. Paper, +30 cts.<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p> + +<p>46. COMEDIES FOR AMATEUR ACTING. Edited, with a Prefatory +Note on Private Theatricals, by <span class="smcap">J. Brander Matthews</span>. Paper, +30 cts.</p> + +<p>47. VIVIAN THE BEAUTY. By Mrs. <span class="smcap">Annie Edwards</span>. Paper, 30 +cts.; cloth, 60 cts.</p> + +<p>48. GREAT SINGERS: Faustina Bordoni to Henrietta Sontag. Paper, +30 cts.; cloth, 60 cts.</p> + +<p>49. A STROKE OF DIPLOMACY. From the French of <span class="smcap">Victor Cherbuliez</span>. +Paper, 20 cts.</p> + +<p>50. LORD MACAULAY: His Life—his Writings. By <span class="smcap">Charles H. +Jones</span>. Paper, 30 cts.; cloth, 60 cts.</p> + +<p>51. THE RETURN OF THE PRINCESS. By <span class="smcap">Jacques Vincent</span>. +Paper, 25 cts.</p> + +<p>52. A SHORT LIFE OF CHARLES DICKENS. With Selections from +his Letters. By <span class="smcap">Charles H. Jones</span>. Paper, 35 cts.; cloth, +60 cts.</p> + +<p>53. STRAY MOMENTS WITH THACKERAY. His Humor, Satire, +and Characters. By <span class="smcap">William H. Rideing</span>. Paper, 30 cts.; cloth, +60 cts.</p> + +<p>54. DR. HEIDENHOFF'S PROCESS. By <span class="smcap">Edward Bellamy</span>. Paper, +25 cts.</p> + +<p>55, 56. SECOND THOUGHTS. By <span class="smcap">Rhoda Broughton</span>. Vols I and II. +Paper, 25 cts. each.</p> + +<p>57. TWO RUSSIAN IDYLS. Marcella, Esfira. Paper, 30 cts.</p> + +<p>58. STRANGE STORIES. By <span class="smcap">Erckmann-Chatrian</span>. Paper, 30 cts.</p> + +<p>59. LITTLE COMEDIES. By <span class="smcap">Julian Sturgis</span>. Paper, 30 cts.</p> + +<p>60. FRENCH MEN OF LETTERS. By <span class="smcap">Maurice Mauris</span> (Marquis di +Calenzano). Paper, 35 cts.</p> + +<p>61. A SHORT LIFE OF WILLIAM EWART GLADSTONE. By +<span class="smcap">Charles H. Jones</span>. Paper, 35 cts.</p> + +<p>62. THE FORESTERS. By <span class="smcap">Berthold Auerbach</span>. Paper, 50 cts.</p> + +<p>63. POVERINA. An Italian Story. Paper, 30 cts.</p> + +<p>64. MASHALLAH! A Flight into Egypt. 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