,illustration3 ,insultare solopet       
gressus glomerare superbos4             
,a    ,,new ,,system    ,,of            
,,horsemanship3      ,from the ,french  
of      ,monsieur ,bourgelat4           
,,by      ,,richard ,,berenger1 ,esq2   
,content1 if hence th' ,unlearn'd their 
,wants may view1    ,the ,learn'd       
reflect on what before they knew4       
,pope's ,essay on ,crit4                
,,london3    ,printed by ,henry         
,woodfall1    ,for ,paul ,vaillant in   
the ,strand1 facing                     
,southampton-,street4    ,m4,,dcc4,,liv4
          ,,the ,,translator's          
,,preface4      ,,it is not my ,design1 
in the ,task ,i undertake of giving some
  ,account of this ,work1 as well as of 
the ,art which is the ,subject of  it1  
to trace its ,origin back into past     
,times1 or to wander in search  of it in
 the ,darkness and ,confusion of remote 
,antiquity4 ,let it  suffice to say1    
that though its ,beginning1 as well as  
that of other  ,arts1 was imperfect1 yet

 its ,use1 and the ,entertainment it    
affords1  have been known and tasted in 
all ,ages4 ,but however distinguish'd it
  may be by the ,notice of the ,great1  
who have at all ,times deign'd to       
profess and practise it2 it is yet less 
entitled to our ,regard for  these      
,distinctions1 than for the real        
,advantages we derive from it4  ,riding 
consists of two ,parts1 the useful and  
the ornamental4 ,that  the latter of    
these may be dispensed with1 is most    
readily granted2  but that it behoves   
every one who puts himself upon a ,horse
 to have  some ,knowledge of the first1 
is most evident4--,for who would trust  
to  the ,mercy of an ,animal that may   
prove wild and ungovernable1 who knows  
himself to be incapable of controuling  
him1 and of acting for his own  ,safety8
 ,who would venture alone into a        
,vessel1 that can neither row1  nor     
manage a ,sail1 but must trust entirely 
to the ,winds and ,tide8  ,yet is this  
the ,case with the ,generality of       

,mankind1 who are carried  upon the     
,back of a ,horse1 and think they ride4 
,the ,utility of  this ,art consists    
then in knowing how to guide and direct 
your ,horse  as you please1 and in      
reducing him to ,obedience1 so as to    
make him  execute readily what you      
require of him4 ,thus far it is to be   
wish'd  every ,person who is conversant 
with ,horses1 would endeavour to attain4
  ,the ornamental ,part1 ,i have already
 said1 is not so requisite  to be known3
 ,it can only be called an              
,accomplishment1 and placed  among the  
superfluous but refin'd ,pleasures of   
,life4 ,in what ,esteem  and ,honour    
however it has constantly been held1    
abundantly appears  from the ,schools   
and ,academies every where erected for  
teaching its  ,elements1 as well as from
 the ,number of ,books1 ancient and     
modern1  given to the ,world by eminent 
and accomplished ,persons who have      
studied and practis'd it4 ,among these  
our illustrious ,countryman1  ,william  

,cavendish1 ,duke of ,newcastle1 has the
 highest ,claim to  our ,praise and     
,acknowledgments4 ,it would be needless 
to describe his  ,excellencies2 his     
,character1 as a ,horseman1 is          
universally known1 and  universally     
admir'd4 ,the ,truth and ,soundness of  
his ,principles1 and  the ,extensiveness
 of his ,knowledge1 have opened to us an
 easier1 a  shorter1 and more certain   
,way to ,perfection in the ,art1 than   
was known  before4 ,his ,precepts have  
accordingly been adopted by all         
succeeding  ,professors1 and his        
,writings consider'd as the ,oracle of  
,horsemanship1  notwithstanding a ,want 
of ,method and ,exactness1 which has    
been objected  to them4 ,to remedy these
 ,imperfections1 is the ,design of the  
present  ,undertaking1 and the ,labours 
of a judicious and experienced          
,foreigner1  must consummate in the     
,knowledge of the ,art he professes4 ,he
 has  presented us with a new ,system of
 ,horsemanship1 extracted from the      

,rules of that great ,master4 ,the      
,method and ,conciseness with which he  
has digested the ,whole1 have made the  
,copy much less than the ,original1  but
 it is a small well-polished ,gem4 ,to  
speak truth1 he has made  the ,subject  
so much his own by the ,refinement of   
his ,remarks1 the  ,justness of his     
,reasoning1 and the ,light he has       
diffused through it1  that it must have 
the ,merit of an ,original2 at least the
 ,reader will  be divided to whom he    
shall render most ,thanks1 whether to   
him who has  given the ,food1 or to him 
who has prepar'd and set it before us   
with so  much ,elegance and ,order4     
,this at least is our ,author's         
,praise4----,the  ,translator has       
endeavoured to do him as much ,justice1 
in the following  ,sheets1 as he has    
done his great ,original2 sensible of   
the ,danger of  so difficult an         
,enterprize1 but prompted to it in hopes
 of making  his ,merit more known4 ,he  
translated the ,work1 that the          

,treasures it  contains may be gathered 
by those who are so unfortunate as to   
want  this ,assistance to obtain them4  
,he has been as faithful to his ,author1
  as the ,languages will allow1 judging 
that to be the surest way of doing  him 
,justice4 ,in some ,places however he   
has used 7as all ,translators  must7 a  
discretionary ,power4 ,every ,art has   
technical terms1 or ,words  of its own2 
these he has preserved in the           
,translation1 the ,english  affording   
none adequate to them4 ,he has given no 
,notes or ,comments1  imagining the     
,original can1 and hoping the           
,translation will1 want  none4 ,of this 
however his ,readers will be the best   
,judges2 he will say  no more of        
himself1 but that he has endeavoured to 
make the ,work as  perfect as he could2 
and for this ,reason will be very ready 
to own any  ,faults that may be pointed 
out2 for1 though desirous of            
,approbation1 he  is not vain enough to 
think1 there may not be room for        

,censure4        ,,table of ,,chapters4 
,i4 ,of the ,horseman's ,seat           
page #a         ,,ii4 ,of the ,hand1 and
 its ,effects                           
#aj        ,,iii4 ,of ,disobedience in  
,horses1 and the ,means to correct it   
#ai         ,,iv4 ,of the ,trot         
#cc          ,v4 ,of the ,stop          
#dc         ,,vi4 ,of teaching a ,horse 
to go backward                          
#ej        ,,vii4 ,of the uniting or    
putting a ,horse together               
#ed       ,,viii4 ,of the ,pillars      
#fj         ,,ix4 ,of ,aids and         
,corrections                            
#fd          ,x4 ,of the ,passage       
#ge         ,,xi4 ,of working with the  
,head and ,croupe to the ,wall          
#gi        ,,xii4 ,of ,changes of the   
,hand1 large and narrow1 and of ,voltes 
and ,demi-voltes                        
#hb       ,,xiii4 ,of the ,aids of the  
,body                                   
#ib        ,,xiv4 ,of the ,gallop       
#ih         ,,xv4 ,of ,passades         

#ajg        ,,xvi4 ,of ,pesades         
#aaa       ,,xvii4 ,of the ,mezair      
#aae      ,,xviii4 ,of ,curvets         
#aag        ,,xix4 ,of ,croupades and   
,balotades                              
#abi         ,,xx4 ,of ,caprioles       
#acb        ,,xxi4 ,of the ,step and    
,leap                                   
#adb          ,,to    ,,sidney ,,medows1
 ,esq2    ,the ,following ,,sheets1     
,eminently due to ,him from their       
,subject1    ,and not ,less so    ,from 
the ,,author's sincere ,regard    ,,to  
,his ,person and ,character1      ,are  
,inscrib'd1      ,by his ,faithful and  
,obedient ,servant1    ,,richard        
,,berenger4          ,,errata4          
,page #cf4 for ,remingue read ,ramingue4
 p4 #ch4 dele and4 p4 #ff4  for in read 
it4 p4 #gi4 for ,care read ,ease4 p4    
#hj4 for acting  read aiding4 p4 #he4   
dele so4 p4 #aaf4 for ,lines read       
,times4            ,a    ,,new ,,system 
,,of    ,,horsemanship4          ,,chap4
 ,i4    ,of the ,horseman's ,seat4      

,,the ,principles and ,rules which have 
hitherto been given for the  ,horseman's
 ,seat1 are various1 and even opposite1 
according as they have  been adopted by 
different ,masters1 and taught in       
different ,countries2  almost each      
,master1 in particular1 and every       
,nation1 having certain  ,rules and     
,notions of their own4 ,let us see1     
however1 if ,art can  discover nothing  
to us that is certain and invariably    
true4    ,,the ,italians1 the           
,spaniards1 the ,french1 and1 in a word1
 every  ,country1 where ,riding is in   
repute1 adopt each a ,posture which is  
peculiar to themselves2 the ,foundation 
of their general ,notions1 is1 if  ,i   
may so say1 the same1 but yet each      
,country has prescribed ,rules for  the 
,placing of the ,man in the ,saddle4    
,,this ,contrariety of ,opinions1 which 
have their ,origin more in  ,prejudice1 
than in ,truth and ,reality1 has given  
rise to many vain  ,reasonings and      
,speculations1 each ,system having its  

,followers2 and1  as if ,truth was not  
always the same and unchangeable1 but at
 liberty  to assume various1 and even   
opposite ,appearances2 sometimes one    
,opinion prevailed1 sometimes another   
dazzled2 insomuch1 that those who       
understand nothing of the ,subject1 but 
yet are desirous of informing           
themselves1 by searching it to the      
,bottom1 have hitherto been lost in     
,doubt and ,perplexity4    ,,there is   
nevertheless a sure and infallible      
,method1 by the ,assistance  of which it
 would be very easy to overturn all     
these ,systems3 ,but not  to enter into 
a needless ,detail1 of the extravagant  
,notions which the  ,seat alone has     
given rise to1 let us trace it from     
,principles by so  much the more solid1 
as their ,authority will be supported by
 the most  convincing and self-evident  
,reasons4    ,,in order to succeed in an
 ,art where the ,mechanism of the ,body 
is  absolutely necessary1 and where each
 ,part of the ,body has proper          

,functions1 which are peculiar to it1 it
 is most certain1 that all and  every   
,part of the ,body should be in a       
natural ,posture2 were they in  an      
imperfect ,situation1 they would want   
that ,ease and ,freedom which  is       
inseparable from ,grace2 and as every   
,motion which is constrained1  being    
false in itself1 is incapable of        
,justness2 it is clear that the  ,part  
so constrained and forced would throw   
the whole into ,disorder1  because each 
,part belonging to1 and depending upon  
the whole ,body1 and  the ,body         
partaking of the ,constraint of its     
,parts1 can never feel that  fix'd      
,point1 that just ,counterpoise and     
,equilibre in which alone a fine  and   
just ,execution consists4    ,,it is not
 therefore sufficient in giving         
,directions for the ,seat1 to  keep     
altogether to trivial and common ,rules 
which may be followed or  left at       
pleasure2 we ought to weigh and examine 
them with ,skill and  ,judgment1 in     

order to know how to apply them properly
 and suitably  as the ,shape and ,figure
 of the ,person to whom we undertake to 
give a  ,seat will allow2 for many      
,motions and ,attitudes that appear easy
 and  natural in one ,man1 in another   
are awkward and ungraceful2 whence all  
those ,faults and ,difficulties which in
 many ,persons have been thought        
insuperable2 whereas a little more      
,knowledge1 a closer ,attention1 and a  
more serious ,examination into the      
,principles of the ,art1 would convert  
in the same ,subject an awkward and     
displeasing ,appearance1 into an  easy1 
natural1 and graceful ,figure1 capable  
of drawing the ,eyes even of  ,judges   
themselves4    ,,indeed the ,objects1 to
 which a ,master1 anxious for the       
,advancement  of his ,pupil1 should     
attend1 are infinite4 ,to little        
,purpose will  it be to keep the        
strictest ,eye upon all the ,parts and  
,limbs of his  ,pupil's ,body2 in vain  
will he endeavour to remedy all the     

,defects and  ,faults which are found in
 the ,posture of almost every ,scholar  
in the  ,beginning2 unless he is        
intimately acquainted with1 and apprized
 of1  the close ,dependance and         
,connection that there is between the   
,motions  of each ,part of the ,body1   
and all the ,rest2 a ,correspondence    
caused  by the reciprocal ,action of the
 ,muscles which govern and direct them2 
unless therefore he is ,master of this  
,secret1 and has this ,clue to the      
,labyrinth1 he will never attain the    
,end he proposes1 particularly in  his  
first ,lessons1 upon which the ,success 
of the rest always depends4    ,,these  
,principles being established1 let us   
reason in consequence of  them2 we shall
 display them with great ,force and     
,clearness4    ,,the ,body of a ,man is 
divided into three ,parts1 two of which 
are  moveable1 the other immoveable4    
,,the ,first of the two moveable ,parts 
is the ,trunk or ,body1 down to the     
,waist2 the ,second is from the ,knees  

to the ,feet2 so that the remaining     
immoveable ,part is that between the    
,waist and the ,knees4    ,,the ,parts  
then which ought to be without ,motion1 
are the ,fork or ,twist  of the         
,horseman1 and his ,thighs3 ,now1 that  
these ,parts may be kept  without       
,motion1 they ought to have a certain   
,hold and ,center1 if ,i may  so say1 to
 rest upon1 which no ,motion that the   
,horse can make1 can  disturb or loosen2
 this ,point or ,center is the ,basis of
 the ,hold which  the ,horseman has upon
 his ,horse1 and is what is called the  
,seat4  ,now1 if the ,seat is nothing   
else but this ,point or ,center1 it must
  follow1 that not only the ,grace1 but 
the ,symmetry and true ,proportion  of  
the whole ,attitude depends upon those  
,parts of the ,body that are            
immoveable4    ,,let the ,horseman then 
place himself at once upon his ,twist1  
sitting  exactly in the ,middle of the  
,saddle1 let him support this ,posture1 
in  which the ,twist alone seems to     

sustain the ,weight of the whole ,body1 
by  moderately leaning upon the         
,buttocks2 let his ,thighs be turned    
inward1  and rest flat upon the ,sides  
of the ,saddle1 and in order to this1   
let  the ,turn of the ,thighs proceed   
directly from the ,hips1 and let him    
employ no ,force or ,strength to keep   
himself in the ,saddle1 but trust to    
the ,weight of his ,body and ,thighs2   
this is the exact ,equilibre2 in this   
consists the ,firmness of the whole     
,building2 a ,firmness which young      
,beginners are never sensible of at     
first1 but which is to be acquired1  and
 will always be attained by ,exercise   
and ,practice4    ,i demand but a       
moderate ,stress upon the ,buttocks1    
because a ,man that  sits full upon     
them1 can never turn his ,thighs flat   
upon the ,saddle2  and the ,thighs      
should always lay flat1 because the     
fleshy ,part of the  ,thigh being       
insensible1 the ,horseman would not     
otherwise be able to  feel the ,motions 

of his ,horse4 ,i insist that the ,turn 
of the ,thigh  should be from the ,hip1 
because this ,turn can never be natural1
 but as  it proceeds from the ,hollow of
 the ,hip-bone4 ,i insist further1 that 
the  ,horseman never avail himself of   
the ,strength or ,help of his ,thighs2  
because1 besides that he would then be  
not only less steady1 but the  closer he
 prest them to the ,saddle1 the more    
would he be lifted above  it2 and with  
respect to his ,buttocks and ,thighs1 he
 ought always to be  in the ,middle of  
the ,saddle1 and sit down full and close
 upon it4    ,,having thus firmly placed
 the immoveable ,parts1 let us pass on  
to the  first of the ,moveable2 which   
is1 as ,i have already observed1 the    
,body  or ,trunk1 as far as to the      
,waist3 ,i comprehend in the ,body or   
,trunk1  the ,head1 the ,shoulders1 the 
,breast1 the ,arms1 the ,hands1 the     
,loins1  and the ,waist1 of the         
,horseman4    ,,the ,head should be     
free1 firm1 and easy1 in order to be    

ready for all  the natural ,motions that
 the ,horseman may make1 in turning it  
to one  ,side or the other3 ,it should  
be firm1 that is to say strait1 without 
leaning to the ,right or ,left1 neither 
advanced1 nor thrown back2 it  should be
 easy1 because if otherwise1 it would   
occasion a ,stiffness1  and that        
,stiffness affecting the different      
,parts of the ,body1  especially the    
,back-bone1 they would be without ,ease1
 and constrained4    ,,the ,shoulders   
alone influence by their ,motion the    
,breast1 the ,reins1  and the ,waist4   
,,the ,horseman should present or       
advance his ,breast2 by this his whole  
,figure opens and displays itself3 ,he  
should have a small ,hollow in his      
,loins1 and should push his ,waist      
forward to the ,pommel of the ,saddle1  
because this ,position corresponds and  
unites him to all the ,motions  of the  
,horse4 ,now1 only throwing the         
,shoulders back produces all these      
,effects1 and gives them exactly in the 

,degree that is requisite2  whereas1 if 
we were to look for the particular      
,position of each ,part  separately1 and
 by itself1 without examining the       
,connection that there  is between the  
,motions of one ,part with those of     
another1 there would  be such a ,bending
 in the ,loins1 that the ,horseman would
 be1 if ,i may  so say1 hollow-back'd2  
and as from that he would force his     
,breast  forward1 and his ,waist towards
 the ,pommel of the ,saddle1 he would be
  flung back1 and must sit upon the     
,rump of the ,horse4    ,,the ,arms     
should be bent at the ,elbows1 and the  
,elbows should rest  equally upon the   
,hips2 if the ,arms were strait1 the    
,consequence would  be1 that the ,hands 
would be infinitely too low1 or at much 
too great a  ,distance from the ,body2  
and if the ,elbows were not kept steady1
 they  would of consequence give an     
,uncertainty and ,fickleness to the     
,hand1  sufficient to ruin it for ever4 
,,it is true1 that the ,bridle-hand is  

that which absolutely ought to be       
steady and immoveable1 and one might    
conclude from hence1 that the           
,left-elbow only ought to rest upon the 
,hip1 but ,grace consists in the  exact 
,proportion and ,symmetry of all the    
,parts of the ,body1 and to  have the   
,arm on one ,side raised and advanced1  
and that of the other  kept down and    
close to the ,body1 would present but an
 awkward and  disagreeable ,appearance4 
,,it is this which determines the       
,situation of the ,hand1 which holds    
the ,switch4 ,the ,left-hand being of an
 equal ,height with the ,elbow1 so  that
 the ,knuckle of the ,little-finger1 and
 the ,tip of the ,elbow1 be  both in a  
,line2 this ,hand then being rounded    
neither too much nor too  little1 but   
just so that the ,wrist may direct all  
its ,motions2 place  your ,right-hand1  
or the ,switch-hand1 lower and more     
forward than the  ,bridle-hand2 it      
should be lower than the other ,hand1   
because if it  was upon a ,level with   

it1 it would restrain or obstruct its   
,motions2  and were it to be higher1 as 
it cannot take so great a ,compass as   
the  ,bridle-hand1 which must always be 
kept over against the ,horseman's       
,body1 it is absolutely necessary to    
keep the ,proportion of the ,elbows1    
that it should be lower than the other4 
,,the ,legs and ,feet make up the second
 ,division1 of what ,i call the         
moveable ,parts of the ,body4    ,,the  
,legs serve for two ,purposes2 they may 
be used as ,aids1 or  ,corrections1 to  
the ,animal4 ,they should then be kept  
near the ,sides of  the ,horse1 and in a
 ,line with the ,man's ,body2 for being 
near the ,part  of the ,horse's ,body   
where his ,feeling is most delicate1    
they are ready  to do their ,office in  
the ,instant they are wanted4 ,moreover1
 as they  are an ,appendix of the       
,thighs1 if the ,thigh is upon its ,flat
 in the  ,saddle1 they will1 by a       
necessary ,consequence1 be turned just  
as they  ought1 and will infallibly give

 the same ,turn to the ,feet2 because   
the  ,feet depend upon them1 as they    
depend upon the ,thighs4    ,,the ,toe  
should be held a little higher than the 
,heel1 for the lower  the ,toe is1 the  
nearer the ,heel will be to the ,sides  
of the ,horse1 and  must be in danger of
 touching his ,flank4 ,many ,persons1   
notwithstanding1  when they raise their 
,toe1 bend and twist their ,ankle1 as if
 they were  lame in that ,part4 ,the    
,reason of this is very plain2 it is    
because they  make use of the ,muscles  
in their ,legs and ,thighs2 whereas1    
they should  employ only the ,joint of  
the ,foot for this ,purpose2 a ,joint1  
given by  ,nature to facilitate all the 
,motions of the ,foot1 and to enable it 
to  turn to the ,right or ,left1 upwards
 or downwards4    ,,such is1 in short1  
the mechanical ,disposition of all the  
,parts of the  ,horseman's ,body4 ,i    
will enlarge no further upon a ,subject 
treated on  already so amply by every   
,writer2 as it is needless to write what

 has  been already handled4 ,i have had 
no other ,design in this ,chapter1  than
 to give an ,idea of the ,correspondence
 that there is between all  the ,parts  
of the ,body1 because it is only by a   
just ,knowledge of this  mutual         
,relation of all the different ,parts1  
that we can be enabled to  prescribe    
,rules for giving that true and natural 
,seat1 which is not  only the ,principle
 of ,justness1 but likewise the         
,foundation of all  ,grace in the       
,horseman4          ,,chap4 ,,ii4    ,of
 the ,hand1 and its ,effects4      ,,the
 ,knowledge of the different            
,characters1 and the different ,nature  
of ,horses1 together with the ,vices1   
and ,imperfections1 as well as the      
exact and just ,proportions of the      
,parts of a ,horse's ,body1 is the      
,foundation upon which is built the     
,theory of our ,art2 but this ,theory   
will be unnecessary and even useless1 it
 we are not able likewise to  carry it  
into ,execution4    ,,this depends      

chiefly upon the ,goodness and          
,quickness of ,feeling in the  ,hand1 a 
,delicacy which ,nature alone can give1 
and which she does not  always bestow4  
,the first ,sensation of the ,hand      
consists in a greater or  less ,degree  
of ,fineness in the ,touch or ,feeling2 
all of us are equally  furnished with   
,nerves1 from which we have the ,sense  
of ,feeling1 but  as this ,sense is much
 more subtle and quick in some ,persons 
than in  others1 it is impossible to    
give a precise ,definition of the exact 
,degree of ,feeling in the ,hand1 which 
ought to communicate and answer to  the 
same ,degree of ,feeling in the ,horse's
 ,mouth2 because there is as  much      
difference in the ,degrees of ,feeling  
in ,men1 as there is in the  ,mouths of 
,horses4    ,i ,,suppose then a ,man1   
who is not only capable to judge of the 
,qualities  of a ,horse's ,mouth from a 
,knowledge of the ,theory1 but who has  
likewise  by ,nature that ,fineness of  
,touch1 which helps to form a good      

,hand2 let  us see then what the ,rules 
are that we must follow1 in order to    
make it  perfect1 and by which we must  
direct all its ,operations4    ,a       
,,horse can move four different ,ways1  
he can advance1 go back1 turn  to the   
,right1 and to the ,left2 but he can    
never make these different  ,motions1   
unless the ,hand of the ,rider permits  
him by making four  other ,motions which
 answer to them3 ,so that there are five
 different  ,positions for the ,hand4   
,,the first is that general ,position1  
from which proceed1 and indeed  ought to
 proceed1 the other four4    ,,hold your
 ,hand three ,fingers breadth from your 
,body1 as high as your  ,elbow1 in such 
a ,manner that the ,joint of your       
,little-finger be upon a  right ,line   
with the ,tip of the ,elbow2 let your   
,wrist be sufficiently  rounded1 so that
 your ,knuckles may be kept directly    
above the ,neck  of your ,horse2 let    
your ,nails be exactly opposite your    
,body1 the  ,little-finger nearer to it 

than the others1 your ,thumb quite flat 
upon  the ,reins1 which you must        
separate1 by putting your ,little-finger
  between them1 the right ,rein lying   
upon it2 this is the first and  general 
,position4    ,,does your ,horse go     
forward1 or rather would you have him go
 forward8  ,yield to him your ,hand1 and
 for that ,purpose turn your ,nails     
downwards1  in such a ,manner as to     
bring your ,thumb near your ,body1      
remove your  ,little-finger from it1 and
 bring it into the ,place where your    
,knuckles  were in the first ,position1 
keeping your ,nails directly above your 
,horse's ,neck2 this is the second4     
,,would you make your ,horse go         
backwards8 quit the first ,position1 let
  your ,wrist be quite round1 let your  
,thumb be in the ,place of the          
,little-finger in the second ,position1 
and the ,little-finger in that of  the  
,thumb1 turn your ,nails quite upwards1 
and towards your ,face1 and  your       
,knuckles will be towards your ,horse's 

,neck2 this is the third4    ,,would you
 turn your ,horse to the ,right1 leave  
the first ,position1  carry your ,nails 
to the ,right1 turning your ,hand upside
 down1 in  such a manner1 that your     
,thumb be carried out to the ,left1 and 
the  ,little-finger brought in to the   
,right2 this is the fourth ,position4   
,,lastly1 ,would you turn to the ,left1 
quit again the first ,position1  carry  
the ,back of your ,hand a little to the 
,left1 so that the ,knuckles  come under
 a little1 but that your ,thumb incline 
to the ,right1 and the  ,little-finger  
to the ,left2 this makes the fifth4     
,,these different ,positions however    
alone are not sufficient2 we must be    
able to pass from one to another with   
,readiness and ,order4----,three        
,qualities are especially necessary to  
the ,hand4 ,it ought to be firm1        
gentle1 and light2 ,i call that a firm  
or steady ,hand1 whose  ,feeling        
corresponds exactly with the ,feeling in
 the ,horse's ,mouth1 and  which        

consists in a certain ,degree of        
,steadiness1 which constitutes the  just
 ,correspondence between the ,hand and  
the ,horse's ,mouth1 which every        
,horseman wishes to find4    ,,an easy  
and gentle ,hand is that which by       
relaxing a little of  its ,strength and 
,firmness1 eases and mitigates the      
,degree of ,feeling  between the ,hand  
and ,horse's ,mouth1 which ,i have      
already described4    ,,lastly1 a light 
,hand is that which lessens still more  
the ,feeling  between the ,rider's ,hand
 and the ,horse's ,mouth1 which was     
before  moderated by the gentle ,hand4  
,,the ,hand therefore1 with respect to  
these ,properties1 must operate in      
part1 and within certain ,degrees2 and  
depends upon being more or less  felt1  
or yielded to the ,horse1 or with-held4 
,,it should be a ,rule with every       
,horseman1 not to pass at once from one 
,extreme to another1 from a firm ,hand  
to a slack one2 so that in the  ,motions
 of the ,hand1 you must upon no account 

jump over that ,degree of  ,sensation   
which constitutes the easy or gentle    
,hand4 ,were you at  once to go from a  
firm ,hand or a slack one1 you would    
then entirely  abandon your ,horse2 you 
would surprize him1 deprive him of the  
,support  he trusted to1 and precipitate
 him on his ,shoulders1 supposing you do
  this at an improper time2 on the      
contrary1 were you to pass from a  slack
 to a tight ,rein all at once1 you must 
jerk your ,hand1 and give a  violent    
,shock to the ,horse's ,mouth1 which    
rough and irregular ,motion  would be   
sufficient to falsify the finest ,apuy1 
and ruin a good ,mouth4    ,,it is      
indispensibly necessary therefore1 that 
all its ,operations should  be gentle   
and light2 and in order to this1 it is  
necessary that the  ,wrist alone should 
direct and govern all its ,motions1 by  
turning and  steering it1 if ,i may so  
say1 through every ,motion that it is to
 make4    ,,in consequence then of these
 ,principles1 ,i insist that the ,wrist 

be  kept so round1 that your ,knuckles  
may be always directly above the        
,horse's ,neck1 and that your ,thumb be 
always kept flat upon the ,reins4  ,in  
reality1 were your ,wrist to be more or 
less rounded1 than in the  ,degree ,i   
have fixed1 you could never work with   
your ,hand1 but by the  means of your   
,arm2 and besides1 it would appear as if
 it were lame3  ,again1 were your ,thumb
 not to be upon the ,flat of the ,reins1
 they would  continually slip through   
the ,hand1 and1 by being lengthen'd1    
would  spoil the ,apuy2 and in order to 
recover them1 you would be obliged      
every ,moment to raise your ,hand and   
,arm1 which would throw you into        
,confusion1 and make you lose that      
,justness and ,order1 without which no  
,horse will be obedient1 and work with  
,readiness and ,pleasure4    ,,it is    
nevertheless true1 that with ,horses    
that are well drest1 one may  take      
,liberties2 these are nothing else but  
those ,motions which are  called        

,descents of the ,hand1 and they are to 
be made three different  ways2 either by
 dropping the ,knuckles directly and at 
once upon the  ,horse's ,neck1 or by    
taking the ,reins in the ,right-hand1   
about four  ,fingers breadth above the  
,left1 and letting them slide through   
the  ,left1 dropping your ,right-hand at
 the same time upon the ,horse's ,neck2 
or else by putting the ,horse under the 
,button1 as it is call'd2 that  is1 by  
taking the ,end of the ,reins in your   
,right-hand1 quitting them  entirely    
with your ,left1 and letting the ,end of
 them fall upon your  ,horse's ,neck3   
these ,motions however1 which give a    
prodigious ,grace to  the ,horseman1    
never should be made but with great     
,caution1 and exactly  in the time when 
the ,horse is quite together1 and in the
 ,hand2 and  you must take care to      
counter-balance1 by throwing back your  
,body1 the  ,weight of the ,horse upon  
his ,haunches4    ,,the ,apuy being     
always in the same ,degree1 would heat  

the ,mouth1 would  dull the ,sense of   
,feeling1 would deaden the ,horse's     
,bars1 and render  them insensible and  
callous2 this shews the ,necessity of   
continually  yielding and drawing back  
the ,hand to keep the ,horse's ,mouth   
fresh and  awake4    ,,besides these    
,rules and ,principles1 there are others
 not less just  and certain1 but whose  
,niceness and ,refinement it is not the 
,lot of  every ,man to be able to taste 
and understand4 ,my ,hand being in the  
first ,position1 ,i open the two        
,middle-fingers1 ,i consequently ease   
and  slacken my ,right ,rein2 ,i shut my
 ,hand1 the ,right ,rein operates again1
  and resumes the ,apuy4 ,i open my     
,little-finger1 and putting the ,end  of
 it upon the ,right ,rein1 ,i thereby   
slacken the ,left1 and shorten  the     
,right4 ,i shut my ,hand entirely1 and  
open it immediately again2 ,i  thereby  
lessen the ,degree of ,tension and      
,force of the two ,reins at the  same   
time2 again ,i close my ,hand not quite 

so much1 but still ,i close  it4 ,it is 
by these ,methods1 and by the ,vibration
 of the ,reins1 that ,i  unite the      
,feeling in my ,hand with that in the   
,horse's ,mouth2 and it is  thus that ,i
 play with a fine and made ,mouth1 and  
freshen and relieve  the ,bars in which 
the ,feeling or ,apuy resides4    ,,it  
is the same with respect to the second  
,descent of the ,hand3 ,my  ,right-hand 
holding the ,reins1 ,i pass and slide my
 ,left-hand upon the  ,reins up and     
down1 and in the ,degree of ,apuy of the
 easy and slack  ,hand2 by the means of 
which the ,horse endeavours of himself  
to preserve  the ,correspondence and    
,harmony of that mutual ,sensation1     
between his  ,mouth and the ,rider's    
,hand1 which alone can make him submit  
with  ,pleasure to the ,constraint of   
the ,bit4    ,i ,,have thus explained   
the different ,positions and ,motions of
 the ,hand2  let me shew now in a few   
,words the ,effects which they produce4 
,,the ,horseman's ,hand directs the     

,reins2 the ,reins operate upon the     
,branches of the ,bit2 the ,branches    
upon the ,mouth-piece and the ,curb2    
the ,mouth-piece operates upon the      
,bars1 and the ,curb upon the ,beard of 
the ,horse4    ,,the ,right ,rein guides
 the ,horse to the ,left2 the ,left     
,rein to the  ,right4 ,would you go to  
the ,right1 you pass to the fourth      
,position of  the ,hand1 that is1 you   
carry and turn your ,nails to the       
,right2 now in  carrying thus your      
,nails to the ,right1 and reversing your
 ,hand in such  a manner1 that your     
,thumb point to the ,left1 and your     
,little-finger  being raised turns to   
the ,right1 you by this means shorten   
your ,left  ,rein2 it is this ,left     
therefore that turns and guides the     
,horse to  the ,right3 ,would you go to 
the ,left1 pass to the fifth ,position1 
you  will carry the ,back of your ,hand 
to the ,left1 so that your ,nails will  
be turned down a little1 your ,thumb    
will be to the ,right1 and the          

,little-finger to the ,left2 this will  
shorten the right ,rein1 and the  right 
,rein determines your ,horse to the     
,left4    ,i ,,have already said1 that  
the ,effect which the ,mouth-piece has  
upon the  ,bars1 and the ,curb upon the 
,beard1 depends upon the ,branches of   
the  ,bitt2 when the ,branches rise or  
are turned upwards1 the ,mouth-piece    
sinks1 and when the ,branches sink1 the 
,mouth-piece rises2 so that when  your  
,horse is going strait forward1 if you  
keep your ,hand low and  close to your  
,body1 the ,mouth-piece then presses    
strong upon the ,bars1  and the ,chain  
or ,curb having1 in consequence more    
,liberty1 acts less  upon the ,beard2 on
 the contrary1 if you keep your ,hand   
high1 a little  forward1 and            
consequently a little out of the ,line  
of the ,end of the  ,branches1 the      
,mouth-piece then sinks1 and the        
,branches of necessity  operate upon the
 ,curb1 which presses then very strongly
 upon the ,beard2  now1 in order to     

place1 and to bring in your ,horse's    
,head1 you must  hold your ,hand low1   
and in order to raise and lighten a     
,horse that  weighs upon the ,hand1 and 
carries his ,head too low1 you must     
advance  your ,hand a little1 and keep  
it high4    ,,would you have your ,horse
 go backward8 ,come to the third        
,position1 but  take care to round your 
,wrist exactly1 in order to work equally
 with  both ,reins1 and by this means to
 aid your ,horse more effectually to go 
backward strait and ballanced between   
your ,legs1 which he could never  do1 if
 one ,rein was to operate stronger than 
the other4    ,,there are particular    
,cases1 where the ,reins are separated1 
and one held  in each ,hand2 it is usual
 to separate them when you trot a young 
,horse1  or when you are to work one who
 is disobedient1 and resists his ,rider2
  upon these occasions1 keep both your  
,hands upon a ,level1 low and near  your
 ,body3 ,to turn to the right1 use your 
right ,rein2 to go to the  left1 use    

your left ,rein2 but in order to make   
them have their ,effect1  move your ,arm
 gently1 turning it a little from your  
,body1 keeping your  ,hand always low   
and even near your ,boot4    ,,such are 
the ,principles upon which the          
,perfection and ,justness of the  ,aids 
of the ,hand depend1 all others are     
false1 and not to be regarded2          
,experience has so much the more evinced
 the ,truth of this1 as the new         
,discoveries which some ,people imagine 
they have lately made1 have  produced   
nothing but ,hands1 cold and unactive1  
without ,firmness1 whose  irregular and 
capricious ,motions serve only to render
 a ,horse's ,mouth  uncertain and       
fickle1 and who1 by their manner of     
holding them high1  have ruined         
absolutely the ,hocks of all the        
,horses1 that they have  worked         
according to these absurd ,notions4     
,,chap4 ,,iii4    ,of ,disobedience in  
,horses1 and the ,means to correct it4  
,,disobedience in ,horses is more       

frequently owing to the want of ,skill  
in the ,horseman1 than proceeding from  
any natural ,imperfections in the       
,horse2 in effect1 three things may give
 rise to it1 ,ignorance1 a bad  ,temper1
 and an ,incapacity in the ,animal to do
 what is required of him4    ,,if a     
,horse is ignorant of what you expect   
him to do1 and you press him1  he will  
rebel1 nothing is more common2 teach him
 then1 and he will  know2 a frequent    
,repetition of the ,lessons will convert
 this ,knowledge  into a ,habit1 and you
 will reduce him to the most exact      
,obedience4    ,,he refuses perhaps to  
obey1 this ,fault may arise either from 
,ill-humour1 ,dullness1 or from too much
 ,mettle2 it often is the ,effect  of   
the two first ,vices1 sometimes the     
,result of all the three4 ,in  either1  
or all these ,instances1 recourse must  
be had to ,rigour1 but it  must be used 
with ,caution2 for we must not forget1  
that the ,hopes of  ,recompence have as 
great an ,influence over the            

,understanding of the  ,animal1 as the  
,fear of ,punishment4 ,perhaps he is not
 able to execute  what you ask of him2  
examine him1 something may be amiss in  
some ,part  of his ,body1 or perhaps in 
the whole ,body2 he may be deficient1 he
 may  want ,strength1 or not be light   
enough2 perhaps he is deficient in      
both1 in that he resists and rebels4    
,consider whether he knows what he      
should do or not2 if he is ignorant1    
teach him2 if he knows1 but can't       
execute through ,inability1 endeavour to
 assist ,nature as far as you  can1 by  
the ,help of ,art4 ,but does he already 
know1 and is he able too1  and yet does 
he refuse to obey8 ,after having first  
tried every ,method  that ,patience and 
,lenity can suggest1 compel him by      
,force and ,severity4  ,it behoves then 
every ,horseman1 who would be perfect in
 his ,art1 to  distinguish from whence  
the different ,sorts of ,defences and   
,rebellion  in ,horses proceed3 ,and    
this ,knowledge is by so much the more  

difficult  to attain1 as he must have   
,penetration enough to distinguish if   
the  ,cause of their ,rebellion is in   
their ,character and ,nature1 or owing  
to  any ,fault in their ,make and       
,structure4    ,,the different ,natures 
of ,horses are infinite1 though there   
are certain  general ,principles1 of    
which all1 more or less1 always partake4
    ,a ,,horse may be imperfect from    
four ,causes1 ,weakness1 ,heaviness in  
his  ,make1 ,want of ,courage1 and      
,sloth4    ,,four ,qualities must       
conspire to make a perfect ,horse1      
,strength1  ,activity1 ,courage1 and    
,judgment4    ,,the ,mixture of these   
different ,qualities occasions the      
different  ,natures and ,dispositions of
 the ,creature1 according as he is      
form'd  better or worse2 for it is from 
his ,temper1 or rather from the ,harmony
  or ,unfitness of the ,parts and       
,elements1 of which he is composed1     
that we are enabled to fix his          
,character2 it is therefore the ,part of

  every ,horseman never to work but with
 ,discretion and ,caution1 and to  adapt
 his ,rules and ,lessons to the ,nature 
and ,ability of the ,horse he           
undertakes1 and which he ought to know4 
,a ,,horse may be difficult to be       
mounted1 examine the ,source of this    
,vice2 it may be owing either to the    
,ignorance or the ,brutality of those   
who have first had to do with him1 or   
perhaps that the ,saddle may have  hurt 
him1 or else to a ,temper naturally bad4
 ,to whatever ,cause it may  be owing1  
remember never to beat him1 for instead 
of curing him1 you  would certainly     
confirm him in his ,vice2 clap him      
gently when you  approach him1 stroke   
his ,head and ,mane1 talk to him1 and as
 you talk1  clap the ,seat of the       
,saddle2 keep yourself still all the    
while1 put  your ,foot only in the      
,stirrup to encourage your ,horse1      
without doing  any more1 in order to    
make him familiar1 and lose all         
,apprehension  and ,fear when he is     

going to be mounted2 by degrees at last 
he will  let you mount him1 you will    
immediately get down and remount1 and so
  successively for several ,times       
together1 without attempting to do any  
thing else1 but send him back to the    
,stable4 ,if it happens that then  when 
you are upon him1 he runs from the      
,place where you got upon him1  bring   
him to it immediately1 keep him there   
some ,time1 coax him1 and  send him     
away4----,the first ,lessons ought to be
 well weigh'd2 when you  undertake to   
bring a young ,horse to ,obedience1 and 
to reclaim him from  ,liberty to the    
,subjection of the ,bridle1 ,saddle1 and
 the ,weight of his  ,rider1 so         
restrain'd1 it is not surprizing if he  
should employ all his  ,strength against
 you in his own ,defence4    ,,the      
,generality of ,colts are difficult to  
be turn'd and guided as you  would have 
them go2 we ought not however to be     
surprized at this their  first          
,disobedience1 it must be imputed to the

 ,habit they acquire from  their ,birth1
 of constantly following their ,dams4   
,indulged in this  ,liberty1 and        
subjected all at once by the ,bit1 it is
 but natural they  should rebel2 there  
is no way of eradicating these first    
,impressions1  but by ,gentleness and   
,patience3 ,a ,horseman1 who should make
 use of  ,force and ,correction1 and    
employ it all at once upon a young      
,horse1  would discourage and make him  
vicious ever after4 ,if therefore your  
,horse refuses to go forward1 you must  
lead another ,horse before  him1 the    
,person who rides the ,colt will try    
from ,time to ,time1 and  insensibly1 to
 make the ,colt go a-breast with him1   
and afterwards get  before him2 if being
 surprized at seeing the ,horse no      
longer1 he stops  or runs back1 the     
,rider must endeavour to drive him      
forward1 either  by his ,voice1 or some 
,kind of slight ,punishment1 or he that 
rides the  other ,horse may give him a  
,stroke with the ,chambriere1 in order  

to make  him go forward2 if these       
,methods should not succeed1 he will go 
before  him again with the other ,horse1
 by degrees 7for one ,lesson wont be    
sufficient7 the ,colt will grow         
accustom'd to it1 and at last will go on
  of himself4    ,,most ,horses who     
start1 have some ,defect in their       
,sight1 which makes  them fear to       
approach the ,object4 ,the ,horseman1   
upon those ,occasions1  instead of      
having ,recourse to ,punishment1 which  
serves only to  alarm the ,horse1 and   
extinguish his ,courage and ,vigour1    
should first  endeavour to lead him     
gently towards the ,object that         
terrifies him1  either by encouraging   
him with his ,voice1 or by closing his  
,legs upon  him1 to make him go up to   
it4 ,if he wont go towards it1 you may  
give  him the ,spurs1 but with          
,discretion1 and by ,coaxing and        
,caresses push  him towards it          
insensibly2 severe ,correction will     
never cure him of  this fearful ,temper1

 which is a ,fault inherent in his      
,nature1 nor of  any ,imperfections in  
his ,sight1 which is a ,disorder        
belonging to him1  but the ,habit of    
viewing the ,objects which alarm him1   
may in time  remedy the ,defects of     
,nature4    ,,if notwithstanding you    
perceive that ,sloth and ,malice are    
added to  these ,faults1 you must use as
 you find necessary both ,mildness and  
severe ,correction1 and you will bestow 
them in proportion to the ,effect  they 
produce4 ,for the rest1 be careful never
 to surprize a young  ,horse who is shy1
 and apt to start1 never terrify him    
with what he  most fears1 never beat him
 to make him come up to an ,object which
 he  dreads2 accustom him by degrees to 
it1 and have ,patience2 the ,fear of    
,punishment does oftentimes more harm1  
and is more dreaded by him1 than  the   
very ,object which first alarmed him4   
,,there are some ,horses1 who are struck
 with such ,terror at the ,sight  of a  
,stone or ,wooden ,bridge1 and at the   

,sound and ,echo of the hollow  ,part of
 it1 that they will fling themselves    
headlong into the ,water1  without the  
,riders being able to restrain them3    
,they are to be cur'd  of this          
,apprehension by covering the ,pavement 
of their ,stall with  ,wooden ,planks1  
between two or three ,feet high2 and the
 ,horse standing  constantly upon them1 
his ,feet will make the same ,noise as  
they do  when he goes over a ,bridge1   
and he will of course grow familiar to  
the  ,sound1 and lose all ,apprehension 
of it4    ,,to accustom them likewise to
 the ,noise of the ,water running under 
the  ,bridge1 lead him to a ,mill1 fix  
two ,pillars directly over against the  
,wheels1 and tie your ,horse constantly 
for two ,hours together1 several  ,times
 in the ,day2 having done this1 bring   
him back to the ,bridge1 let  an old    
,horse1 that is not afraid1 go before   
him upon the ,bridge1 by  degrees you   
will find him go over the ,bridge as    
readily and quietly as  if he had never 

had the least ,apprehension4    ,,for   
,horses that are addicted to lay down in
 the ,water1 you must  provide yourself 
with two little ,leaden ,balls1 tie them
 to a ,piece of  ,packthread1 and in the
 ,moment that he is lying down1 you must
 drop  these into his ,ears1 and if he  
rises instantly1 or forbears to lay     
down1 draw them back2 but this ,method  
is not less sure than that of  breaking 
a ,flask fill'd with ,water upon his    
,head1 and letting the ,water  run into 
his ,ears4    ,,fire1 ,smoke1 the ,smell
 of ,gunpowder1 and the ,noise of ,guns1
 or other  ,arms1 naturally surprize and
 frighten a ,horse4--,there are few that
 will  come near ,fire1 or pass by it   
without ,difficulty4    ,,there are many
 ,occasions however1 wherein it is      
necessary2 it is  therefore proper to   
accustom your ,horse to it4 ,in the     
first place1  begin with your ,horse by 
letting him see it2 and for that purpose
 tie  him between two ,pillars1 and hold
 before him1 at about thirty ,paces     

distant1 a burning ,wisp of ,straw2 this
 should be continued for some  ,days    
together1 repeating it several times    
each ,day4 ,let the ,person who  holds  
the ,brand1 advance towards the ,horse  
step by step1 and let him  take care to 
advance or stop often1 as he perceives  
the ,horse is more  or less frighten'd1 
who in a short time will be imbolden'd1 
and no  longer afraid of the ,fire3     
,after this get up on him1 carry him    
slowly1  and1 as it were1 insensibly    
towards the ,brand1 the ,person who     
holds it  taking care not to stir3 ,if  
your ,horse comes up to it1 without     
being  frighten'd1 let the ,man on ,foot
 walk on1 and let the ,horse follow the 
,fire4 ,lay upon the ,ground some ,straw
 about half burnt out1 and he will  pass
 over it4    ,,with respect to the      
,noise of ,arms and ,drums1 let your    
,horse hear them  before you give him   
his ,oats3 ,do this regularly every     
,day1 for some  time1 and he will be so 
used to them as not to mind them4    ,a 

,,horse is said to be entier to that    
,hand1 to which he refuses to  turn2 a  
,hurt in his ,foot1 ,leg1 or ,shoulder1 
may often be the ,cause of  his refusing
 to turn to that ,side1 where he feels  
any ,pain2 a ,hurt in  his ,loins or    
,haunch1 a ,curb or ,spavin1 by         
hindering him to bend and  rest upon his
 ,hocks1 may make him guilty of this    
,disobedience4 ,art can  do little      
towards curing these ,evils1            
consequently a ,horse so affected  will 
never dress well1 because he never can  
be made supple and ready2  besides1     
every ,horse is naturally inclin'd to go
 to one ,hand more than  the other1 and 
then he will go to that ,hand on which  
he finds himself  the weakest1 because  
with the strongest he can turn more     
easily4    ,,they may likewise refuse to
 turn1 from some ,defect in their       
,sight1  natural or accidental4 ,i have 
tried a ,method to remedy this ,vice1   
which  has answer'd very well2 ,i have  
put a ,lunette upon the ailing ,eye1 and

  as his ,fault was owing to his ,eye1  
the ,horse began by degrees to go to    
that ,hand to which before he had       
refused to turn3 ,after this ,i made two
  little ,holes in the ,lunette2 ,i     
enlarged them afterwards1 and the ,eye  
of  the ,horse being thus insensibly    
accustom'd to receive the ,light1 and he
  to turn to that ,hand1 he no longer   
disobeyed2 ,i exercised him in this     
,manner from time to time1 in order to  
confirm him in his ,obedience4--,i  have
 said1 that there is no ,horse who is   
not by ,nature inclin'd to go  better to
 one ,hand than the other2 their        
inclination generally carries  them to  
the ,left rather than to the ,right4    
,some ,people impute this  ,preference  
to the ,manner in which the ,foal lies  
in its ,dam's ,belly1  and pretend that 
even then it is entirely bent and turn'd
 to the ,left3  ,others insist that     
,horses lay down generally upon their   
,right-side1  and from thence contract a
 ,habit to turn their ,heads and ,necks 

to the  ,left3 ,but not to regard these 
groundless ,notions1 it is easier and   
more  natural to believe1 that this     
,habit is owing to ,use1 and the ,manner
 in  which they are treated by those who
 first have had the ,care of them4      
,,the ,halter1 the ,bridle1 the ,saddle1
 and the ,girths are all put on and     
tied on the ,left-side2 when they are   
rubb'd or curried1 the ,man stands  on  
the ,left-side2 the same when they are  
fed1 and when they are led  out1 the    
,man holds them in his ,right-hand1     
consequently their ,head is  pull'd to  
the ,left4 ,here are a ,chain of        
,reasons1 sufficient to induce  us to   
believe that if they are readier to turn
 to one ,hand than the  other1 it is    
owing to a ,habit and ,custom which we  
ourselves have given4  ,we seldom meet  
with ,horses that are readier to turn to
 the ,right-hand  than the ,left2 and   
when it so happens1 it oftentimes       
denotes an ill  ,temper2 it demands much
 ,time and ,pains to cure them of this  

,fault4    ,,it is not proper to use    
severe ,correction to make a ,horse     
obey1 who  refuses to turn to one ,hand2
 if he is cold and dull1 he will lose   
all  his ,vigour and ,courage2 if he is 
of an angry ,temper1 hot and brisk1 you 
would make him desperate and mad2 work  
him then upon the ,principles of  ,art1 
and pursue the ,methods you think most  
likely to reform his ill  ,habit1 and   
reduce him to ,obedience2 if he         
obstinately refuses to turn  to one     
,hand1 begin the next ,lesson1 by       
letting him go to his favourite  ,hand a
 turn or two2 finish him on the same    
,hand1 by degrees you'll  gain him2     
whereas were you to do otherwise1 you   
might make him ever  afterwards         
rebellious4 ,a ,horse that strenuously  
resists his ,rider1 if  he has ,vigour  
and ,courage1 after he is reduced and   
conquer'd1 will  nevertheless succeed in
 what you want of him1 provided he is   
under the  ,direction of an able and    
knowing ,person1 who understands the    

,aids of  the ,hand and ,legs1 and their
 mutual ,harmony and ,correspondence4   
,,such a ,horse is even preferable to   
one who never rebels2 because in  this  
last1 ,nature may be deficient1 if ,i   
may so express myself1 from  his ,want  
of ,strength and ,resolution4    ,,in   
order to teach your ,horses to turn to  
both ,hands1 you must separate  your    
,reins1 as ,i have already mention'd2   
don't confine him too much1  support him
 moderately so that you may easily draw 
his ,head to one side  or the other1 as 
you would have him go1 and to give him  
the greater  ,liberty to turn4    ,,if  
he refuses to obey1 examine him2 if he  
is by ,nature impatient1  hot and       
vicious1 by no means beat him1 provided 
he will go forwards2  because being held
 in ,hand1 and kept back a little1 is   
,punishment  enough2 if he stops1 and   
strives to resist by running back1 drive
 him  forward with the ,chambriere4     
,,the ,resistance of a ,horse1 whose    
,mouth is faulty1 discovers itself more 

in going forward than backward1 and in  
forcing the ,hand2 a ,horse of  this    
sort ought never to be beat2 he ought to
 be kept back1 as ,i have  just now     
said4 ,you must endeavour to give him a 
good and just ,apuy1 and  put him upon  
his ,haunches1 in order to cure him of  
the ,trick of leaning  upon his ,bit1   
and forcing the ,hand4 ,if your ,horse  
is heavy1 never  press or put him       
together1 till you have lighten'd his   
,fore-part1 and  put him upon his       
,haunches1 for fear of throwing him so  
much upon his  ,shoulders1 that it may  
be very difficult afterwards to raise   
him4 ,take  particular care to lighten  
every ,horse that is heavy before1 and  
has  ,malice in his ,temper at the same 
time2 for if you were to press him1 he  
would resist you through ,vice2 in which
 ,case by his ,want of ,strength  on one
 hand1 and being heavy and unwieldy on  
the other1 you would be  exposed to     
evident ,danger4    ,a restive ,horse is
 one that refuses to go forward1 who    

standing still  in the same ,place1     
defends himself1 and resists his ,rider 
in several  different ,manners2 it is   
much to be fear'd that one should lose  
all  ,temper with such a ,horse1 since  
it requires a great deal of ,patience   
to cure so ,capital a ,fault1 and which 
perhaps by ,habit and ,time is so       
rooted in him as to be almost natural to
 him2 treat a ,horse of this  sort1 who 
has been too much constrain'd and       
tyrannized over1 with the  same ,lenity 
that you would shew to a young ,colt4   
,,the ,spurs are as improper to be used 
to one as the other2 make use of  your  
,switch in order to drive him forward1  
you will alarm him the less2  the ,spurs
 surprize a ,horse1 abate his ,courage1 
and are more likely  to make him        
restive1 than oblige him to go forward1 
if he refuses to  do so4 ,there is      
likewise another ,method to punish a    
restive ,horse2  it is to make him go   
backwards the ,moment he begins to      
resist2 this  ,correction often         

succeeds2 but the general ,rule is to   
push and carry  your ,horse forward1    
whenever he refuses to advance1 but     
continues in  the same ,place1 and      
defends himself1 either by turning or   
flinging his  ,croupe on one side or the
 other2 and for this ,purpose nothing is
 so  efficacious as to push him forward 
vigorously4    ,,the most dangerous of  
all ,defences a ,horse can make is to   
rise directly  upon his ,hind-legs1 and 
stand almost quite strait1 because he   
runs a  risque of falling backwards2 and
 in that ,case the ,rider would be in   
,danger of his ,life4 ,people have      
endeavour'd to correct this ,vice1 by  a
 ,method of ,punishment1 which might    
prove dangerous1 unless given in  time  
and with the greatest ,exactness4       
,,when the ,horse rises strait up1 throw
 your ,body forward1 and give him  all  
the ,bridle2 the ,weight of your ,body  
on his ,fore-parts will oblige  him to  
come down3 ,in the ,minute that his     
,fore-feet are coming to the  ,ground1  

give him both the ,spurs firm1 and as   
quick as you can2 these  ,aids and      
,corrections however must be given with 
the greatest ,caution  and ,exactness3  
,for were you to give him the ,spurs    
when he is in the  ,air1 he would fall  
over2 whereas if you watch the ,time so 
as not to  spur him but when he is      
coming down1 and his ,fore-feet near the
 ,ground1  it is then impossible he     
should fall backwards2 for then his     
,balance is  destroy'd1 and he is upon  
all his ,legs again1 and can't rise     
without  first touching the ,ground1 and
 taking his ,spring thence2 if therefore
  you give him the ,spurs before he is  
in a ,situation to rise again1 you  will
 punish him1 and drive him forward at   
the same time4    ,,this ,defence is    
still more dangerous in ,horses who are 
of a fiery  ,temper1 and weak in their  
,haunches1 at the same time2 these are  
continually apt to rise1 and whatever   
,precautions the ,rider may take1  he is
 in continual ,danger of their coming   

over4 ,the way to correct them  is this3
 ,tie your ,horse between the ,pillars  
very short1 put on a good  ,cavason of  
,cord1 and don't suffer him to be       
mounted2 prick him upon the  ,buttocks  
with a ,hand-spur in order to make him  
strike out2 encourage  him when he      
kicks1 and continue to make him kick2   
encourage him from  time to time when he
 obeys2 do this for a ,quarter of an    
,hour every ,day2  when you perceive    
that he begins to kick the ,moment you  
offer to prick  him1 without waiting    
till he feels it1 get upon him1 hold    
your ,reins  long1 prick him1 and let a 
,man stand by and prick him at the same 
time4  ,encourage him when he kicks1 and
 continue to prick him to make him do   
it1 till he will kick readily only at   
the ,offer you make of pricking  him2 he
 ought to be brought to this ,point in  
five or six ,days3 ,after  this take him
 out of the ,pillars1 mount him1 and    
trot him in the ,longe1  and make him   
kick by pricking him behind2 after that 

let him walk two  or three ,steps1 then 
make him kick again1 and so work him by 
degrees4  ,put him to the ,gallop2 if he
 offers to rise1 prick him behind1 and  
make  him kick3 ,nothing excels this    
,method to break a ,horse of this       
terrible  and dangerous ,vice4          
,,those ,horses who are apt to kick1    
either when they go forward or stand    
still1 must be kept much together1 or   
held in closely2 make them go  backward 
briskly1 and you will cure them of this 
,vice4    ,,to resume our ,subject4 ,all
 ,horses are by ,nature rather aukward  
than  nervous and strong2 fearful than  
bold2 hot and fretful than mischievous  
or ill-temper'd2 whenever they grow     
desperate and absolutely  ungovernable1 
it is often rather to avoid the extreme 
,pain which they  feel1 or expect to    
feel from too great a ,constraint1 than 
merely to  resist the ,horseman4 ,arm   
yourself then with great ,patience2 keep
 such  ,horses as are of a fiery and    
fretful ,disposition1 rather in ,awe    

than in  absolute ,subjection2 they are 
naturally fearful1 and apt to be        
alarm'd2  and violent ,correction and   
,force would dishearten and make them   
quite  desperate4 ,such as are of a hot 
and impetuous ,temper1 are generally    
timid and malicious4 ,endeavour         
therefore to prevent the ,disorders they
  would commit2 for ,lenity and good    
,usage would never reduce them to       
,obedience1 and ,severity would make    
them lifeless and jadish4 ,in fine1  let
 your ,lessons be short1 easy1 and often
 repeated to ,horses of a  cold and     
heavy ,disposition1 because they have no
 ,memory1 and want both  ,resolution and
 ,strength4    ,,in a word1 never depart
 from this great ,maxim1 ,always observe
 a just  ,medium between too indulgent a
 ,lenity and extreme ,severity2 work    
your  ,horse according to his ,strength 
and ,capacity1 give your ,lessons in    
proportion to his ,memory1 and dispense 
your ,punishment and ,rewards  suitable 
to his ,courage and ,disposition4       

,,chap4 ,,iv4    ,of the ,trot4         
,,when a ,horse trots1 his ,legs are in 
this ,position1 two in the ,air and  two
 upon the ,ground1 at the same time     
cross-wise2 that is to say1 the         
,near-foot before1 and the ,off-foot    
behind are off the ,ground1 and the     
other two upon it2 and so alternately of
 the other two4 ,this ,action  of his   
,legs is the same as when he walks1     
except that in the ,trot his  ,motions  
are more quick4 ,all ,writers1 both     
ancient and modern1 have  constantly    
asserted the ,trot to be the ,foundation
 of every ,lesson you  can teach a      
,horse2 there are none likewise who have
 not thought proper  to give general    
,rules upon this ,subject1 but none have
 been exact  enough to descend into a   
,detail of particular ,rules1 and to    
distinguish  such ,cases as are         
different1 and admit of ,exceptions1    
tho' such often  are found from the     
different ,make and ,tempers of ,horses1
 as they  happen to be more or less     

suited to what they are destin'd2 so    
that by  following their general        
,maxims1 many ,horses have been spoil'd1
 and made  heavy and aukward1 instead of
 becoming supple and active2 and as much
  ,mischief has been occasion'd by      
adopting their ,principles1 although    
just1 as if they had been suggested by  
,ignorance itself4    ,,three ,qualities
 are essentially necessary to make the  
,trot useful1 it  ought to be extended1 
supple1 and even or equal2 these three  
,qualities are related to1 and mutually 
depend upon each other3 ,in  effect1 you
 can't pass to the supple ,trot1 without
 having first work'd  your ,horse upon  
the extended ,trot2 and you can never   
arrive at the  even and equal ,trot1    
without having practised the ,supple4   
,i ,,mean by the extended ,trot1 that in
 which the ,horse trots out  without    
retaining himself1 being quite strait1  
and going directly  forwards2 this      
consequently is the kind of ,trot1 with 
which you must  begin2 for before any   

thing else ought to be meditated1 the   
,horse  should be taught to embrace and 
cover his ,ground readily1 and without  
fear4    ,,the ,trot however may be     
extended without being supple1 for the  
,horse  may go directly forward1 and yet
 not have that ,ease and ,suppleness of 
,limbs1 which distinguishes and         
characterizes the ,supple4    ,i        
,,define the supple ,trot to be that in 
which the ,horse at every  ,motion that 
he makes bends and plays all his        
,joints2 that is to say1  those of his  
,shoulders1 his ,knees and ,feet1 which 
no ,colts or raw  ,horses can execute1  
who have not had their ,limbs suppled by
 ,exercise1  and who always trot with a 
surprizing ,stiffness and ,aukwardness1 
and  without the least ,spring or ,play 
in their ,joints4 ,the even or  equal   
,trot1 is that wherein the ,horse makes 
all his ,limbs and ,joints  move so     
equally and exactly1 that his ,legs     
never cover more ,ground one  than the  
other1 nor at one ,time more than       

another3 ,to do this1 the  ,horse must  
of necessity unite and collect all his  
,strength1 and if ,i  may be allowed the
 ,expression1 distribute it equally     
through all his  ,joints4    ,,to go    
from the extended ,trot1 to the supple1 
you must gently1 and  by degrees1 hold  
in your ,horse2 and when by ,exercise he
 has attain'd  sufficient ,ease and     
,suppleness to manage his ,limbs        
readily1 you must  insensibly hold him  
in1 still more and more1 and by degrees 
you will  lead him to the equal ,trot4  
,,the ,trot is the first ,exercise to   
which a ,horse is put2 this is a        
necessary ,lesson1 but if given         
unskilfully it loses its ,end1 and even 
does harm4    ,,horses of a hot and     
fretful ,temper have generally too great
 a  ,disposition to the extended ,trot2 
never abandon these ,horses to their    
,will1 hold them in1 pacify them1       
moderate their ,motion by retaining     
them judiciously1 and their ,limbs will 
grow supple2 they will acquire  at the  

same time that ,union and ,equality1    
which is so essentially  necessary4     
,,if you have a ,horse that is heavy1   
consider if this ,heaviness or          
,stiffness of his ,shoulders or ,legs is
 owing to a ,want of ,strength1  or of  
,suppleness2 whether it proceeds from   
his having been exercised  unskilfully1 
too much1 or too little4 ,if he is      
heavy1 because the  ,motions of his     
,legs and ,shoulders are naturally cold 
and sluggish1 tho'  at the same time his
 ,limbs are good1 and his ,strength is  
only confin'd  and shut up1 if ,i may so
 say1 a moderate but continual ,exercise
 of  the ,trot will open and supple his 
,joints1 and render the ,action of  his 
,shoulders and ,legs more free and bold2
 hold him in the ,hand1 and  support him
 in the ,trot1 but take care so to do   
it1 as not to check or  slacken his     
,pace3 ,aid him and drive him forward1  
while you support him2  remember at the 
same time1 that if he is loaded with a  
great ,head1 the  ,continuation of the  

,trot1 will make his ,apuy hard and     
dull1 because  he will by this means    
abandon himself still more1 and weigh   
upon the  ,hand4 ,all ,horses that are  
inclined to be remingue1 should be kept 
to  the extended ,trot2 every ,horse who
 has a ,tendency to be remingue is      
naturally disposed to collect all his   
,strength1 and to unite himself2  your  
only way with such ,horses is to force  
them forward3 ,in the ,instant  that he 
obeys1 and goes freely on1 retain him a 
little2 yield your ,hand  immediately   
after1 and you will find soon that the  
,horse of himself  will bend his        
,joints1 and go united and equally4     
,a ,,horse of a sluggish and cold       
,disposition1 which has nevertheless    
,strength and ,bottom1 should likewise  
be put to the extended ,trot2 as he     
grows animated1 and begins to go free1  
keep him together by little and  little1
 in order to lead him insensibly to the 
supple ,trot2 but if  while you keep him
 together1 you perceive that he slackens

 his ,action1  and retains himself1 give
 him the ,aids briskly1 and push him    
forward1  keeping him nevertheless      
gently in ,hand2 by this means he will  
be  taught to go freely and equally at  
the same time4    ,,if a ,horse of a    
cold and sluggish ,temper is weak in his
 ,legs and ,loins1  you must manage him 
cautiously in working him in the ,trot1 
or otherwise  you will enervate and     
spoil him4 ,besides1 in order to make   
the most  of a ,horse1 who is not over  
strong1 endeavour to give him ,wind1 by 
working him slowly1 and at ,intervals1  
and by increasing the ,vigour of  his   
,exercise by degrees2 for you must      
remember that you ought always  to      
dismiss your ,horse1 before he is spent 
and overcome with ,fatigue4  ,never push
 your ,lesson too far in hopes of       
suppling your ,horse's ,limbs  by means 
of the ,trot2 instead of this you will  
falsify and harden his  ,apuy1 which is 
a ,case which happens but too           
frequently4    ,,farther1 it is of      

,importance to remark1 that you ought at
 no time1  neither in the extended1     
supple or equal ,trot1 to confine your  
,horse in the ,hand in ,expectation of  
raising him1 and fixing his ,head  in a 
proper ,place2 if his ,apuy be full in  
the ,hand1 and the ,action of  his ,trot
 should be check'd and restrain'd by the
 ,power of his ,bridle1  his ,bars would
 very soon grow callous1 and his ,mouth 
be harden'd and  dead2 if1 on the       
contrary1 he has a fine and sensible    
,mouth1 this very  ,restraint would     
offend and make him uneasy4 ,you must   
endeavour then1  as has already been    
said1 to give him by degrees1 and       
insensibly1 a  true and just ,apuy1 to  
place his ,head1 and form his ,mouth1 by
 ,stops  and ,half-stops2 by sometimes  
moderating and restraining him with a   
gentle and light ,hand1 and yielding it 
to him immediately again2 and by        
sometimes letting him trot without      
feeling the ,bridle at all4    ,,there  
is a ,difference between ,horses who are

 heavy in the ,hand1 and  such as       
endeavour to force it4 ,the first ,sort 
lean and throw all  their ,weight upon  
the ,hand1 either as they happen to be  
weak1 or too  heavy and clumsy in their 
,fore-parts1 or from having their       
,mouths too  fleshy and gross1 and      
consequently dull and insensible4 ,the  
second  pull against the ,hand1 because 
their ,bars are lean1 hard1 and         
generally round2 and the first may be   
brought to go equal1 and upon  their    
,haunches1 by means of the ,trot and    
slow ,gallop2 and the other may  be made
 light and active by ,art1 and by       
settling them well in their  ,trot1     
which will also give them ,strength and 
,vigour4 ,horses of the  first sort are 
generally sluggish1 the other kind are  
for the most part  impatient and        
disobedient1 and upon that very account 
more dangerous  and incorrigible4       
,,the only ,proof1 or rather the most   
certain ,sign of your ,horse's  trotting
 well1 is1 that when he is in his ,trot1

 and you begin to press  him a little1  
he offers to ,gallop4    ,,after having 
trotted your ,horse sufficiently upon a 
strait ,line1 or  directly forward1 work
 him upon large ,circles2 but before you
 put him  to this1 walk him gently round
 the ,circle1 that he may comprehend and
  know the ,ground he is to go          
over4--,this being done1 work him in the
  ,trot2 a ,horse that is loaded before1
 and heavily made1 will find more       
,pains and ,difficulty in uniting his   
,strength1 in order to be able to  turn1
 than in going strait forward4--,the    
,action of turning trys the  ,strength  
of his ,reins1 and employs his ,memory  
and ,attention1 therefore  let one ,part
 of your ,lessons be to trot them strait
 forward2 finish  them in the same      
,manner1 observing that the ,intervals  
between the ,stops  7which you should   
make very often7 be long1 or short1 as  
you judge  necessary3 ,i say you should 
make frequent ,stops1 for they often    
serve  as a ,correction to ,horses that 

abandon themselves1 force the ,hand1 or 
bear too much upon it in their ,trot4   
,,there are some ,horses who are supple 
in their ,shoulders1 but which          
nevertheless abandon themselves2 this   
,fault is occasion'd by the  ,rider's   
having often held his ,bridle-hand too  
tight and strict in  working them upon  
large ,circles3 ,to remedy this1 trot   
them upon one  ,line or ,tread1 and very
 large2 stop them often1 keeping back   
your ,body and outward ,leg1 in order to
 make them bend and play their          
,haunches4    ,,the principal ,effects  
then of the ,trot1 are to make a ,horse 
light  and active1 and to give him a    
just ,apuy4 ,in reality1 in this ,action
  he is always supported on one ,side by
 one of his ,fore-legs1 and on  the     
other by one of his ,hind-legs3 ,now the
 fore and hind ,parts being  equally    
supported cross-wise1 the ,rider can't  
fail to supple and  loosen his ,limbs1  
and fix his ,head2 but if the ,trot     
disposes and  prepares the ,spirits and 

,motions of a sinewy and active ,horse  
for the  justest ,lessons1 if it calls  
out and unfolds the ,powers and         
,strength  of the ,animal1 which before 
were buried and shut up1 if ,i may use  
the  ,expression1 in the ,stiffness of  
his ,joints and ,limbs2 if this first   
,exercise to which you put your ,horse1 
is the ,foundation of all the  different
 ,airs and ,manages1 it ought to be     
given in ,proportion to the  ,strength  
and ,vigour of the ,horse4    ,,to judge
 of this you must go farther than mere  
outward ,appearances4  ,a ,horse may be 
but weak in the ,loins1 and yet execute 
any ,air1 and  accompany it with        
,vigour1 as long as his ,strength is    
united and intire2  but if he becomes   
disunited1 by having been work'd beyond 
his ,ability  in the ,trot1 he will then
 falter in his ,air1 and perform it     
without  ,vigour and ,grace4    ,,there 
are also some ,horses1 who are very     
strong in the ,loins1 but who  are weak 
in their ,limbs2 these are apt to retain

 themselves1 they bend  and sink in     
their ,trot1 and go as if they were     
afraid of hurting their  ,shoulders1    
their ,legs or ,feet4 ,this             
,irresolution proceeds only from a      
natural ,sense they have of their       
,weakness4--,this kind of ,horses should
  not be too much exercised in the      
,trot1 nor have sharp ,correction2      
their ,shoulders1 ,legs1 or ,hocks would
 be weaken'd and injur'd2 so that       
learning in a little ,time to hang back1
 and abandon themselves on the  ,apuy1  
they would never be able to furnish any 
,air with ,vigour and  ,justness4       
,,let every ,lesson then be weigh'd2 the
 only ,method by which ,success  can be 
insured1 is the ,discretion you shall   
use1 in giving them in  proportion to   
the ,strength of the ,horse1 and from   
your ,sagacity in  deciding upon what   
,air or ,manage is most proper for him2 
to which  you must be directed by       
observing which seems most suited to his
  ,inclination and ,capacity4    ,i     

,,finish this ,chapter by describing the
 ,manner of trotting a ,colt1  who has  
never been back'd4 ,put a plain ,snaffle
 in his ,mouth1 fit a  ,caveson to his  
,nose1 to the ,ring of which you will   
tie a ,longe of a  reasonable ,length2  
let a ,groom hold this ,longe1 who      
having got at some  ,distance from the  
,colt1 must stand still in the ,middle  
of the ,circle1  which the ,horse will  
make2 let another follow him with a long
 ,whip or  ,chambriere in his           
,hand4--,the ,colt being alarm'd1 will  
be forced to go  forward1 and to turn   
within the ,length of the ,cord4--,the  
,groom must  hold it tight in his ,hand1
 by this means he will draw in or       
towards  the ,center the ,head of the   
,colt1 and his ,croupe will consequently
 be  out of the ,circle4--,in working a 
young ,horse after this ,manner1 don't  
press or hurry him1 let him walk first1 
afterwards put him to the ,trot2  if you
 neglect this ,method his ,legs will be 
embarras'd1 he will lean  on one ,side1 

and be more upon one ,haunch than the   
other2 the inner  ,fore-foot will strike
 against the outward1 and the ,pain     
which this will  occasion1 will drive   
him to seek some ,means of ,defence1 and
 make him  disobedient4    ,,if he      
refuses to trot1 the ,person who holds  
the ,chambriere will animate  him1 by   
hitting him1 or striking the ,ground    
with it4 ,if he offers to  gallop       
instead of trotting1 the ,groom must    
shake or jirk the ,cord that  is tied to
 the ,caveson1 and he will fall into his
 ,trot4    ,,in this ,lesson you may    
decide more readily upon the ,nature1   
the  ,strength1 the ,inclination1 and   
,carriage of the ,horse1 than you can of
  one that has already been rode1 as it 
is more easy to consider and  examine   
all his ,motions2 whereas when he is    
under his ,rider1 being  naturally      
inclin'd to resist at first1 to free    
himself from ,restraint1  and to employ 
all his ,strength and ,cunning to defend
 himself against  his ,rider1 it is     

morally impossible to form a true       
,judgment of his  ,disposition and      
,capacity4          ,,chap4 ,v4    ,of  
the ,stop4      ,,the most certain      
,method to unite and assemble together  
the ,strength of  a ,horse1 in order to 
give him a good ,mouth1 to fix and place
 his ,head1  as well as to regulate his 
,shoulders1 to make him light in the    
,hand1  and capable of performing all   
,sorts of ,airs1 depends entirely upon  
the  ,perfection and ,exactness of the  
,stop4    ,,in order to mark or form the
 ,stop justly1 you must quicken him a   
little1 and in the ,instant that he     
begins to go faster than the usual      
,cadence or ,time of his ,pace1 approach
 the ,calves of your ,legs1 and         
immediately afterwards fling back your  
,shoulders2 always holding your  ,bridle
 more and more tight1 till the ,stop is 
made1 aiding the ,horse  with the       
,calves of your ,legs1 in order to make 
him bend and play his  ,haunches4       
,,by varying the ,times of making your  

,stops1 and the ,places where you  make 
them1 you will teach your ,horse to obey
 exactly the ,hand and ,heel2  which is 
the ,end that every one should propose  
to attain in every ,kind  of ,exercise  
of the ,manege4    ,,with a raw and     
young ,horse make but very few ,stops1  
and when you make  them1 do it by       
degrees1 very gently1 and not all at    
once1 because  nothing so much strains  
and weakens the ,hocks of a stiff and   
aukward  ,horse1 as a sudden and rude   
,stop4    ,,it is agreed by every ,body1
 that nothing so much shews the ,vigour 
and  ,obedience of a ,horse as his      
making a beautiful and firm ,stop1 at   
the  ,end of a swift and violent        
,career4 ,there are however many ,horses
 that  have a good deal of ,vigour and  
,agility1 who can't stop without feeling
  ,pain1 while there are others who are 
not so strong and active1 who stop  very
 easily2 the ,reason of this is plain4  
,,in the first place1 the ,facility of  
stopping depends upon the natural       

,aptness and ,consent of the ,horse2 in 
the next place1 his ,make1 and the      
,proportions which the different ,parts 
of his ,body have to each other1  must  
be consider'd3 ,therefore we must       
measure the ,merit of a ,stop by  the   
,strength and ,temper of the ,horse1 by 
the ,steadiness of his ,head and  ,neck1
 and the ,condition of his ,mouth and   
,haunches4    ,,it will be in vain to   
look for the ,justness and ,perfection  
of the ,stop  in a ,horse that is any   
ways defective1 the ,bars being too     
delicate1 or  too hard1 a thick ,tongue1
 the ,channel of his ,mouth narrow1 the 
,thropple  confin'd1 ,neck short1       
,fore-hand heavy1 or too low1 weak      
,loins1 or too  stiff1 too much ,heat1  
or too much ,flegm in his ,temper1 or   
,sluggishness2  here are a ,number of   
,faults not easily to be corrected4     
,a ,,horse1 though he is strong in his  
,shoulders1 in his ,legs and ,loins1    
yet if he is low before1 will have much 
,difficulty to collect himself  upon his

 ,haunches1 so as to make a good ,stop2 
on the contrary1 if his  ,shoulders and 
,neck are high and raised1 he will have 
the greater ,part  of the ,qualities    
requisite to it4    ,a ,,horse who is   
long in the ,back generally stops very  
aukwardly1 and  without keeping his     
,head steady2 a ,horse that is short and
 truss'd1  with a thick ,neck1 generally
 stops upon his ,shoulders4 ,the first  
finds  too much ,difficulty to collect  
his ,strength so suddenly1 in order to  
put himself upon his ,haunches1 and the 
other is not able to call it  out1 and  
distribute it with ,vigour through his  
,limbs4--,in effect1 when  a ,horse     
gallops1 the ,strength of his ,loins1 of
 his ,haunches and ,hocks1  is all      
employed in pushing the whole ,machine  
forwards1 and that of his  ,shoulders   
and ,fore-legs1 to support the ,action3 
,now the ,force of his  hinder ,parts   
being thus violently agitated1 and      
approaching too near  that which lies in
 the fore ,parts1 a short-body'd ,horse 

can't find all  at once1 that           
,counterpoise1 that just ,equilibre     
which characterizes a  beautiful ,stop4 
,a ,,horse which can't stop readily1    
misemploys very often his ,strength  in 
running2 examine him1 and you will find 
that he abandons himself  entirely upon 
his ,shoulders2 consider likewise the   
,proportions of his  ,neck and his      
,thropple1 the ,condition of his ,feet1 
the ,make of his  ,loins and ,hocks2 in 
short1 apply yourself to the ,discovery 
of his  ,temper1 ,character and         
,humour4--,that ,horse whose ,neck is   
hollow1 or  ,ewe-neck'd1 instead of     
ballancing himself upon his ,haunches1  
will arm  himself against his ,chest1   
and will thereby make his ,stops harsh  
and  disagreeable3 ,weak ,feet1 or      
,hocks that give him ,pain1 will make   
him  hate the ,stop4--,he will either   
endeavour to avoid it1 or will make it  
with ,fear1 so that he will be totally  
abandon'd upon the ,apuy4 ,if he        
carries his ,nose high1 and is          

hollow-back'd at the same time1 it will 
be impossible for him to unite and put  
himself together1 so as to be  ready1   
and to present his ,front1 if ,i may be 
allow'd the ,word1 to the  ,stop2       
because the ,strength of the ,nape of   
the ,neck depends upon the  ,chine2 and 
his ,powers being thus disunited and    
broken1 he will make his  ,stop upon his
 ,shoulders4    ,,there is another ,sort
 of ,horses1 who in hopes of avoiding   
the  ,constraint of stopping upon their 
,haunches1 plant themselves upon  their 
two ,hind-legs2 yield the ,hand to them1
 in the ,instant1 and press  them       
forward1 you will insensibly correct    
them of their ,defence1 which  happens  
only in ,cases1 where you stop them upon
 declining or uneven  ,ground4          
,,there are many ,people1 who imagining 
they can unite their ,horses by the     
means of making a great ,number of      
precipitate ,stops1 take little heed    
whether the ,creature which they        
undertake is too weak1 or has ,strength 

sufficient for his ,task4--,the ,horse1 
who1 though strong1 has suffer'd  in his
 ,chine1 in making the first ,stop1 will
 meditate a ,defence in his  second or  
third2 this will be to prevent the      
,rider in his ,design3 ,and  being      
alarm'd at the slightest ,motion of the 
,hand he will stop all at  once1 leaning
 with all his ,force upon his           
,shoulders1 and lifting up his  ,croupe2
 which is a capital ,fault1 and not easy
 to be remedied4    ,,thus it may       
happen1 that a ,horse may make his      
,stops very defectively1  either from   
some natural or accidental ,faults in   
the different ,parts of  his ,body2 or  
it may be owing to the ,unskilfulness   
and ,ignorance of the  ,rider1 or the   
,effect of ,faults and bad ,lessons all 
together4 ,principles  that are true and
 just will assist and reform ,nature1   
but a bad ,school  gives birth to ,vice 
and ,defences that are often not to be  
conquer'd4  ,it behoves us then to      
follow with ,exactness those ,lessons   

which are  capable of bringing a ,horse 
to form a perfect ,stop2 that is to say1
 to  such a ,point as to be able to make
 his ,stop short1 firm1 and in one      
time2 and in which he collects and      
throws his ,strength equally upon  his  
,haunches and ,hocks1 widening and      
anchoring1 if ,i may so say1 his  two   
,hind-feet exactly even on the ,ground1 
in such a ,manner that one  does not    
stand before the other1 but both are in 
a ,line4    ,,it would be a ,proof of   
great ,ignorance to undertake to reduce 
a ,horse  to the ,justness of the ,stop1
 before he had been work'd and push'd   
out  in the ,trot and ,gallop to both   
,hands1 or before he was so ready as    
never to refuse to launch out           
immediately into a full ,gallop2 for if 
he  should happen to be restiff1 should 
disobey the ,spurs1 or refuse to  turn  
to either ,hand1 the ,means that then   
must be used to fix his ,head1  would   
contribute towards confirming him in one
 or other of these ,vices4    ,,if your 

,horse has not readily obey'd in making 
his ,stops1 make him go  backwards1 it  
is a proper ,punishment for the ,fault4 
,if in stopping  he tosses up his ,nose1
 or forces the ,hand1 in this ,case keep
 your  ,bridle-hand low and firm1 and   
your ,reins quite equal2 give him no    
,liberty1 press upon his ,neck with your
 ,right-hand1 till he has brought  down 
his ,nose1 and then immediately give him
 all his ,bridle2 this is  the surest   
,method to bring him into the ,hand4    
,,to compel a ,horse to stop upon his   
,haunches1 nothing is so efficacious  as
 ,ground that is a little sloping2 this 
is of service to exercise such  ,horses 
upon as are naturally too loose in their
 ,paces1 who are heavy  and apt to      
abandon themselves upon the ,hand1 by   
this means they become  light before2   
you must nevertheless examine if his    
,feet1 his ,loins1 his  ,shoulders and  
,legs are sufficiently able to bear it1 
for otherwise your  ,horse would soon be
 spoil'd3 ,the whole therefore depends  

in this ,case1  as in all others1 upon  
the ,sagacity and ,experience of the    
,horseman4    ,,when a ,horseman puts   
his ,horse to the ,stop1 in such a      
,place as ,i have  mentioned1 he should 
put the ,stress of his ,aids rather in  
his ,thighs  and ,knees1 than in his    
,stirrups2 one of the most trying       
,lessons a ,horse  can be put to1 is to 
stop him1 and make him go backwards up  
,hill2  therefore upon these ,occasions 
you must ease the fore ,part of the     
,horse  as much as you can1 and throw   
your whole ,weight upon the hinder4 ,we 
have already said1 that there are some  
,horses1 which from ,weakness in  their 
,make1 can never be brought to form a   
just and beautiful ,stop4  ,there are   
others likewise1 who are apt to stop too
 suddenly and short  upon their         
,shoulders1 tho' otherwise naturally too
 much raised before1  and too light4    
,these employ all their ,power in order 
to stop all at  once1 in hopes either of
 putting an end to the ,pain they feel1 

from  the ,rudeness of the ,stop2 or    
else perhaps that some ,defect of ,sight
  makes them apprehend they are near    
something that they fear1 for almost    
all ,horses1 blind of one ,eye1 or of   
both1 stop with the greatest            
,readiness3 take care never to make this
 sort of ,horses go backward2 on  the   
contrary1 stop them slowly and by       
degrees1 in order to embolden  them1    
remembring never to force1 or keep them 
in too great a degree of  ,subjection4  
,i ,,have thus shown1 that a ,stop that 
is made with ,ease1 ,steadiness1 and    
according to the ,rules1 will contribute
 a great deal towards putting  a ,horse 
upon his ,haunches1 and giving him that 
firm1 equal1 and light  ,apuy1 which we 
always desire to gain2 because a just   
,stop makes a ,horse  bend and sink his 
hinder ,parts2 ,i have made it likewise 
appear1 that a  sudden and ill-executed 
,stop raises the fore ,parts too much1  
stiffens  the ,hocks1 and rather takes a
 ,horse off his ,haunches1 than sets him

  upon them4 ,let us now proceed to the 
,lesson of teaching a ,horse to go      
backward4          ,,chap4 ,,vi4    ,of 
teaching a ,horse to go backward4       
,,the ,action of a ,horse1 when he goes 
backward1 is to have always one of  his 
hinder ,legs under his ,belly1 to push  
his ,croupe backward1 to bend  his      
,haunches1 and to rest and ballance     
himself1 one time on one ,leg1  one on  
the other2 this ,lesson is very         
efficacious to lighten a ,horse1  to    
settle him in the ,hand1 to make him    
ready to advance and go forward1  and to
 prepare him to put himself together1   
and sit down upon his  ,haunches4       
,,it should not however be practised1   
till the ,horse has been well laid  out 
and worked in the ,trot1 and his ,limbs 
are become supple2 because1  till he is 
arrived to this ,point1 you should not  
begin to unite or put  him together3    
,care must be taken1 that this ,action  
of going backward  be just1 and that in 
performing it1 the ,horse keeps his     

,head steady1  fixt1 and in a right     
,place2 that his ,body be trussed or    
gathered up1  as it were1 under him2    
that his ,feet be even2 that he be not  
upon his  ,shoulders1 but on the        
contrary1 on his ,haunches2 for if he   
should  be false as to any of these     
,particulars1 this ,lesson1 very far    
from  putting him together1 would have  
the contrary ,effect1 and dis-unite him4
    ,,in order that a ,horse may be able
 to execute what is required of him1  he
 must first comprehend what it is that  
is asked of him1 and for  this ,purpose 
the ,horseman should make his ,lessons  
short1 and demand  but little at a      
,time2 begin then to make him go        
backward1 when he is  arrived far enough
 to understand what you expect him to   
do2 but at  first be contented with a   
little1 it is sufficient if he          
understands  what you want4    ,,there  
are ,horses1 who can go backward1 not   
only with great ,ease1 but  do it even  
with the ,exactness of ,horses that are 

perfectly drest2 if  you examine these  
,horses1 you will find that all the     
,parts of their  ,body are exactly      
proportioned2 they have ,strength1 and  
,nature herself  has taught them to     
unite themselves2 but there are others1 
who can't  go backwards without great   
,difficulty2 these are weak in the      
,back1 or  otherwise imperfect in their 
,make2 don't demand too much of these1  
work  them with caution1 for ,rigour    
with such ,horses1 is never successful4 
,,there are another sort of ,horses1 who
 never can be reconciled to             
,subjection2 whenever you try to make   
them go backward1 they fix their  fore  
,feet fast upon the ,ground1 and arm    
themselves2 in this ,case you  must     
endeavour to win them1 as it were       
insensibly1 and by degrees4 ,for  this  
,purpose1 raise your hand a little1     
remove it from your ,body1 at  the same 
time shake your ,reins1 and you will    
find that by degrees you  will accustom 
your ,horse to obey2 but remember at the

 same time1 that  you would have a less 
share of ,reason1 than the ,animal you  
undertake  to dress1 were you to expect 
to reduce him to ,obedience all at once2
  your ,horse answering to the ,reins   
which you shake1 will move perhaps  only
 one of his fore ,feet1 leaving the     
other advanced2 this ,posture  without  
doubt is defective1 because he is       
dis-united2 but as ,perfection  can't be
 gained at once1 ,patience and gentle   
,usage are the only certain  ,methods of
 bringing your ,horse to perform what   
you want4 ,there are  others1 who when  
they go backward1 do it with ,fury and  
,impatience2  these you should correct1 
briskly1 and support lightly with your  
,legs1  while they go backward4 ,there  
are another sort1 who work their lower  
,jaw about as if they wanted to catch   
hold of the ,bit1 who bear upon  the    
,hand1 and endeavour to force it2 to    
such ,horses you must keep your  ,hand  
extremely low1 and your ,reins exactly  
even1 distribute equally the  ,power of 

each1 by rounding your ,wrist1 and      
keeping your ,nails exactly  opposite   
your ,body4    ,,after having made your 
,horse go backward1 let him advance two 
or three  ,steps1 if he obeys the ,hand 
readily4--,this will take off any       
,dislike  or ,fear1 he may entertain    
from the ,constraint of going backward2 
if  he forces the ,hand in going        
backward1 these three ,steps forward    
will  contribute to bring him into it   
again2 and lastly1 they prevent any     
,vice1 that this ,lesson might otherwise
 produce4    ,,after having advanced    
three ,steps1 let him stop1 and turn    
him2 you will  by these means support   
him1 and take him off from any ill      
,designs1  which the ,treatment you are 
obliged to observe towards him1 in order
 to  make him stop and go backward with 
,precision and ,order1 might otherwise  
give rise to4--,after having turned him1
 make him go backward1 you will  prevent
 his having too great ,desire of going  
too soon from the ,place  where he      

stopp'd1 as well as from that to which  
he turned4    ,,the ,moment the ,stop is
 made1 give him his ,bridle2 by stopping
 you  have augmented the ,degree of the 
,apuy in the ,horse's ,mouth2 you must  
increase it still more1 in order to make
 him go backwards2 hence a hard  ,hand  
and bad ,mouth4    ,,this ,reasoning is 
plain1 and these ,principles are true2  
notwithstanding  which1 there are few   
,horsemen who attend to it1 either      
because they  never think and reflect1  
or else that the ,force of bad ,habits  
overcomes  them4    ,,this ,lesson1 if  
well weigh'd and given properly1 is a   
necessary and  certain ,method of       
teaching ,horses to make a good ,stop1  
of rendering  them light and obedient   
when they pull or are beyond the ,degree
 of what  is call'd full in the         
,hand4--,but if given improperly1 or if 
too often  repeated1 it then grows to be
 a ,habit1 and a ,habit is no           
,correction4  ,never practise it long   
with ,horses who are hot1 and who have  

hard  ,mouths1 their ,impatience and    
,heat1 join'd to ,habit and ,custom1    
would  prevent them from knowing the    
,cause1 and feeling the ,effects4 ,it is
 the  same with those who have short    
,fore-hands2 for as they are generally  
thick-shoulder'd and heavy1 the         
,difficulty they feel to collect        
themselves upon their ,haunches1        
naturally disposes them to press the    
,branches of the ,bit against their     
,chest1 by which means this ,lesson     
becomes quite ineffectual4              
,,chap4 ,,vii4    ,of the uniting or    
putting a ,horse together4      ,,the   
,end which the ,horseman proposes to    
attain by his ,art1 is to give to  the  
,horses1 which he undertakes1 the       
,union1 without which1 no ,horse  can be
 said to be perfectly drest2 every one  
allows that the whole of  the ,art      
depends upon this1 yet few ,people      
reason or act from ,principles  and     
,theory1 but trust entirely to          
,practice2 hence it follows1 that  they 

must work upon ,foundations false and   
uncertain1 and so thick is  the         
,darkness in which they wander1 that it 
is difficult to find any  one who is    
able to define this ,term of uniting or 
putting a ,horse  together1 which is yet
 so constantly in the ,mouth of every   
,body2 ,i  will undertake1 however1 to  
give a clear and distinct ,idea of it2  
and  for that ,purpose shall treat it   
with ,order and ,method4    ,,the       
uniting then or putting together1 is the
 ,action by which a ,horse  draws       
together and assembles the ,parts of his
 ,body1 and his ,strength1  in          
distributing it equally upon his four   
,legs1 and in re-uniting or  drawing    
them together1 as we do ourselves1 when 
we are going to jump1  or perform any   
other ,action which demands ,strength   
and ,agility4 ,this  ,posture alone is  
sufficient to settle and place the ,head
 of the ,animal1  to lighten and render 
his ,shoulders and ,legs active1 which  
from the  ,structure of his ,body1      

support and govern the greater ,part of 
his  ,weight2 being then by these means 
made steady1 and his ,head well  placed1
 you will perceive in every ,motion that
 he makes1 a surprizing  ,correspondence
 of the ,parts with the whole4 ,i say1  
that from the  natural ,structure of a  
,horse's ,body1 his ,legs and ,shoulders
 support the  greatest ,part of his     
,weight1 in reality his ,croupe or      
,haunches carry  nothing but his ,tail1 
while his fore ,legs1 being             
perpendicular1 are  loaded with the     
,head1 ,neck1 and ,shoulders2 so that1  
let the ,animal be  ever so well made1  
ever so well proportioned1 his fore     
,part1 either  when he is in ,motion1 or
 in a ,state of ,rest1 is always        
employed1 and  consequently in want of  
the ,assistance of ,art to ease it2 and 
in this  consists the ,union or putting 
together1 which by putting the ,horse   
upon his ,haunches1 counterballances and
 relieves his fore ,part4    ,,the      
,union not only helps and relieves the  

,part of the ,horse that  is the        
weakest1 but it is so necessary to every
 ,horse1 that no ,horse  that is        
dis-united can go freely1 he can neither
 ,leap nor ,gallop with  ,agility and   
,lightness1 nor run without being in    
manifest ,danger of  falling and        
pitching himself headlong1 because his  
,motions have no  ,harmony1 no          
,agreement one with another4 ,it is     
allowed1 that ,nature  has given to     
every ,horse a certain ,equilibre1 by   
which he supports  and regulates himself
 in all his ,motions2 we knew that his  
,body is  supported by his four ,legs1  
and that his four ,legs have a ,motion1 
which  his ,body must of necessity      
follow2 but yet this natural ,equilibre 
is  not sufficient4 ,all ,men can walk1 
they are supported on two ,legs1        
notwithstanding this we make a great    
,difference between that ,person to     
whom proper ,exercises have taught the  
free ,use of his ,limbs1 and him  whose 
,carriage is unimproved by ,art1 and    

consequently heavy and aukward4         
',,tis just the same with respect to a  
,horse2 we must have recourse to  ,art  
to unfold the natural ,powers that lay  
hid and are shut up in him1  if we mean 
he should make a proper ,use of the     
,limbs which ,nature has  given him2 the
 ,use of which can be discover'd and    
made familiar to him  no other way than 
by working him upon true and just       
,principles4    ,,the ,trot is very     
efficacious to bring a ,horse to this   
,union so  important1 and so necessary2 
,i speak of the ,trot1 in which he is   
supported and kept together1 and suppled
 at the same time2 this compels  the    
,horse to put himself together3 in      
effect1 the ,trot in which a ,horse  is 
well supported partakes of a quick and  
violent ,motion3 ,it forces a  ,horse to
 collect and unite all his ,strength1   
because it is impossible  that a ,horse 
that is kept together1 should at the    
same time abandon and  fling himself    
forward4 ,i explain myself thus4--,in   

order to support your  ,horse in his    
,trot1 the ,horseman should hold his    
,hand near his ,body1  keeping his      
,horse together a little1 and have his  
,legs near his ,sides4  ,the ,effect of 
the ,hand is to confine and raise the   
fore ,parts of the  ,horse2 the ,effect 
of the ,legs is to push and drive       
forward the hinder  ,parts3 ,now if the 
fore ,parts are kept back or confin'd1  
and the hinder  ,parts are driven       
forward1 the ,horse in a quick ,motion1 
such as the  ,trot1 must of necessity   
sit down upon his ,haunches1 and unite  
and put  himself together4    ,,for the 
same ,reason making your ,horse launch  
out vigorously in his  ,trot1 and       
quickening his ,cadence from time to    
time1 putting him to make  ,pesades1    
stopping him and making him go backward1
 will all contribute  towards his       
acquiring the ,union4--,i would define  
his going off readily1  or all at once1 
not to be a violent and precipitate     
,manner of ,running1  but only to       

consist in the ,horse's being a little  
animated1 and going  somewhat faster    
than the ordinary ,time of his          
,pace4--,your ,horse trots1  press him a
 little2 in the ,instant that he        
redoubles and quickens his  ,action1    
moderate and shorten1 if ,i may so say1 
the ,hurry of his ,pace2  the more then 
that he presses to go forward1 the more 
will his being  check'd and confin'd    
tend to unite his ,limbs1 and the ,union
 will  owe its ,birth to opposite       
,causes2 that is to say1 on one hand to 
the  ,ardour of the ,horse who presses  
to go forward1 and to the ,diligence    
and ,attention of the ,horseman on the  
other1 who1 by holding him in1  slackens
 the ,pace1 and raises the ,fore-parts  
of the ,creature1 and at  the same time 
distributes his ,strength equally to all
 his ,limbs4 ,the  ,action of a ,horse1 
when going backward1 is directly        
opposite to his  abandoning himself upon
 his ,shoulders2 by this you compel him 
to put  himself upon his ,haunches3 this

 ,lesson is by so much therefore the    
more  effectual1 as that the ,cause of a
 ,horse's being dis-united1 is often    
owing to the ,pain he feels in bending  
his ,haunches4    ,,the ,pesades have no
 less ,effect1 especially upon ,horses  
that are clumsy  and heavy shoulder'd2  
because they teach them to use them1 and
 to raise  them2 and when they raise    
them up1 it follows of necessity that   
all  their ,weight must be thrown upon  
their ,haunches4 ,a light and gentle    
,hand then1 and the ,aids of the ,legs  
judiciously managed1 are capable  to    
give a ,horse the ,union2 but it is not 
so clear at what time we  ought to begin
 to put a ,horse upon his ,haunches4 ,is
 it not necessary  before we do this1   
that the ,horse should have his         
,shoulders entirely  suppled8 ,it is    
evident1 that a ,horse can never support
 himself upon  his ,haunches1 unless his
 ,fore-part be lightened2 let us see    
then by  what means we may hope to      
acquire this ,suppleness1 the only      

,source of  light and free ,action4     
,nothing can supple more the ,shoulders 
than the  ,working a ,horse upon large  
,circles4--,walk him first round the    
,circle1  in order to make him know his 
,ground2 afterwards try to draw his     
,head  in1 or towards the ,center1 by   
means of your inner ,rein and inner     
,leg4  ,for instance1--,i work my ,horse
 upon a ,circle1 and ,i go to the ,right
 by  pulling the right ,rein2 ,i bring  
in his outward ,shoulder by the means of
  the left ,rein1 and support him at the
 same time with my inner ,leg2 thus  the
 ,horse has1 if ,i may so say1 his ,head
 in1 or towards the ,center1  although  
the ,croupe is at ,liberty4 ,the right  
,leg crosses over the left  ,leg1 and   
the right ,shoulder is suppled1 while   
the left ,leg supports  the whole       
,weight of the ,horse in the ,action3   
,in working him to the  left ,hand1 and 
following the same ,method1 the left    
,shoulder supples1  and the right is    
pressed and confined4 ,this ,lesson1    

which tends not  only to supple the     
,shoulders1 but likewise to give an     
,apuy1 being  well comprehended by the  
,horse1 ,i lead him along the ,side of  
the  ,wall1--having placed his ,head1 ,i
 make use of the inner ,rein1 which     
draws in his ,head1 and ,i bring in his 
outward ,shoulder by means of  the other
 ,rein3 ,in this ,posture1 ,i support   
him with my inner ,leg1 and  he goes    
along the ,wall1 his ,croupe being out  
and at liberty1 and his  inner ,leg     
passing over and crossing his outward   
,leg at every ,step he  makes4--,by     
this1 ,i supple his ,neck1 ,i supple his
 ,shoulders1 ,i work his  ,haunches1 and
 ,i teach the ,horse to know the ,heels4
 ,i say1 that the  ,haunches are worked1
 though his ,croupe is at liberty1      
because it is  from the ,fore-parts     
only1 that a ,horse can be upon his     
,haunches4    ,,in effect1 after having 
placed his ,head1 draw it in1 and you   
will  lengthen his ,croupe1 you raise   
him higher before than behind1 his ,legs

  come under his ,belly1 and            
consequently he bends his ,haunches4 ,it
 is  the same as when he comes down     
,hill1 his ,croupe1 being higher than   
his  ,fore-parts1 is pushed under him1  
and the ,horse is upon his ,haunches2   
since it is evident that the ,hinder    
support all the ,fore-parts1  therefore 
in going along the ,side of the ,wall1  
by the means of the  inner ,rein1 ,i put
 together and unite my ,horse4          
,,behold then1 in short1 the most       
certain ,methods of enabling yourself to
  give to a ,horse this ,union1 this    
,freedom and ,ease1 by which learning   
how to ballance his ,weight equally and 
with ,art1 and distributing his         
,strength with ,exactness to all his    
,limbs1 he becomes able to undertake    
and execute with ,justness and ,grace1  
whatever the ,horseman demands of  him1 
conformable to his ,strength and        
,disposition4          ,,chap4 ,,viii4  
,of the ,pillars4      ,,it is the same 
with respect to the ,pillars1 as with   

all other ,lessons  which you must teach
 a ,horse1 in order to make him perfect 
in his ,air4  ,excellent in itself1 it  
becomes pernicious and destructive under
 the  ,direction of the ,ignorant1 and  
is not only capable to dishearten any   
,horse1 but to strain and ruin him      
entirely4    ,,the ,pillar partly owes  
its ,origin to the famous ,pignatelli#a4
 ,mess4  de la ,broue and ,pluvinel1 who
 were his ,scholars1 brought it first   
into ,france2 the first indeed made     
little use of it1 and seem'd to  be very
 well appriz'd of its ,inconveniencies  
and ,dangers2 as for the  other1 one may
 say1 that he knew not a better or      
shorter ,method of  dressing and        
adjusting a ,horse4 ,in effect1         
according to his ,notions1  working a   
,horse round a single ,pillar could     
never fail of setting  him upon his     
,haunches1 making him advance1 suppling 
and teaching him  to turn roundly and   
exactly2 and by putting him between two 
,pillars1  provided he had ,vigour1 he  

was taught to obey the ,heels readily1  
to  unite himself1 and acquire in a     
shorter time a good ,apuy in making     
,curvets4 ,if he wanted to settle his   
,horse's ,head in a short time1 the     
,pillars were very efficacious4 ,he tied
 the ,horse between them to the  ,cords 
of the ,snaffle which he had in his     
,mouth1 instead of the ,bridle4  ,there 
he work'd his ,horse without a ,saddle1 
and maintain'd1 that if  the ,horse     
tossed or shook his ,head1 bore too     
much1 or too little upon  his ,bridle1  
he punish'd himself in such a manner1   
that 7as he imagin'd7  the ,horse was   
compell'd to put himself upon his       
,haunches1 and to take  a good ,apuy2   
especially as the ,fear of the          
,chambriere or ,whip1 always  ready     
behind him1 kept him in awe4 ,the ,horse
 was often taken out of the  two        
,pillars1 in order to be put to the     
single ,pillar1 with a ,cord tied  to   
the ,banquet of the ,bit as a false     
,rein2 here he was work'd by being  made

 to rise before1 and driven round the   
,pillar1 with a design and in  hopes of 
making him step out and embrace1 or     
cover well the ,ground he  went round1  
as well as to give him ,resolution in   
his ,work1 and to cure  him of ,dullness
 and ,sloth1 if he had it in his        
,temper4 ,we don't know  whether ,mr4   
,pluvinel designed any real ,advantages 
from this ,method or  no2 but be that as
 it will1 it prevails no longer among   
us4--,it must  be owned1 that the two   
,pillars of his inventing are still     
preserved1  and that no ,manage is      
without them2 but at least we have      
suppress'd the  single ,pillar1 which   
serves only to fatigue and harrass a    
,horse3 ,learn  never to put a ,horse   
between the two ,pillars till he is well
 suppled1  and you have given him the   
first ,principles of the ,union between 
the ,legs1 which are the natural        
,pillars that every ,horseman should    
employ4 ,we must take care to work the  
,horse with great ,prudence at  first1  

and as gently as possible2 for a ,horse 
being in this ,lesson very  much        
confined and forced1 and not able to    
escape1 nor to go forward  nor backward1
 he oftentimes grows quite furious1 and 
abandons himself  to every ,motion that 
,rage and ,resentment can suggest4      
,begin then this  ,lesson in the        
plainest ,manner1 contenting yourself   
with only making  him go from side to   
side1 by means of the ,switch1 or from  
fear of the  ,chambriere4 ,at the ,end  
of some ,days1 the ,horse1 thus become  
obedient1  and accustomed to the        
,subjection of the ,pillars2 try to make
 him  insensibly go into the ,cords1    
which when he will do readily1 endeavour
  to get a ,step or two exact and in    
time of the ,passage or ,piaffer4       
,footnote #a3 ,he liv'd at ,naples1 and 
was the most eminent ,horseman of  his  
,time4    ,,if he offers to present     
himself to it1 be it never so little1   
make him  leave off1 encourage him1 and 
send him to the ,stable2 augment thus   

your  ,lessons by degrees1 and examine  
and endeavour to discover to what his   
,disposition turns1 that you may        
cultivate and improve it4 ,the worst    
,effect of the ,pillars is the ,hazard  
you run of entirely ruining the  ,hocks 
of your ,horse1 if you don't distinguish
 very exactly between  those ,parts and 
the ,haunches4 ,many ,people think that 
when the ,horse  goes into the ,cords1  
he is of consequence upon his ,haunches2
 but they  don't remark1 that often the 
,horse only bends his ,hocks1 and that  
his  ,hocks pain him by so much the     
more1 as his hinder ,feet are not in    
their  due ,equilibre4    ,,the         
,fore-legs of a ,horse are made like    
those of a ,man1 the ,knees are  before 
or without1 the ,hinder-legs are shaped 
like our ,arms1 he bends  his ,hocks as 
we do our ,elbows2 therefore if he rises
 before very high1  he must stretch and 
stiffen his ,hocks1 and consequently can
 never be  seated upon his ,haunches2 to
 be upon them1 the ,horse must bend and 

bring them under him1 because the more  
his ,hinder-legs are brought  under him1
 the more his ,hinder-feet are in the   
necessary ,point of  ,gravity1 to       
support all the ,weight of his ,body1   
which is in the ,air1  in a just        
,equilibre4--,these ,remarks are        
sufficient to evince the                
,inconveniencies that may arise from the
 ,pillars2 never quit sight of  these   
,principles1 you will find by adhering  
to them1 the ,horse that is  drest      
according to their ,tenour1 will be a   
,proof of the real ,advantages  that you
 may draw from a ,lesson1 which never   
does harm1 but when  occasioned by the  
,imprudence or ,ignorance of those who  
give it4          ,,chap4 ,,ix4    ,of  
,aids and ,corrections4      ,,an ,aid  
may be termed whatever assists or       
directs a ,horse1 and whatever  enables 
him to execute what we put him to       
do4--,corrections are whatever  ,methods
 we use to awe and punish him1 whenever 
he disobeys3 ,aids  therefore are to    

prevent1 and ,corrections to punish1    
whatever ,fault he  may commit4    ,,the
 ,aids are various1 and are to be given 
in different ,manners1 upon  different  
,occasions1 they are only meant to      
accompany the ,ease and  ,smoothness of 
the ,horse in his ,air1 and to form and 
maintain the  ,justness of it2 for this 
,reason they ought to be delicate1 fine1
  smooth1 and steady1 and proportioned  
to the ,sensibility or ,feeling of  the 
,horse2 for if they are harsh and rude1 
very far from ,aiding1 they  would throw
 the ,horse into ,disorder1 or else     
occasion his ,manage to be  false1 his  
,time broken1 constrained1 and          
disagreeable4    ,,corrections are of   
two ,sorts2 you may punish your ,horse  
with the  ,spurs1 the ,switch1 or       
,chambriere2 you may punish him by      
keeping him  in a greater ,degree of    
,subjection2 but in all these ,cases1 a 
real  ,horseman will endeavour rather to
 work upon the ,understanding of the    
,creature1 than upon the different      

,parts of his ,body4 ,a ,horse has      
,imagination1 ,memory and ,judgment2    
work upon these three ,faculties1 and   
you will be most likely to succeed4 ,in 
reality1 the ,corrections which  reduce 
a ,horse to the greatest ,obedience1 and
 which dishearten him the  least1 are   
such as are not severe1 but such as     
consist in opposing his  ,will and      
,humour1 by restraining and putting him 
to do directly the  contrary4--,if your 
,horse don't advance or go off readily1 
or if he is  sluggish1 make him go      
sideways1 sometimes to one hand1        
sometimes to  the other1 and drive him  
forward2 and so alternatively4--,if he  
goes  forward too fast1 being extremely 
quick of feeling1 moderate your  ,aids1 
and make him go backwards some ,steps2  
if he presses forward  with ,hurry and  
,violence1 make him go backward a great 
deal4--,if he  is disorderly and        
turbulent1 walk him strait forward1 with
 his ,head  in and ,croupe out2 these   
sorts of ,corrections have great        

,influence  upon most ,horses4 ,it is   
true1 that there are some of so bad and 
rebellious ,dispositions1 which availing
 themselves of their ,memory  to falsify
 their ,lessons1 require sharp          
,correction1 and upon whom  gentle      
,punishment would have no ,effect2 but  
in using ,severity to such  ,horses1    
great ,prudence and ,management are     
necessary4 ,the ,character of a         
,horseman is to work with ,design1 and  
to execute with ,method and ,order2  he 
should have more ,forbearance1 more     
,experience1 and more ,sagacity  than   
most ,people are possessed of4    ,,the 
,spurs1 when used by a knowing and able 
,horseman1 are of great  ,service2 but  
when used improperly1 nothing so soon   
makes a ,horse abject  and jadish4      
,given properly1 they awe and correct   
the ,animal2 given  unduly1 they make   
him restive and vicious1 and are even   
capable of  ,discouraging a drest       
,horse1 and giving him a ,disgust to the
 ,manage2  don't be too hasty therefore 

to correct your ,horse with them4       
,,be patient2 if your ,horse deserves   
,punishment1 punish him smartly1 but    
seldom2 for besides your habituating him
 to ,blows1 till he ceases to  mind     
them1 you will astonish and confound    
him1 and be more likely to  make him    
rebel1 than to bring him to the ,point  
you aim at4 ,to give your  ,horse both  
,spurs properly1 you must change the    
,posture of your ,legs1  and bending    
your ,knee1 strike him with them at once
 as quick and firmly  as you can4 ,a    
,stroke of the ,spurs wrongly given is  
no ,punishment2 it  rather hardens the  
,horse against them1 teaches him to     
shake and frisk  about his ,tail1 and   
often to return the ,blow with a ,kick4 
,take care  never to open your ,thighs  
and ,legs in order to give both ,spurs1 
for  besides that the ,blow would not be
 at all stronger for being given in     
this ,manner1 you would by this means   
lose the ,time in which you ought  to   
give it1 and the ,horse would rather be 

alarmed at the ,motion you  make in     
order to give the ,blow1 than punished  
by it when he felt in2  and thence your 
,action becoming irregular1 could never 
produce a good  ,effect4    ,,the       
,chambriere is used as a ,correction1 it
 ought however to be used  with         
,discretion2 we will suppose it to be in
 able ,hands1 and forbear to  say more  
about it4 ,as for the ,switch1 it is so 
seldom made use of to  punish a ,horse1 
that ,i shall not speak of it1 till ,i  
come to treat of  the ,aids4    ,,by    
what has been said of ,corrections1 it  
is apparent1 that the ,horseman  works  
not only upon the ,horse's              
,understanding1 but even upon his ,sense
  of ,feeling4    ,a ,,horse has three  
,senses upon which we may work1         
,hearing1 ,feeling and  ,seeing4 ,the   
,touch is that ,sense1 by which we are  
enabled to make him  very quick and     
delicate1 and when he is once brought to
 understand the  ,aids which operate    
upon this ,sense1 he will be able to    

answer to all  that you can put him to4 
,,though the ,senses of ,hearing and    
,sight are good in themselves1 they  are
 yet apt to give a ,horse a ,habit of   
,working by ,rote and of himself1  which
 is bad and dangerous4 ,the ,aids which 
are employed upon the ,touch  or        
,feeling1 are those of the ,legs1 of the
 ,hand1 and of the ,switch4  ,those     
which influence the ,sight1 proceed from
 the ,switch2 those which  affect the   
,sight and ,hearing both1 are derived   
from the ,switch and the  ,horseman's   
,tongue4    ,,the ,switch ought neither 
to be long nor short1 from three to four
 ,feet  or thereabouts is a sufficient  
,length2 you can give your ,aids more   
gracefully with a short than a long one4
 ,in a ,manage1 it is generally  held on
 the contrary ,hand to which the ,horse 
is going2 or else it  is held up high at
 every ,change of ,hand3 ,by holding the
 ,switch1 the  ,horseman learns to carry
 his ,sword in his ,hand with ,ease and 
,grace1  and to manage his ,horse       

without being encumber'd by it4 ,to aid 
with the  ,switch1 you must hold it in  
your ,hand1 in such a manner that the   
,point  of it be turned towards the     
,horse's ,croupe1 this is the most      
convenient  and easy ,manner2 that of   
aiding with it1 not over the ,shoulder1 
but  over the ,bending of your ,arm1 by 
removing your left ,arm from your ,body1
  and keeping it a little bent1 so as to
 make the ,end of the ,switch fall  upon
 the ,middle of the ,horse's ,back1 is  
very difficult to execute4    ,,shaking 
the ,switch backward and forward to     
animate the ,horse with the  ,sound1 is 
a graceful ,aid2 but till a ,horse is   
accustom'd to it1 it is  apt to drive   
him forward too much4    ,,in case your 
,horse is too light and nimble with his 
,croupe1 you must  aid before only with 
the ,switch2 if he bends or sinks his   
,croupe1 or  tosses it about without    
kicking out1 you must aid just at the   
,setting  on of the ,tail4--,if you     
would have him make ,croupades1 give him

 the  ,switch a little above the ,hocks4
    ,,to aid with your ,tongue1 you must
 turn it upward against the ,palate  of 
the ,mouth1 shut your ,teeth1 and then  
remove it from your ,palate2  the ,noise
 it makes is admirable to encourage a   
,horse1 to quicken and  put him         
together2 but you must not use it       
continually1 for so1 instead  of        
animating your ,horse1 it would serve   
only to lull him4--,there are  ,people  
who when they work their ,horses1       
whistle and make use of their  ,voices2 
these ,aids are ridiculous1 we should   
leave these ,habits to  ,grooms and     
,coachmen1 and know that ,crys and      
,threats are useless4--,the  ,sense of  
hearing can serve at the most only to   
confound and surprize  a ,horse1 and you
 will never give him ,exactness and     
,sensibility by  surprizing him4--,the  
same may be said of the ,sight2 whatever
 strikes  this ,sense1 operates likewise
 upon the ,memory1 and this ,method     
seldom  produces a good ,effect2 for you

 ought to know how important it is to   
vary the ,order of your ,lessons1 and   
the ,places where you give them2  since 
it is certain1 that a ,horse who is     
always work'd in the same  ,place1 works
 by rote1 and attends no longer to the  
,aids of the ,hand  and ,heels4--,it is 
the same with hot and angry ,horses1    
whose ,memory is  so exact1 and who are 
so ready to be disorder'd and put out of
 ,humour1  that if the least thing comes
 in their ,way during their ,lesson1    
they  no longer think of what they were 
about3 ,the way of dealing with these   
,horses1 is to work them with ,lunettes 
on their ,eyes2 but it must be          
remembered1 that this ,method would be  
dangerous with ,horses which are  very  
impatient1 hot1 and averse to all       
,subjection1 and so sensible to  the    
,aids1 as to grow desperate to such a   
degree1 as to break through  all        
,restraint1 and run away headlong2 it is
 therefore unsafe with these  ,horses1  
because they could not be more blinded  

even with the ,lunettes1  than they are 
when possessed with this ,madness1 which
 so blinds them1  that they no longer   
fear the most apparent ,dangers4        
,,having said thus much of the ,aids    
which operate upon the ,touch1 ,hearing 
and ,sight1 we must now confine         
ourselves to discourse upon those1 which
  regard the ,touch only2 for as it has 
been already said1 these only are  the  
,aids by which a ,horse can be drest1   
because it is only by the ,hand  and    
,heel that he can be adjusted4    ,,the 
,horseman's ,legs1 by being kept near   
the ,horse's ,sides1 serve not  only to 
embellish his ,seat1 but without keeping
 them in this ,posture1  he never will  
be able to give his ,aids justly4--,to  
explain this3 ,if the  ,motion of my    
,leg is made at a distance from the     
,horse1 it is rather  a ,correction than
 an ,aid1 and alarms and disorders the  
,horse2 on the  contrary1 if my ,leg is 
near the ,part that is most sensible1   
the ,horse  may be aided1 advertised of 

his ,fault1 and even punished1 in much  
less  time1 and consequently by this    
means kept in a much greater ,degree of 
,obedience4--,the ,legs furnish us with 
four ,sorts of ,aids1 the ,inside of    
the ,knees1 the ,calfs1 pinching        
delicately with the ,spurs1 and pressing
  strongly upon the ,stirrups4 ,the     
essential ,article in dressing a ,horse1
  is to make known the ,gradation of    
these several ,aids1 which ,i will      
explain4 ,the ,aid of the ,inside of the
 ,knees is given1 by closing and        
squeezing your ,knees1 in such a manner1
 that you feel them press and  grasp    
your ,horse extremely4 ,you aid with the
 ,calfs of your ,legs1 by  bending your 
,knees1 so as to bring your ,calfs so   
close as to touch the  ,horse with them4
    ,,the ,aid of ,pinching with the    
,spurs1 is performed in the same manner1
 by  bending your ,knees1 and touching  
with the ,spurs the ,hair of the ,horse1
  without piercing the ,skin4 ,the last 
,aid1 which is only proper for very     

sensible and delicate ,horses1 consists 
in stretching down your ,legs1  and     
pressing firm upon the ,stirrups4       
,,the strongest ,aid is that of pinching
 with the ,spur2 the next in  degree1 is
 applying the ,calf of the ,leg2        
pressing with the ,knees is  the third1 
and leaning upon the ,stirrup is the    
last and least2 but  if these ,aids are 
given injudiciously1 they will have no  
,effect4  ,they must accompany and keep 
,pace with the ,hand2 for it is the just
  ,correspondence between the ,heel and 
,hand1 in which the ,truth and          
,delicacy of the ,art consists2 and     
without this ,agreement there can be  no
 riding4    ,,it is the ,foundation of  
all ,justness2 it constitutes and       
directs  the ,cadence1 ,measure and     
,harmony of all the ,airs2 it is the    
,soul of  ,delicacy1 ,brilliancy and    
,truth in riding2 and as a ,person who  
plays  upon a musical ,instrument adapts
 and suits his two ,hands equally to the
  ,instrument1 so the ,man who works a  

,horse ought to make his ,hands and     
,legs accord exactly together4 ,i say   
his ,hands and ,legs should accord  and 
answer one to the other with the        
strictest ,exactness1 because the       
nicest and most subtle ,effects of the  
,bridle proceed entirely from this      
,agreement2 and however fine and nice a 
,touch a ,horseman may be endued  with1 
if the ,times of aiding with the ,legs  
are broken and imperfect1 he  never can 
have a good ,hand2 because it is evident
 that a good ,hand is  not the          
,offspring only of a firm and good      
,seat1 but owing likewise to  the       
,proportion and ,harmony of all the     
,aids together4 ,i understand by  the   
,harmony and ,agreement of the ,aids1   
the ,art of knowing how to seize  the   
,moment in which they are to be given1  
and of giving them equally  and in a due
 ,degree1 as well as of measuring and   
comparing the ,action  of the ,hand and 
,legs together2 by which both these     
,parts being made to  act together1 and 

in time1 will create and call out1 as it
 were1 those  ,cadences and ,equalities 
of ,time1 of which the finest ,airs are 
compos'd2  ,measures and ,cadences which
 it is not possible to describe1 but    
which  every ,horseman ought to         
comprehend1 attend to1 and feel4 ,if ,i 
want to  make my ,horse go forward1 ,i  
yield my ,hand to him1 and at the same  
time  close my ,legs2 the ,hand ceasing 
to confine1 and the ,legs driving on his
  hinder ,parts1 the ,horse obeys4 ,i   
have a mind to stop him1 ,i hold him    
in1 and approach my ,legs to his ,sides 
gently1 in order to proportion my  ,aids
 to what ,i ask him to do2 for ,i would 
not have it felt more than  just to make
 him stop upon his ,haunches4    ,i     
,,want to turn him to the ,left1 ,i     
carry my ,hand to the ,left1 and        
support him at the same time2 that is to
 say1 ,i approach my ,left-leg1  my     
,hand then guides the ,horse to the     
,left1 and my ,leg1 which operates  at  
the same time1 helps him to turn2       

because by driving his ,croupe to  the  
,right1 his ,shoulder is enabled to turn
 with more ,ease4 ,i want to go  to the 
,right1 ,i carry my ,hand to the ,right1
 and ,i support him with my             
,right-hand1 my ,leg determining his    
,croupe to the ,left1 facilitates the   
,action of the ,shoulder which my ,hand 
had turned to the ,right4    ,i ,,would 
make a ,change to the ,right1 my        
,left-rein directs the ,horse1  and my  
,left-leg at the same time confines his 
,croupe1 so that it can't  escape1 but  
must follow the ,shoulders4--,i would   
change ,hands again to  the ,left1 my   
,right-rein then guides the ,horse1 and 
my ,right-leg does  just the same as my 
,left-leg did in going to the           
,right4--,i undertake  to work the      
,shoulder and ,croupe at the same time2 
for this ,purpose ,i  carry my ,hand    
out4--,the inner ,rein acts1 and the    
outward ,leg of the  ,horse is press'd1 
either by this ,rein1 or by my outward  
,leg1 so that  the outward ,rein        

operates upon the ,shoulder1 and the    
inner ,rein with  my outward ,leg       
directs the ,croupe4--,i put my ,horse  
to ,curvets4--,i aid  him with my       
outward ,rein1 and if he is not enough  
upon his ,haunches1  my ,legs1          
accompanied with the inner ,rein1 aid me
 to put him more upon  them2 if he turns
 his ,croupe out1 ,i aid and support him
 with my outward  ,leg2 if he flings it 
in too much1 ,i confine him with my     
inner ,leg4    ,i ,,put him to make     
,curvets sideways1 my outward ,rein     
brings his outward  ,shoulder in1       
because the outward ,shoulder being     
brought in1 his ,croupe  is left at     
liberty2 but if ,i have occasion ,i use 
my inner ,rein1 and if  his ,croupe is  
not sufficiently confin'd1 ,i support it
 with my outward  ,leg4--,again1 ,i put 
him to make ,curvets backwards1 ,i use  
then my outward  ,rein1 and keep my     
,hand near my ,body4 ,at each ,cadence  
that the ,horse  makes1 ,i make him feel
 a ,time2 one1 and every time he comes  

to the  ,ground1 ,i receive and catch   
him as it were in my ,hand2 but these   
,times ought not to be distant above an 
,inch or two at the most2 ,i  then ease 
my ,legs to him1 which nevertheless ,i  
approach insensibly  every time he      
rises4 ,thus by making my ,hands and    
,legs act together1 ,i  learn not only  
to work a ,horse with ,justness and     
,precision1 but even to  dress him to   
all the ,airs2 which ,i shall speak of  
distinctly and more  at large4    ,,as  
to the rest1 be it remember'd1 that it  
is not alone sufficient to  know how to 
unite your ,aids1 and to proportion     
them1 as well as the  ,corrections1 to  
the ,motions and the ,faults in the     
,horse's ,air1 which  you would remedy2 
but whenever you are to make use of     
them1 you must  consider likewise if    
they are suitable and adapted to the    
,nature of the  ,horse2 for otherwise   
they will not only prove ineffectual1   
but be the  ,occasion even of many      
,disorders4          ,,chap4 ,x4    ,of 

the ,passage4      ,,the ,passage is the
 ,key which opens to us all the         
,justness of the ,art  of riding1 and is
 the only ,means of adjusting and       
regulating ,horses in  all sorts of     
,airs2 because in this ,action you may  
work them slowly1  and teach them all   
the ,knowledge of the ,leg and ,hand1 as
 it were  insensibly1 and without       
running any risque of disgusting them1  
so as to  make them rebel4--,there are  
many sorts of the ,passage3 ,in that    
which is  derived from the ,trot1 the   
,action of the ,horse's ,legs is the    
same as in  the ,trot2 the ,passage is  
only distinguish'd from the ,trot1 which
 is the  ,foundation of it1 by the      
extreme ,union of the ,horse1 and by his
 keeping  his ,legs longer in the ,air1 
and lifting them both equally high1 and 
being neither so quick nor violent as in
 the ,action of the ,trot4    ,,in the  
,passage which is founded on the ,walk1 
the ,action of the ,horse is  the same  
as in the ,trot1 and of consequence the 

same as in the ,walk2  with this        
,difference1 that the ,horse lifts his  
,fore-feet a good deal  higher than his 
,hind-feet1 that he marks a certain     
,time or ,interval  sufficiently long   
between the ,motion of each ,leg2 his   
,action being much  more together and   
short1 and more distinct and slow than  
the ordinary  ,walk1 and not so extended
 as in the ,trot1 in such a manner that 
he is1  as it were1 kept together and   
supported under himself4    ,,lastly1   
there is another sort of ,passage to    
which the ,trot likewise  gives birth1  
and in which the ,action is so quick1 so
 diligent1 and so  supported1 that the  
,horse seems not to advance1 but to work
 upon the  same ,spot of ,ground4 ,the  
,spaniards call the ,horses who make    
this sort  of ,passage ,pissadores4     
,this sort of ,horses have not their    
,action so  high and strong as the      
other1 it being too quick and sudden2   
but almost  all ,horses which are       
inclin'd to this sort of ,passage1 are  

generally  endowed with a great ,share  
of ,gentleness and ,activity4    ,,no   
,horse should be put to the ,passage    
till he has been well trotted  out1 is  
supple1 and has acquir'd some ,knowledge
 of the ,union4--,if  he has not been   
well trotted1 and by that means taught  
to go forward  readily1 his ,action1    
when put to the ,passage1 being         
shorten'd and  retain'd1 you would run  
the risque of his becoming restive and  
ramingue2 and was he utterly            
unacquainted with the ,union1 the       
,passage  requiring that he should be   
very much together1 he would not be able
 to  bear it2 so that finding himself   
press'd and forced on one hand1 and     
being incapable of obeying on the other1
 he would resist and defend  himself4   
,,there are some ,people1 who observing 
a ,horse to have ,strength and          
,agility1 and naturally disposed to     
unite himself1 endeavour to get from    
him some ,times of the ,passage4--,they 
succeed in their ,attempt1 and          

immediately conclude that they can      
passage their ,horse whenever they      
will1 and so press him to it1 before he 
has been sufficiently suppled  and      
taught to go forward readily1 and       
without retaining himself4  --,hence    
arise all the ,disorders into which     
,horses plunge themselves1  which1 if   
they had been properly managed at first1
 would have been  innocent of all       
,vice4--,farther1 you ought to study    
well the ,nature of  every ,horse2 you  
will discover of what ,temper he is from
 the first  ,moment you see him passage1
 and to what he is most inclin'd by     
,nature4    ,,if he has any ,seeds of   
the ,ramingue in him1 his ,action will  
be short  and together2 but it will be  
retain'd and loitering1 the ,horse      
craving the ,aids1 and only advancing in
 proportion as the ,rider gives  them1  
and drives him forward4--,if he is light
 and active1 quick of  ,feeling1 and    
willing1 his ,action will be free and   
diligent1 and you  will perceive that he

 takes a ,pleasure to work of himself1  
without  expecting the ,aids4--,if he be
 of a hot and fiery ,nature1 his        
,actions  will be quick and sudden1 and 
will shew that he is angry and impatient
  of the ,subjection4 ,if he wants      
,inclination and ,will1 he will be      
unquiet1 he will cross his ,legs1 and   
his ,actions will be perplex'd4 ,if  he 
is fiery1 and heavy at the same time1   
his ,action will be all upon  the ,hand4
 ,if besides this1 he has but little    
,strength1 he will abandon  himself     
entirely upon the ,apuy4 ,lastly1 if he 
is cold and sluggish  in his ,nature1   
his ,motion will be unactive and dead2  
and even when he  is enliven'd by good  
,lessons1 you will always be able to    
discover his  ,temper by seeing the     
,aids1 which the ,rider is oblig'd to   
give him from  time to time1 to hinder  
him from slackening or stopping the     
,cadence  of his ,passage4    ,,having  
acquir'd a thorough ,knowledge of your  
,horse's ,character1 you  should        

regulate all your ,lessons and          
,proceedings conformable to  it4--,if it
 hurts a ,horse who partakes of the     
,ramingue to be kept too  much together1
 unite him by little and little1 and    
insensibly as it  were1 and quite       
contrary to putting him to a short and  
united ,passage  all at once4 ,extend   
and push him forward1 passing one while 
from the  ,walk to that of the ,trot1   
and so alternatively4    ,,if your      
,horse is hot and impatient1 he will    
cross his ,steps1 and not  go equal2    
keep such a ,horse in a less degree of  
,subjection1 ease his  ,rein1 pacify    
him1 and retain or hold him in no more  
than is sufficient  to make him more    
quiet4--,if with this he is heavy1 put  
him to a ,walk  somewhat shorter and    
slower than the ,passage1 and endeavour 
to put  him upon his ,haunches          
insensibly1 and by degrees4 ,by these   
means you  will be enabled by ,art to   
bring him to an ,action1 by so much the 
more  essential1 as by this alone a     

,horse is taught to know the ,hands and 
,heels1 as ,i have already observed1    
without ever being perplex'd or         
disordered4          ,,chap4 ,,xi4      
,of working with the ,head and ,croupe  
to the ,wall4      ,,the ,lessons of the
 ,head and ,croupe to the ,wall are     
excellent to confirm  a ,horse in       
,obedience4 ,in effect1 when in this    
,action he is1 as it were1  balanced    
between the ,rider's ,legs1 and by      
working the ,croupe along the  ,wall1   
you are enabled not only to supple his  
,shoulders1 but likewise to  teach him  
the ,aids of the ,legs4    ,,for this   
,purpose1 after having well open'd the  
,corner1 turn your ,hand  immediately1  
and carry it in1 in order to direct your
 ,horse by your  outward ,rein2 taking  
always care to support the ,croupe with 
your  outward ,leg directly             
over-against1 and about two ,feet       
distant from the  ,wall3 ,bend your     
,horse to the ,way he goes1 and draw    
back the ,shoulder  that is in with your

 inner ,rein1 because the outward ,leg  
being  carried with more care over the  
inner ,leg by means of the outward      
,rein1  the ,horse will cross and bring 
one ,leg over the other1 the ,shoulders 
will go before the ,croupe1 you will    
narrow him behind1 and consequently  put
 him upon his ,haunches4    ,,you ought 
to be careful at the same time1 and see 
that your ,horse never  falsifies or    
quits the ,line1 either in advancing or 
going backward4--,if  he presses        
forward1 support him with your ,hand2 if
 he hangs back1  support him with your  
,legs1 always giving him the ,leg that  
serves to  drive him on1 stronger than  
the other which serves only to support  
him2  that is1 acting stronger with the 
,leg that is without1 than with that    
which is within4    ,,the ,lesson of the
 ,head to the ,wall is very efficacious 
to correct a  ,horse that forces the    
,hand1 or who leans heavily upon it1    
because it  compels him to put himself  
together1 and be light upon the ,hand   

with  less ,aids of the ,bridle2 but no 
,horse that is restive or ramingue      
should be put to it1 for all narrow and 
confin'd ,lessons serve only  to confirm
 them in their natural ,vice4--,place   
your ,horse directly  opposite the      
,wall1 at about two ,feet distance from 
it2 make him go  sideways1 as ,i have   
already directed in the ,article of     
,croupe to the  ,wall2 but left one     
,foot should tread upon the other1 and  
he should  knock them together and hurt 
himself1 in the ,beginning of both      
,lessons  you must not be too strict    
with him1 but let his ,croupe be rather 
on  the contrary ,side of his           
,shoulders1 since by this means he will 
look  towards the ,way he is going more 
easily1 and be better able to raise  the
 ,shoulder and ,leg which is to cross   
over the other4--,by degrees you  will  
gain his ,haunches1 and he will grow    
supple before and behind1  and at the   
same time become light in the ,hand3    
,never forget that your  ,horse ought   

always to be bent to the ,way he goes2  
in order to do this  readily1 guide him 
with the outward ,rein2 for very often  
the ,stiffness  of the ,neck or ,head is
 owing to nothing but the confined      
,action of the  outward ,shoulder2 it   
being certain1 that either the          
,difficulty or ,ease  of working either 
of those ,parts1 depends entirely upon  
the other2  your ,horse going thus      
sideways1 carry your ,hand a little out 
from  time to time2 the inner ,rein by  
this means will be shortened1 and make  
the ,horse look in1 the more it enlarges
 him before1 by keeping his  ,fore-leg  
that is in1 at a distance from the      
,fore-leg that is out1  which           
consequently bringing the inner         
,hinder-leg near to the outward1        
confines his hinder ,parts1 and makes   
him bend his ,haunches1 especially  the 
outward1 upon which he rests his        
,weight1 and keeps him in an equal      
,balance4--,never put your ,horse to    
this ,lesson1 till he has been work'd  a

 long while upon large ,circles1 his    
,head in1 or to the ,center1 and  his   
,croupe out2 otherwise you would run the
 ,risque of throwing him  into great    
,disorder4    ,,the greater part of     
,defences proceed from the ,shoulders or
 ,haunches1  that is to say1 from the   
fore or hinder ,parts2 and thence the   
,horse  learns to resist the ,hand or   
,heel4 ,it is the want of ,suppleness   
then1  that hinders the ,horse from     
executing what you put him to do2 and   
how  can it be expected that he should  
answer and obey1 when he is stiff in    
the ,shoulders1 ,haunches1 and ,ribs8   
especially if1 without reflecting  that 
,suppleness is the ,foundation of all1  
you press and teize him1 and  put him to
 ,lessons beyond his ,power and         
,capacity4          ,,chap4 ,,xii4      
,of ,changes of the ,hand1 large and    
narrow1 and of ,voltes and              
,demi-voltes4      ,a ,,change is that  
,action1 whereby the ,horseman guides   
and causes his  ,horse to go from the   

,right-hand to the ,left1 and from the  
,left to the  ,right1 in order to work  
him equally to both ,hands2 therefore   
changing  the ,hand1 when you are to the
 ,right1 is making your ,horse go to the
  ,left-hand1 and when on the ,left1    
making him go to the ,right4 ,the       
,changes are made either on one ,line or
 ,path1 or on two1 and are  either large
 or narrow4 ,changing the ,hand upon one
 ,line1 is when the  ,horse describes   
but one ,line with his ,feet2 changing  
upon two ,lines1 is  when the ,haunches 
follow and accompany the ,shoulders2 and
 to make this  ,change1 the ,horse's    
,feet must consequently describe two    
,lines1 one made  by his ,fore-feet1 the
 other with his ,hinder-feet4           
,,changing large1 is when the ,line1 if 
the ,horse makes but one1 or both       
,lines1 when he describes two1 cross the
 ,manage from ,corner to ,corner2       
changing narrow1 is when these ,lines   
pass over but a ,part of it4    ,a      
,volte is generally defined to be       

whatever forms a ,circle4--,voltes  of  
two ,lines or ,paths1 describe two1 one 
with the ,horse's ,fore1 the  other with
 his ,hinder-feet4    ,,if the ,circle  
then forms a ,volte1 by consequence half
 a ,circle forms  what is called the    
,half-volte4--,these ,half-voltes1 and  
,quarters of  ,voltes1 are made upon two
 ,lines1 as well as the ,volte4--,a     
,demi-volte  of two ,treads1 is nothing 
else than two half ,circles1 one drawn  
by  the ,horse's ,fore-feet1 the other  
by the ,hinder2 it is the same with     
,quarters of ,voltes4--,a ,horse can be 
work'd1 and put to all sorts of  ,airs  
upon the ,voltes1 ,half-voltes1 and     
,quarters of ,voltes4--,but as the      
,rules necessary to be observed and     
followed in making ,voltes of two       
,treads1 and in changing of ,hands in   
the ,passage1 are only general1 ,i      
shall content myself with explaining    
them in this ,chapter2 reserving  to    
myself a ,power of pointing out the     
,exceptions1 when ,i shall come  to     

treat of the different ,airs1 and the   
different ,manages1 that are  practised 
upon the ,voltes4 ,three things equally 
essential1 and equally  difficult to    
attain1 must concur to form the         
,justness of a ,change2 they  are the   
manner of beginning it1 of continuing1  
and closing it4--,we  will suppose you  
in the ,manage1 you walk your ,horse    
forward1 you bend  him properly1 and you
 are come to the ,place where you intend
 to change  large4 ,for this ,purpose1  
make a half ,stop1 and take care never  
to  abandon the ,rein which is to bend  
your ,horse's ,neck2 the other ,rein1   
that is1 the outward ,rein1 is that1    
which you must use to guide and  direct 
him1 but you must proportion the ,stress
 you lay upon one with  the other4--,as 
it is the outward ,rein which determines
 your ,horse the  ,way he is to go1 make
 that operate1 its ,effect will be to   
bring the  outward ,shoulder in2 if then
 it brings the outward ,shoulder in1 it 
guides and determines the ,horse to the 

,side to which you are going1  and      
confines and fixes the ,croupe at the   
same time4 ,this is not all1  at the    
same ,instant that your ,hand operates1 
support your ,horse with  your outward  
,leg3 ,your ,hand having determined the 
,shoulder1 and fixed  the ,croupe1 your 
,leg must help to secure it2 for without
 the ,aid of the  ,leg1 the ,croupe     
would be unconfined1 would be lost1 and 
the ,horse would  work only upon one    
,line4 ,you see then1 how requisite it  
is for the  ,horseman to be exact1      
active1 and to give his ,aids with the  
greatest  ,delicacy1 in order to begin  
his ,change with ,justness2 because it  
is  necessary1 that the ,times of giving
 the ,hand and ,leg1 should be so  close
 one to the other1 as not to be         
perceived or distinguished4--,you       
should never abandon1 ,i have already   
said1 that ,rein with which you  bend   
your ,horse2 this is the ,reason--,every
 ,horse when he makes a  ,change1 ought 
to look towards the ,way he is going2   

this ,turn of the  ,neck1 this          
,attitude1 enables him to perform his   
,work better1 and makes  him appear     
graceful in it2 therefore if he is      
turned or bent before  he begins to     
change1 why should you abandon the ,rein
 that serves to  bend him2 since in this
 case1 you would be under a double      
,difficulty  in wanting on one hand the 
,point of ,apuy1 which ought to be found
 in  the ,rein which serves to bend him1
 and the ,point of ,apuy which ought  to
 result from the working of the other   
,rein1 which is to determine  him4--,the
 outward ,rein operates to bring in the 
outward ,shoulder1 your  outward ,leg   
accompanies the ,action of your ,hand2  
here then is your  ,change begun4       
,,the outward ,shoulder and ,leg never  
could have been brought in1 without     
passing over or crossing the inner ,leg 
and ,shoulder2 this is the ,action      
which the outward ,leg should constantly
 perform through the whole  ,change4 ,in
 order to arrive at a just ,execution of

 this1 you should be  able to feel which
 ,feet are off the ,ground1 and which   
are upon it4 ,if  the inner ,leg is in  
the ,air1 and the ,horse is ready to put
 it to the  ,ground1 raise your ,hand1  
and carry it in insensibly1 and your    
,horse  will be oblig'd to advance his  
outward ,leg and ,shoulder1 which must  
by  this means cross the inner ,leg and 
,shoulder whether he will or no4    ,,it
 is not sufficient for the ,horse to    
cross his ,legs only one over the       
other1 he must go forward likewise at   
the same time1 because in making  the   
,change large1 his ,feet should describe
 two diagonal ,lines4--,it is  of       
,importance therefore1 that the same    
,attention be had to the inner as  the  
outward ,leg1 for it is by the means of 
his ,legs only that he can  advance4 ,it
 is true that you should endeavour to   
make him go forward  by putting back    
your ,body1 and yielding your ,hand2 but
 if he won't  obey these ,aids1 you must
 make use of the ,calfs of your ,legs1  

aiding  more strongly with your         
,left-leg when you are going to the     
,right-hand1  and more strongly with    
your ,right-leg when you are going to   
the ,left4  ,besides1 it is so necessary
 to have an equal ,attention to the     
,legs1  because the ,horse could never  
work with ,justness1 if he were not     
ballanced equally between the ,rider's  
,legs2 and it is from this exact        
,obedience only1 that he is enabled to  
make the ,changes with ,precision1      
because without a ,knowledge of the     
,hand and ,heels1 it is impossible he   
should obey the ,motions of his         
,rider--,in order to close the ,change  
justly1 the ,horses ,fore-legs should   
arrive at the same time upon a  strait  
,line2 so that a ,change justly         
executed1 and in the same ,cadence  or  
,time1 is such1 as is not only begun1   
but finish'd likewise1 and  closed in   
such a ,proportion1 that the ,croupe    
always accompanies and  keeps ,pace with
 the ,shoulders throughout4--,in order  

to finish it in  this manner1 you must  
observe the following ,rules4 ,the      
greater ,number  of ,horses1 instead of 
finishing their ,changes with           
,exactness1 are apt  to lean on one     
,side1 to make their ,croupe go before  
their ,shoulders1  and to throw         
themselves with ,impatience1 in order to
 get upon one  ,line again2 the ,method 
of correcting them for these            
,irregularities1  is to make a          
,demi-volte of two ,lines1 in the same  
,place where they  were to have closed  
their ,change2 for ,example1 if in      
changing to the  ,right1 they are too   
eager to come upon the strait ,line1    
without having  properly finish'd their 
,change1 demand of them a ,demi-volte to
 the  ,left1 which you must make them   
round equally with their ,shoulders and 
,haunches4    ,,an essential ,point1    
which nevertheless is little regarded1  
is the  making your ,horse resume his   
,line1 or go off again to the other     
,hand1  when he has made his ,change4   

,to make him do this1 you must carry    
your  ,hand to the ,side to which you   
have closed your ,change1 and carry it  
insensibly as it were1 after which you  
will be able with great ,ease to  bend  
your ,horse to the ,inside4 ,i must     
further explain the ,necessity of  this 
,action4    ,,it is evident that a      
,horse in the ,passage1 neither can1 nor
 ought if he  could1 move the two ,feet 
on the same ,side together4 ,in         
beginning and  finishing the ,change1   
the outward ,leg and ,shoulder pass and 
cross over  the inner ,leg and          
,shoulder2 he is consequently supported 
in this ,action  on the outward ,haunch1
 for the inner ,foot behind was off the 
,ground2  now1 if at the ,closing of the
 ,change1 and in the ,instant that he is
  again upon one ,line2 as for          
,example--,if in closing his ,change to 
the  ,right1 the ,horse is supported in 
this ,action by the left ,haunch1 how is
  it possible that he can be bent to the
 ,left8 ,to attempt this1 would be  to  

make him move two ,legs on the same     
,side1 which would be undertaking  a    
thing impossible to be done4 ,being     
therefore arrived upon one ,line1  carry
 your ,hand to the ,wall1 this will make
 your ,horse change his ,leg2  he will  
be supported in his ,action by his right
 ,haunch1 and will be  able to bend     
himself with great ,facility4    ,,in   
order to make the ,volte true and       
perfect1 he ought to be just with       
respect to his ,head and ,neck1 and have
 the ,action of his ,shoulders  and     
,haunches quite equal4 ,when ,i say that
 a ,horse should have his  ,shoulders   
and ,haunches equal1 ,i would not be    
understood to mean1 that  his ,fore-feet
 should not cover more ,ground than his 
,hinder2 on the  contrary1 ,i know it is
 a ,rule never to be departed from1 that
 his  ,shoulders should precede half of 
the ,haunches2 but ,i insist that the   
,haunches should go along with1 and     
follow exactly the ,motion of1 the      
,shoulders2 for 'tis from their         

,agreement1 and from the ,harmony       
between  the ,hind-legs and the ,fore1  
upon which the ,truth of the ,volte     
depends4  ,the four ,legs of a ,horse   
may be compared to the four ,strings of 
an  ,instrument2 if these four ,cords   
don't correspond1 it is impossible      
there should be any ,musick2 it is the  
same with a ,horse1 if the ,motions  of 
his ,haunches and ,fore-legs don't act  
together and assist each other1  and if 
he has not acquired a ,habit and ,ease  
to perform what he ought to  do1 the    
most expert and dextrous ,horseman will 
never be able to acquit  himself as he  
ought1 nor execute any ,air justly and  
with ,pleasure1 be  it either on the    
,volte or strait forward4    ,,whenever 
you put your ,horse to the ,passage upon
 the ,voltes1 he ought  to make the same
 ,number of ,steps or ,times with his   
,hinder1 as with his  ,fore-feet2 if the
 ,space of the ,ground upon which he    
works is narrow and  confin'd1 his      
,steps should be shorter4    ,i ,,will  

suppose that he describes a large       
,circle with his ,fore-feet2  the       
,action of his outward ,shoulder ought  
consequently to be free1 and  the       
,shoulder much advanced1 in order to    
make the outward ,leg pass  over and    
cross at every ,step the inner ,leg1    
that he may more easily  embrace his    
,volte1 without quitting the ,line of   
the ,circle1 and without  disordering   
his ,hinder-leg2 which ought likewise to
 be subject to the  same ,laws as the   
,fore-legs1 and cross the outward ,leg  
over the inner1  but not so much as the 
,fore-legs1 because they have less      
,ground to go  over1 and should only    
keep the ,proportion4--,in working upon 
,voltes  of two ,lines1 the ,horse      
should make as many ,steps with his     
,hinder as  with his ,fore-feet2 because
 those ,horses whose ,haunches go before
 the  ,shoulders1 and who cut and       
shorten the exact ,line of the ,volte1  
are  apt to keep their ,hinder-feet in  
one ,place1 and make at the same time   

one or two ,steps with their ,fore-feet1
 and by this means falsify and  avoid   
filling up the ,circle in the           
,proportion they begun it4 ,the same    
,fault is to be found with ,horses who  
hang back at the ,end of a ,change1  and
 throwing out their ,croupe1 arrive at  
the ,wall with their ,shoulders1  and   
consequently fail to close their ,change
 justly4    ,,further1 in working upon  
this ,lesson1 it is indispensably       
necessary  that at every ,step the      
,horse takes1 he should make his outward
 ,leg  cross and come over the inner1   
because this will prevent a ,horse  that
 is too quick of ,feeling1 or one1 that 
is ramingue1 from  becoming entier1 or  
to bend himself1 or lean in his ,voltes1
 ,vices  that are occasion'd from having
 the ,haunches or ,hinder-legs too much 
constrain'd4 ,there are ,horses likewise
 who have their ,croupe so light  and   
uncertain1 that from the ,moment they   
have begun the ,volte1 they  lean and   
widen their ,hinder-legs1 and throw them

 out of the ,volte4    ,,to remedy this1
 aid with the outward ,leg1 carrying    
your ,bridle-hand to  the same ,side1   
and not in1 because it is by the ,means 
of the outward  ,leg and inner ,rein1   
that you will be enabled to adjust and  
bring in the  ,croupe upon the ,line    
which it ought to keep4    ,,if it      
happens that the ,horse don't keep up to
 the ,line of his ,volte1 or  throws his
 ,croupe out1 press him forward1 letting
 him go strait on two  or three ,steps1 
keeping him firm in the ,hand1 and in a 
slow and just  ,time1 and use the ,aids 
which ,i have just now directed4--,this 
,lesson  is equally useful in case your 
,horse is naturally inclin'd to carry   
his ,haunches too much in1 and where he 
is ramingue1 or in danger of  becoming  
so2 but then the ,aids must be given on 
the ,side to which he  leans1 and       
presses1 in order to widen his          
,hinder-parts1 and to push the  ,croupe 
out4    ,,above all you should remember1
 that whatever tends to bend or turn    

the ,head on one side1 will always drive
 the ,croupe on the other2 when  the    
,horse's ,croupe don't follow his       
,shoulders equally1 the ,fault  may     
proceed either from a ,disobedience to  
the ,hand1 or from his not  answering   
the ,heels as he ought4 ,if you would   
remedy this1 keep him low  before2 that 
is to say1 keep your ,bridle-hand very  
low1 and while you  make him advance    
upon two ,treads1 aid him firmly with   
the ,calfs of the  ,legs2 for as the    
outward ,leg will confine and keep his  
,croupe in1 the  inner ,leg1 operating  
with the outward1 will make him go      
forward4    ,,if you find that your     
,horse disobeys the ,heel1 and throws   
his ,croupe  out in spite of that ,aid1 
in this ,case make use of your inner    
,rein1  carrying your ,hand out with    
your ,nails turned upwards2 this will   
infallibly operate upon the ,croupe1 and
 restrain it4 ,use the same  ,remedy1 if
 in the ,passage your ,horse carries his
 ,head out of the ,volte1  and you will 

bring it in2 but you must remember1 in  
both ,cases1 to  replace your ,hand     
immediately after having carried it out1
 in order  to make the outward ,rein    
work1 which will facilitate and enable  
the  outward ,legs to cross over the    
inner4    ,,if the ,horse breaks the    
,line1 and flings his ,croupe upon the  
,right-heel1 work him to that ,side with
 your ,left2 if he would go  sideways to
 the ,left1 make him go to the ,right2  
if he flings his ,croupe  out1 put it   
quietly in2 in short1 if all at once he 
brings it in1  put it quietly out2 and1 
in a word1 teach him by the ,practice of
  good ,lessons to acquire a ,facility  
and ,habit of executing whatever you    
demand of him4    ,the ,consequence of  
all the different ,rules and            
,principles1 which ,i  have here laid   
down1 and which may be applied equally  
to the ,changes1  large and narrow1 to  
,changes upon the ,voltes1 and          
,half-voltes2  the ,consequence of these
 ,instructions ,i say will be1 if       

practised  judiciously1 a most implicit 
and exact ,obedience on the ,part of the
  ,horse1 who from that ,moment1 will   
resign his own ,will and ,inclination1  
and make it subservient to that of the  
,rider1 which he must teach him  to know
 by making him acquainted with the ,hand
 and ,heel4          ,,chap4 ,,xiii4    
,of the ,aids of the ,body4      ,,the  
,perfection of all the ,aids consists1  
as ,i have already proved1 in  their    
mutual ,harmony and ,correspondence1 for
 without this ,agreement1  they must be 
always ineffectual2 because the ,horse  
can never work with  ,exactness and     
,delicacy1 and keep the ,proportion and 
,measure which is  inseparable to all   
,airs1 when justly and beautifully      
executed4    ,,this ,maxim being laid   
down1 we shall undertake to demonstrate1
 that the  ,aids of the ,body           
contribute1 and are even capable of     
themselves1 from  the ,principles of    
,geometry1 to make us acquire the ,union
 of the ,aids of  the ,hand and ,leg2   

and if so1 we shall be obliged to own   
the ,conclusion1  that they are to be   
prefer'd to all the rest4    ,,the      
,justness of the ,aids of the ,body     
depends upon the ,seat of the           
,horseman4--,till he is arrived at the  
,point of being able to sit down  close 
and firm in his ,saddle1 so as to be    
immoveable in it1 it would  be vain to  
expect he should be able to manage a    
,horse2 because1  besides that he would 
be incapable of feeling his ,motions1 he
 would  not be possessed of that        
,equilibre and ,firmness of ,seat1 which
 is the  ,characteristic of a ,horseman4
 ,i would define the ,equilibre to be1  
when  the ,horseman sits upon his       
,twist1 directly down and close upon the
  ,saddle1 and so firm that nothing can 
loosen or disturb his ,seat2 and by     
,firmness1 ,i express that ,grasp or    
,hold with which he keeps himself on    
the ,horse1 without employing any       
,strength1 but trusting entirely to his 
,ballance1 to humour and accompany all  

the ,motions of the ,horse4    ,,nothing
 but ,exercise and ,practice can give   
this ,equilibre1 and  consequently this 
,hold upon the ,horse4 ,in the          
,beginning1 the ,fear which  almost     
every ,scholar feels1 and the           
,constraint which all his ,limbs are    
under1 make him apt to press the ,saddle
 very close with his ,thighs and        
,knees1 as he imagines he shall by this 
,method acquire a firmer ,seat2  but the
 very ,efforts that he makes to resist  
the ,motions of the ,horse1  stiffen his
 ,body1 and lift him out of the ,saddle1
 so that any rude  ,motion1 or          
unexpected ,shock1 would be likely to   
unhorse him2 for from  the ,moment that 
he ceases to sit down and quite close to
 the ,saddle1  every sudden ,jirk and   
,motion of the ,horse attacking him     
under his  ,twist1 must shove him out of
 the ,saddle4    ,,we will suppose then 
a ,person1 the ,position of whose ,body 
is just and  regular1 and who1 by being 
able to sit down perpendicular and full 

in  his ,saddle1 can feel and unite     
himself to his ,horse so as to accompany
  all his ,motions2 let us see then how 
this ,person1 from the ,motions of  his 
own ,body1 will be able to accord and   
unite the ,aids or ,times of the  ,hands
 and ,legs4    ,,in order to make your  
,horse take or go into the ,corner of   
the ,manage1  you must begin by opening 
it4    ,,to open a ,corner1 is to turn  
the ,shoulder before you come to it1 in 
order to make it cover the ,ground2 and 
then the ,croupe which is turn'd  in    
will not follow the ,line of the        
,shoulders1 till they are turn'd  and   
brought upon a strait ,line in order to 
come out of the ,corner4--,in  order to 
turn the ,shoulder to open the ,corner1 
you must carry your ,hand  to the ,right
 or ,left1 according to the ,hand to    
which you are to go2 and  to throw in   
the ,croupe1 you must support it with   
the ,leg on that ,side  to which you    
carry your ,hand4--,to make the         
,shoulders turn and come out  of the    

,corner1 you must carry your ,hand on   
the ,side opposite to that  to which you
 turned it1 in order to go into the     
,corner2 and that the  ,croupe may pass 
over the same ,ground as the ,shoulders1
 you must support  with the ,leg on the 
contrary ,side to that with which you   
aided in order  to bring the ,haunches  
in2 the ,horse never can perform any of 
these  ,actions without an entire       
,agreement of all these ,aids1 and one  
single  ,motion of the ,body will be    
sufficient to unite them all with the   
utmost  ,exactness4    ,,in effect1     
instead of carrying your ,hand out1 and 
seconding that ,aid  with the ,leg1 turn
 your ,body but imperceptibly towards   
the ,corner1 just  as if you intended to
 go into it yourself2 your ,body then   
turning to  the ,right or ,left1 your   
,hand1 which is one of its              
,appurtenances1 must  necessarily turn  
likewise1 and the ,leg of the ,side on  
which you turn1  will infallibly press  
against the ,horse1 and aid him4--,if   

you would  come out of the ,corner1 turn
 your ,body again1 your ,hand will      
follow  it1 and your other ,leg         
approaching the ,horse1 will put his    
,croupe into  the ,corner1 in such a    
manner1 that it will follow the         
,shoulders1 and  be upon the same       
,line4--,it is by these means that you  
will be enabled  to time the ,aids of   
the ,hand and ,legs with greater        
,exactness1 than you  could do1 were you
 not to move your ,body2 for how        
dextrous and ready  soever you may be1  
yet when you only use your ,hand and    
,legs1 without  letting their ,aids     
proceed from1 and be guided by your     
,body1 they can  never operate so       
effectually1 and their ,action is       
infinitely less  smooth1 and not so     
measured and proportioned1 as when it   
proceeds only  from the ,motion of the  
,body4    ,,the same ,motion of the     
,body is likewise necessary in turning  
entirely  to the ,right or ,left1 or to 
make your ,horse go sideways on one     

,line1 or  in making the ,changes4      
,,if when you make a ,change1 you       
perceive the ,croupe to be too much  in1
 by turning your ,body in1 you will     
drive it out1 and the ,hand  following  
the ,body1 determines the ,shoulder by  
means of the outward  ,rein1 which is   
shorten'd2 if the ,croupe is too much   
out1 turn your  ,body out1 and this     
,posture carrying the ,hand out1        
shortens the inner  ,rein1 and confines 
the ,croupe1 acting in concert with the 
outward ,leg1  which works and          
approaches the ,side of the             
,horse4--,this ,aid is by so  much      
better1 because if executed with        
,delicacy1 it is imperceptible1  and    
never alarms the ,horse2 ,i say1 if     
executed as it ought to be1 for  we are 
not talking here of turning the         
,shoulder1 and so falsifying  the       
,posture4 ,in order to make the ,hand   
and ,leg work together1 it is  necessary
 that the ,motion should proceed from   
the ,horseman1 which  in turning carries

 with it the rest of the ,body          
insensibly2 without  this1 very far from
 being assisted by the ,ballance of your
 ,body in  the ,saddle1 you would lose  
it entirely1 and together with it the   
,gracefulness of your ,seat2 and your   
,ballance being gone1 how can you       
expect to find any ,justness in the     
,motions of your ,horse1 since all the  
,justness and ,beauty of his ,motions   
must depend upon the ,exactness of  your
 own8    ,,the secret ,aids of the ,body
 are such then as serve to prevent1 and 
accompany all the ,motions of the       
,horse4 ,if you will make him go        
backward1 throw back your own ,body1    
your ,hand will go with it1 and you     
will make the ,horse obey by a single   
,turn of the ,waist4--,would you have   
him go forward1 for this purpose put    
your ,body back1 but in a less  degree2 
don't press the ,horse's ,fore-parts    
with your ,weight1 because  by leaning a
 little back you will be able to        
approach your ,legs to  his ,sides with 

greater ,ease4--,if your ,horse rises   
up1 bend your ,body  forward2 if he     
kicks1 leaps1 or strikes out behind1    
throw your ,body  back2 if he gallops   
when he should not1 oppose all his      
,motions1 and for  this purpose push    
your ,waist forward towards the ,pummel 
of the ,saddle1  making a ,bend or      
,hollow at the same time in your ,loins3
 ,in short1 do  you work your ,horse    
upon great ,circles1 with the ,head in  
and ,croupe  out8 let your ,body then be
 a ,part of the ,circle1 because this   
,posture  bringing your ,hand in1 you   
bring in the ,horse's outward ,shoulder1
  over which the inner ,shoulder crosses
 circularly1 and your inner ,leg  being 
likewise by this ,method near your      
,horse's ,side1 you leave his  ,croupe  
at liberty4 ,i call it becoming a ,part 
of the ,circle yourself1  when you      
incline a little the ,balance of your   
,body towards the ,center2  and this    
,balance proceeds entirely from the     
outward ,hip1 and turning it  in4       

,,the ,aids of the ,body then are those 
which conduce to make the ,horse  work  
with greater ,pleasure1 and consequently
 perform his ,business  with more       
,grace2 if then they are such1 as to be 
capable alone of  constituting the      
,justness of the ,airs2 if they unite1  
and make the  ,hand and ,legs work in   
concert2 if they are so fine and subtle1
 as to  be imperceptible1 and occasion  
no visible ,motion in the ,rider1 but   
the  ,horse seems to work of himself2 if
 they comprize at the same time1 the    
most established and certain ,principles
 of the ,art2 if the ,body of  the      
,horseman1 which is capable of employing
 them1 is of consequence  firm without  
,constraint or ,stiffness1 and supple   
without being weak  or loose2 if these  
are the ,fruits which we derive from    
them1 we must  fairly own1 that this is 
the shortest1 the most certain1 and     
plainest  ,method we can follow1 in     
order to form a ,horseman4              
,,chap4 ,,xiv4    ,of the ,gallop4      

,,the ,trot is the ,foundation of the   
,gallop2 the ,proof of its being so is  
very clear and natural4 ,the ,action of 
the ,trot is crosswise1 that of  the    
,gallop is from an equal ,motion of the 
,fore and ,hinder-legs2 now1  if you    
trot out your ,horse briskly and beyond 
his ,pitch1 he will be  compell'd when  
his ,fore-feet are off the ,ground1 to  
put his ,hinder-foot  down so quick1    
that it will follow the ,fore-foot of   
the same ,side2 and  it is this which   
forms the true ,gallop3 ,the ,trot then 
is beyond dispute  the ,foundation of   
the ,gallop4    ,,as the ,perfection of 
the ,trot consists in the ,suppleness of
 the ,joints  and ,limbs1 that of the   
,gallop depends upon the ,lightness and 
,activity  of the ,shoulders2 a good    
,apuy1 and the ,vigour and ,resolution  
of the  ,career1 must depend upon the   
natural ,spirit and ,courage of the     
,horse4  ,it should be a ,rule1 never to
 make a ,horse gallop1 till he presents 
and  offers to do it of                 

himself4--,trotting him out boldly and  
freely1 and  keeping him in the ,hand1  
so as to raise and support his          
,fore-parts1  will assist him greatly2  
for when his ,limbs are become supple   
and  ready1 and he is so far advanced1  
as to be able to unite and put  himself 
together without ,difficulty1 he will   
then go off readily in his  ,gallop2    
whereas1 if on the contrary he should   
pull or be heavy1 the  ,gallop would    
only make him abandon himself upon the  
,hand1 and fling him  entirely upon his 
,shoulders4    ,,to put a ,horse in the 
,beginning of his ,lessons from the     
,walk to the  ,gallop1 and to work him  
in it upon ,circles1 is demanding of him
 too  great a degree of ,obedience4 ,in 
the first place1 it is very sure that   
the ,horse can unite himself with       
greater ,ease in going strait forward1  
than in turning2 and1 in the next place1
 the ,walk being a slow and  distinct   
,pace1 and the ,gallop being quick and  
violent1 it is much  better to begin    

with the ,trot1 which is a quick        
,action1 than with the  ,walk1 which is 
slow and calm1 however raised and       
supported its ,action  may be4--,two    
things are requisite to form the        
,gallop1 viz4 it ought  to be just1 and 
it ought to be even or equal4--,i call  
that ,gallop  just1 in which the ,horse 
leads with the ,right-leg before1 and ,i
 call  that the ,right-leg which is     
foremost1 and which the ,horse puts out 
beyond the other4 ,for ,instance--,a    
,horse gallops and supports himself in  
his ,gallop1 upon the outward           
,fore-foot1 the ,right ,fore-foot clears
 the  ,way1 the ,horse consequently     
gallops with the ,right-foot1 and the   
,gallop  is just1 because he puts       
forward and leads with his ,right-foot4 
,,this ,motion of the ,right-foot is    
indispensably necessary1 for if  the    
,horse were to put his ,left ,fore-foot 
first1 his ,gallop would be  false2 so  
that it is to be understood1 that       
whenever you put a ,horse  to the       

,gallop1 he should always go off with   
his ,right fore-foot1  and keep it      
foremost1 or he can never be said to    
gallop just and  true4--,i understand by
 an even or equal ,gallop1 that in which
 the  ,hind-parts follow and accompany  
the ,fore-parts2 as for ,example--,if a 
,horse gallops1 or leads with his       
,right-leg before1 the ,hind ,right-leg 
ought to follow2 for if the ,left       
,hind-leg were to follow1 the ,horse    
would then be disunited3 ,the ,justness 
then of the ,gallop depends upon  the   
,action of the ,fore-feet1 as the ,union
 or ,evenness of it does on the         
,hind-feet4    ,,this general ,rule     
which fixes the ,justness of the        
,gallop1 that is to  say1 this          
,principle which obliges the ,horse to  
lead with the ,right  ,fore-foot when he
 gallops1 strict as it is1 yet sometimes
 parts with  its ,privileges in         
deference to the ,laws of the           
,manage4--,the ,design  of this ,school 
is to make equally supple and active all

 the ,limbs of  a ,horse4--,it is not   
requisite then that the ,horse should   
lead always  with the same ,leg1 because
 it is absolutely necessary that he     
should  be equally ready and supple with
 both his ,shoulders1 in order to work  
properly upon the different ,airs4--,it 
seems but reasonable that this  ,rule   
should be observed likewise out of the  
,manage2 and therefore it  has of late  
obtain'd that ,hunting-horses should    
lead indifferently  with both ,legs2    
because it has been found on ,trial1    
that by strictly  adhering to the ,rule 
of never suffering a ,horse to gallop   
but with his  ,right ,fore-leg1 he has  
been quite ruin'd and worn out on one   
,side1 when  he was quite fresh and     
sound on the other4--,be that as it     
will1 it is  not less certain1 that in  
the ,manage a ,horse may gallop false1  
either  in going strait forward1 or in  
going round1 or upon a ,circle2 for     
instance--,he is going strait1 and to   
the ,right-hand1 and sets off with  the 

,left ,fore-foot2 he then is false1 just
 as he would be1 if in going  to the    
,left1 he should lead with his ,right   
,fore-foot4    ,,the ,motions of a      
,horse1 when disunited1 are so          
disorder'd and  perplex'd1 that he runs 
a risque of falling1 because his ,action
 then is  the ,action of the ,trot1 and 
quite opposite to the ,nature of the    
,gallop4  ,it is true1 that for the     
,rider's ,sake he had better be false4  
,,if a ,horse in full ,gallop changes   
his ,legs from one side to the other    
alternately1 this ,action of the ,amble 
in the ,midst of his ,course1 is so     
different from the ,action of the       
,gallop1 that it occasions the ,horse to
  go from the ,trot to the ,amble1 and  
from the ,amble to the ,trot4    ,,when 
a ,horse gallops strait forward1 however
 short and confin'd his  ,gallop is1 his
 ,hind-feet always go beyond his ,fore  
feet1 even the ,foot  that leads1 as    
well as the other4--,to explain         
this4--,if the inner  ,fore-foot leads1 

the inner ,hind-foot ought to follow1 so
 that the  inner ,feet1 both that which 
leads1 and that which follows1 are      
prest1  the other two at liberty4--,the 
,horse sets off1 the outward ,fore-foot 
is on the ,ground1 and at liberty1 this 
makes one ,time2 immediately  the inner 
,fore-foot which leads and is prest1    
marks a second1 here are  two ,times2   
then the outward ,hind-foot which was on
 the ,ground1 and  at liberty1 marks the
 third ,time2 lastly1 the inner         
,hind-foot which  leads and is prest1   
comes to the ,ground1 and marks the     
fourth2 so that  when a ,horse goes     
strait forward and gallops just1 he     
performs it in  four distinct ,times1   
one1 two1 three1 four4    ,,it is very  
difficult to feel exactly1 and perceive 
these ,times of the  ,gallop2 but yet by
 ,observation and ,practice it may be   
done4--,the ,times  of a ,horse1 who    
covers and embraces a good deal of      
,ground1 are much  more easy to mark    
than his who covers but little4--,the   

,action of the  one is quick and short1 
and that of the other long1 slow1 and   
distinct2  but whether the natural      
,motions and ,beats of the ,horse are   
slow or  quick1 the ,horseman absolutely
 ought to know them1 in order to humour 
and work conformably to them2 for should
 he endeavour to lengthen and  prolong  
the ,action of the one1 in hopes of     
making him go forward more  readily1 and
 to shorten and confine that of the     
other1 in order to put  him more        
together2 the ,action of both would in  
this ,case not only  be forced and      
disagreeable1 but the ,horses would     
resist and defend  themselves1 because  
,art is intended only to assist and     
correct1 but  not to change             
,nature4--,in working your ,horse upon  
,circles1 it is the  outward ,rein that 
you must use to guide and make him go   
forward2 for  this purpose turn your    
,hand in from time to time1 and aid with
 your  outward ,leg4--,if the ,croupe   
should be turn'd too much out1 you must 

carry your ,hand on the outward ,side of
 your ,horse's ,neck2 and you will      
confine it1 and keep it from quitting   
its ,line4--,i would be understood  of  
,circles of two ,lines or ,treads1 where
 the ,haunches are to be  attended      
to4--,before you put your ,horse to     
this1 he should be gallop'd  upon plain1
 or ,circles of one ,line only4--,in    
this ,lesson1 in order  to supple your  
,horse1 make use of your inner ,rein to 
pull his ,head  towards the ,center1 and
 aid with the ,leg of the same ,side1 to
 push his  ,croupe out of the ,volte2 by
 this means you bend the ,ribs of the   
,horse4    ,,the ,hind-feet certainly   
describe a much larger ,circle than his 
,fore-feet2 indeed they make a second   
,line3 but when a ,horse is said  to    
gallop only upon a ,circle of one ,line 
or ,tread1 he always and of  necessity  
makes two2 because1 were the ,hind-feet 
to make the same ,line  as the          
,fore-feet1 the ,lesson would be of no  
use1 and the ,horse would  never be made

 supple2 for he only becomes supple in  
proportion as the  ,circle made with his
 ,hind-feet is greater than that        
described by his  ,fore-feet4    ,,when 
your ,horse is so far advanced1 as to be
 able to gallop lightly  and readily    
upon this sort of ,circle1 begin then to
 make frequent  ,stops with him4--,to   
make them well in the ,gallop1 with his 
,head in1  and ,croupe out1 the ,rider  
must use his outward ,leg1 to bring in  
the  outward ,leg of the ,horse2        
otherwise he would never be able to stop
 upon  his ,haunches1 because the       
outward ,haunch is always out of the    
,volte4    ,,to make a ,stop in a       
,gallop strait forwards1 you should     
carefully put  your ,horse together1    
without altering or disturbing the      
,apuy1 and  throw your ,body back a     
little1 in order to accompany the       
,action1 and to  relieve the ,horse's   
,shoulders4--,you should seize the time 
of making the  ,stop1 keeping your ,hand
 and ,body quite still1 exactly when you

 feel  the ,horse put his ,fore-feet to 
the ,ground1 in order that by raising   
them immediately1 by the next ,motion   
that he would make1 he may be upon  his 
,haunches4--,if on the contrary1 you    
were to begin to make the ,stop1  while 
the ,shoulders of the ,horse were       
advanced1 or in the ,air1 you  would run
 the ,risque of hardening his ,mouth1   
and must throw him upon  his ,shoulders1
 and even upon the ,hand1 and occasion  
him to make some  wrong ,motions with   
his ,head1 being thus surprized at the  
,time when his  ,shoulders and ,feet are
 coming to the ,ground4    ,,there are  
some ,horses who retain themselves1 and 
don't put out their  ,strength          
sufficiently2 these should be galloped  
briskly1 and then  slowly again1        
remembring to gallop them sometimes     
fast1 and sometimes  slow1 as you judge 
necessary4--,let them go a little ,way  
at full ,speed1  make a half ,stop1 by  
putting back your ,body1 and bring them 
again to a  slow ,gallop2 by these means

 they will most certainly be compelled  
both  to obey the ,hand and ,heel4      
,,in the slow ,gallop1 as well as in the
 ,trot1 it is necessary sometimes  to   
close your ,heels to the ,horse's       
,sides1 this is called pinching2  but   
you must pinch him in such a manner1 as 
not to make him abandon  himself upon   
the ,hand1 and take care that he be upon
 his ,haunches1 and  not upon his       
,shoulders1 and therefore whenever you  
pinch him1 keep him  in the ,hand4      
,,to put him well together1 and make him
 bring his ,hind-legs under him1  close 
your two ,legs upon him1 putting them   
very back2 this will oblige  him to     
slide his ,legs under him2 at the same  
,instant1 raise your ,hand a  little to 
support him before1 and yield it again  
immediately4 ,support  him and give him 
the ,rein again from time to time1 till 
you find that  he begins to play and    
bend his ,haunches1 and that he gallops 
leaning  and sitting down as it were    
upon them2 press him with the ,calfs of 

the  ,legs1 and you will make him quick 
and sensible to the ,touch4    ,,if your
 ,horse has too fine a ,mouth1 gallop   
him upon sloping ground1  this will     
oblige him to lean a little upon the    
,hand1 the better to  put himself upon  
his ,haunches2 and the ,fear that he    
will be under of  hurting his ,bars1    
will prevent his resisting the          
,operation of the ,bitt4    ,,if        
,galloping upon a sloping ,ground       
assures and fixes a ,mouth that is  weak
 and fickle1 make use of the same       
,ground in making your ,horse  ascend   
it1 in case he is heavy in the ,hand2   
and his ,apuy be too strong1  and it    
will lighten him4    ,,there are some   
,horsemen who mark each ,motion of the  
,horse in his  ,gallop1 by moving their 
,bodies and ,heads2 they ought1 however1
 without  ,stiffness or ,constraint to  
consent and yield to all his ,motions1  
yet  with a ,smoothness and ,pliancy so 
as not to be perceived1 for all great   
or rude ,motions always disturb the     

,horse4--,to do this you must advance   
or present your ,breast1 and stretch    
yourself firm in your ,stirrups2  this  
is the only ,way to fix and unite       
yourself entirely to the ,animal  who   
carries you4    ,,the ,property of the  
,gallop is1 as may be gathered from all 
that has  been said of it1 to give the  
,horse a good ,apuy4    ,,in reality1 in
 this ,action he lifts at every time    
both his ,shoulders  and ,legs together1
 in such a manner1 that in making this  
,motion his  ,fore-part is without      
,support1 till his ,fore-feet come to   
the ,ground2  so that the ,rider1 by    
supporting or bearing him gently in     
,hand1 as  he comes down1 can           
consequently give an ,apuy to a ,mouth  
that has  none4----,you must take care1 
that by retaining your ,horse too much  
in  his ,gallop1 you don't make him     
become ramingue1 and weaken the ,mouth  
that is light and unsteady2 as the full 
or extended ,gallop is capable  on the  
other ,hand1 to harden an ,apuy which   

was strong and full in the  ,hand       
before4    ,,the ,gallop does not only  
assure and make steady a weak and       
delicate  ,mouth1 but it also supples a 
,horse1 and makes him ready and active  
in  his ,limbs4--,it fixes the ,memory  
and ,attention of ,horses likewise1 who 
from too much ,heat and ,impetuosity in 
their ,temper1 never attend to the      
,aids of the ,rider1 nor the ,times of  
their setting off2 it teaches those  who
 retain themselves1 to go forward1 and  
to set off ready and with  ,spirit2 and 
lastly1 it takes off all the superfluous
 ,vigour of such  ,horses as1 from too  
much ,gaiety1 avail themselves of their 
,strength  and ,courage to resist their 
,riders4--,take care1 however1 to       
proportion  this ,lesson to the ,nature1
 the ,strength1 and ,inclination of the 
,animal2  and remember1 that a violent  
and precipitate ,gallop would hurt an   
impatient and hot ,horse1 as much as it 
would be proper and useful to  one who  
retains himself1 and is jadish and lazy4

          ,,chap4 ,,xv4    ,of          
,passades4      ,,the ,passades are the 
truest ,proofs a ,horse can give of his 
,goodness4--,by his going off you judge 
of his ,swiftness2 by his ,stop1  you   
discover the ,goodness or ,imperfection 
of his ,mouth2 and by the  ,readiness   
with which he turns1 you are enabled to 
decide upon his  ,address and ,grace2 in
 short1 by making him go off a second   
time you  discover his ,temper and      
,vigour4--,when your ,horse is light and
 active  before1 is firm upon his       
,haunches1 and has them supple and free1
 so as  to be able to accompany the     
,shoulders1 is obedient and ready to    
both  ,hands1 and to the ,stop1 he is   
then fit to be work'd upon ,passades4   
,illustration3 ,passade to the ,right4  
,walk him along the ,side of the ,wall  
in a steady even ,pace1 supporting  and 
keeping him light in the ,hand1 in order
 to shew him the ,length of  the        
,passade1 and the ,roundness of the     
,volte or ,demi-volte1 which he  is to  

make at the ,end of each ,line4--,stop  
at the ,end1 and when he has  finish'd  
the last ,time of the ,stop raise him1  
and let him make two or  three ,pesades4
 ,after this make a ,demivolte of two   
,lines in the ,walk2  and while he is   
turning1 and the ,moment you have clos'd
 it1 demand  again of him two or three  
,pesades1 and then let him walk on in   
order to  make as many to the other     
,hand4    ,illustration3 ,passade to the
 ,left4    ,you must take care to       
confirm him well in this ,lesson4--,from
 the ,walk  you will put him to the     
,trot upon a strait ,line2 from the     
,trot to a  slow ,gallop1 from that to a
 swifter2 being thus led on by degrees1 
and  step by step1 he will be able to   
furnish all sorts of ,passades1 and to  
make the ,demi-volte in any ,air that   
you have taught him4    ,,you should    
never put your ,horse to make a ,volte  
or ,demi-volte at the  time that he is  
disunited1 pulls1 or is heavy in the    
,hand1 or is upon  his ,shoulders2 on   

the contrary1 you should stop him at    
once1 and make  him go backward till you
 perceive that he is regulated and      
united upon  his ,haunches1 light       
before1 and has taken a good and just   
,apuy4    ,a ,,perfect ,passade is made 
in this ,manner4--,your ,horse standing 
strait  and true upon all his ,feet1 you
 go off with him at once1 you stop him  
upon his ,haunches2 and in the same     
,time or ,cadence in which he  made his 
,stop1 being exactly obedient to the    
,hand and ,heel1 he ought  to make the  
,demi-volte1 balancing himself upon his 
,haunches1 and so  waiting till you give
 him the ,aid to set off again4 ,it is  
requisite  then that the least ,motion  
or ,hint of the ,rider should be an     
absolute  ,command to the ,horse4--,if  
you would have him go off at full       
,speed1  yield your ,hand1 close the    
,calves of your ,legs upon him2 if he   
don't  answer to this ,aid1 give him the
 ,spurs1 but you must give them so as   
not to remove them from the ,place where

 they were1 and without opening  or     
advancing your ,legs before you strike4 
,,the high ,passades are those which a  
,horse makes1 when being at  the ,end of
 his ,line1 he makes his ,demi-volte in 
any ,air he has  been taught1 either in 
the ,mezair or in ,curvets1 which is    
very  beautiful4--,therefore in high    
,passades let your ,horse go off at full
  ,speed2 let your ,stop be follow'd by 
three ,curvets2 let the ,demi-volte     
consist of the same ,number1 and demand 
of him three more before he sets  off   
again4--,it is usual to make nine       
,curvets when you work a ,horse  alone  
and by himself4    ,,the furious or     
violent ,passades1 are when a ,horse    
gallops at his utmost  ,speed strait    
forward1 and makes his half ,stop1      
bending and playing his  ,haunches two  
or three times1 before he begins his    
,demi-volte1 which is  made upon one    
,line1 in three ,times2 for at the third
 ,time he should  finish the            
,demi-volte1 and be strait upon the     

,line of the ,passade1 in  order to go  
off again and continue it4    ,,this    
sort of ,passades was heretofore used in
 private ,combats1 and  although it may 
appear that the ,time that is employed  
in making the  half ,stop is lost1 and  
only hinders you from gaining the       
,croupe of the  ,enemy2 yet the half    
,stop is indispensably necessary1 for   
unless a ,horse  is balanced upon his   
,haunches1 and they bend and play under 
him1 he  could never make his           
,demi-volte1 without being in danger of 
,falling4          ,,chap4 ,,xvi4    ,of
 ,pesades4      ,,the ,pesade takes its 
,name from the ,motion of the ,horse1   
which1 in  this ,action1 leans and lays 
all the ,weight of his ,body upon his   
,haunches4--,to be perfect1 the         
,hind-feet which support the whole ought
  to be fix'd and immoveable1 and the   
,fore-part of the ,horse more or less   
rais'd1 according as the ,creature will 
allow1 but the ,fore-legs1 from  the    
,knee to the ,feet1 must always be      

extremely bent and brought under  him4  
,,the ,property of the ,pesade is to    
dispose and prepare a ,horse for all    
sorts of ,manages2 for it is the        
,foundation of all the ,airs3 ,great    
,caution1 however1 must be had not to   
teach your ,horse to rise up or  stand  
upon his ,haunches1 which is making a   
,pesade1 if he is not quite  exact and  
obedient to the ,hand and ,heel2 for in 
this ,case you would  throw him into    
great ,disorder1 spoil his ,mouth1 and  
falsify the ,apuy1  would teach him to  
make ,points1 as they are called1 and   
even make him  become restive2 inasmuch 
as the generality of ,horses only rise  
up to  resist their ,rider1 and because 
they will neither go forward nor turn4  
,,your ,horse then being so far advanced
 as to be fit to be tried and  exercised
 in the ,pesade1 work him upon the      
,walk1 the ,trot1 and ,gallop2  stop him
 in the ,hand1 keep him firm and        
moderately together2 aid  with the      
,tongue1 the ,switch1 and your ,legs2   

the ,moment you perceive  he comprehends
 what it is you would have him to do1   
though never so  little1 encourage and  
caress him4--,if in the ,beginning of   
this ,lesson  you were to use ,force or 
,rigour1 he would consider the          
,strictness of  your ,hand1 and the     
,aids of the ,legs1 as a ,punishment1   
and it would  discourage him4 ,it is    
therefore proper to work gently and by  
degrees2  whenever then he makes an     
,attempt to rise1 caress him2 make him  
go  forwards1 try to make him rise a    
second time1 either more or less1 and   
use him by degrees to rise higher and   
higher2 you will find that he  will soon
 be able to make his ,pesades perfect1  
and to make four1 or  even more1 with   
,ease and ,readiness2 sluggish and heavy
 ,horses require  in the ,beginning     
stronger and sharper ,aids4    ,,there  
are other ,horses who are apt to rise of
 themselves1 without being  requir'd to 
do so2 drive them forward in order to   
prevent them4--,some  in making the     

,pesade1 don't bend and gather up their 
,fore-legs1 but  stretch them out1 paw1 
and cross them one over the other in the
 ,air1  resembling the ,action of a     
,person's ,hands who plays upon the     
,spinnet2  to these ,horses you mush    
apply the ,switch1 striking them briskly
 upon  the ,shoulders or ,knees4--,there
 are others1 who in the ,instant that   
you endeavour to make them rise1        
availing themselves of the ,power  which
 they have from being put together1 in  
order to perform this  ,action1 throw   
themselves forward in hopes of freeing  
themselves from  all ,subjection2 the   
only ,way to correct such ,vices1 is to 
make the  ,horse go backward the same   
,length of ,ground1 that he forced and  
broke through4--,there is another kind  
of ,horses1 who to avoid being  put     
together in order to make a ,pesade1 as 
well as to resist the  ,rider1 will     
fling their ,croupe in and out1         
sometimes to one side1  sometimes to the
 other2 in this ,case1 if you perceive  

that your ,horse  is apt to fling his   
,croupe more to the ,left than to the   
,right1 you  must put him to the ,wall1 
the ,wall being on the ,left-hand1 and  
there  support and confine him with your
 ,right-leg1 and even pinch him if      
there should be occasion2 taking care to
 carry your ,hand to the ,right1  but   
imperceptibly1 and no more than what    
will just serve to shorten the  left    
,rein4    ,,if he throws himself to the 
,right1 you must put him so as to have  
the  ,wall on the ,right2 you must      
support and pinch him with your         
,left-leg1  and shorten your ,right-rein
 by carrying your ,hand to the          
,left4--,i must  however repeat it over 
and over1 that in a ,lesson of this     
kind1 in  which a ,horse may find out   
,methods and ,inventions to resist and  
defend  himself2 ,i say1 in giving such 
,lessons1 the ,rider ought to be ,master
 of  the surest ,judgment and most      
consummate ,prudence4    ,,moreover1 you
 should take care not to fall into the  

,mistake of those  who imagine that the 
higher a ,horse rises1 the more he is   
upon his  ,haunches4--,in the ,pesade1  
the ,croupe is pushed back1 and the     
,horse  bends his ,haunches2 but if he  
rises too high1 he no longer sits upon  
his ,haunches1 for from that ,moment he 
becomes stiff1 and stands strait  upon  
his ,hocks2 and instead of throwing his 
,croupe back1 he draws it  towards him4 
,,those ,sort of ,pesades1 in which the 
,horse rises too high1 and stiffens  his
 ,hocks1 are call'd ,goat-,pesades1 as  
they resemble the ,action of  that      
,animal4    ,,the ,aids that are to be  
given in ,pesades are derived from those
 used  to make a ,horse go              
backward4--,place your ,hand as if you  
intended to  make your ,horse go        
backward1 but close your ,legs at the   
same time1 and  he will rise4--,for this
 reason nothing is more absurd than the 
,method  which some ,horsemen teach     
their ,scholars1 who oblige them1 in    
order to  make their ,horses rise1 to   

use only their ,switch2 they must       
certainly  not know that the ,hand      
confining the ,fore-part1 and the       
,rider's ,legs  driving the             
,hinder-parts forward1 the ,horse is    
compell'd1 whether he  will or no1 to   
raise his ,shoulders from the ,ground1  
and to throw all  the ,weight of his    
,body upon his ,haunches4               
,,chap4 ,,xvii4    ,of the ,mezair4     
,,the ,gallop is the ,foundation of the 
,terre-a-,terre2 for in these  two      
,motions the ,principle of the ,action  
is the same1 since the  ,terre-a-,terre 
is only a shorten'd ,gallop1 with the   
,croupe in1 and  the ,haunches following
 in a close and quick ,time4    ,,the   
,mezair is higher than the ,action of   
,terre-a-,terre1 and lower than  that of
 ,curvets2 we may therefore conclude1   
that the ,terre-a-,terre1  is the       
,foundation of the ,mezair1 as well as  
of ,curvets4--,in the  ,terre-a-,terre1 
the ,horse should be more together than 
in the ,gallop1  that he may mark his   

,time or ,cadence more distinctly2      
although in a  true ,terre-a-,terre1    
there are no ,times to be mark'd1 for it
 is rather  a gliding of the ,haunches1 
which comes from the natural ,springs in
 the  ,limbs of the ,horse4    ,i ,,have
 said1 that the ,terre-a-,terre is the  
,foundation of the  ,mezair2 in effect1 
the higher you raise the ,fore-parts of 
the ,horse1  the slower and more        
distinct his ,action will be1 and by    
making him beat  and mark the ,time with
 his ,hind-feet1 instead of gliding them
 along as  in the ,terre-a-,terre1 you  
put him to the ,mezair1 or              
,half-curvets4    ,,when a ,horse works 
,terre-a-,terre1 he always ought1 the   
same as in  the ,gallop1 to lead with   
the ,legs that are within the ,volte1   
his two  ,fore-feet being in the ,air1  
and the ,moment that they are coming    
down1  his two ,hind-feet following4    
,,the ,action of the ,gallop is always  
one1 two1 three1 and four2 the          
,terre-a-,terre consists only of two    

,lines1 one1 two4--,the ,action is  like
 that of ,curvets1 except that it is    
more under the ,horse2 that  is1 he     
bends his ,haunches more1 and moves them
 quicker and closer than  in ,curvets4  
,,to work a ,horse ,terre-a-,terre upon 
large ,circles1 take care to keep  your 
,body strait1 steady and true in the    
,saddle1 without leaning to  one side or
 the other4--,lean upon the outward     
,stirrup1 and keep your  outward ,leg   
nearer the ,side of the ,horse than the 
other ,leg1 taking  care to do it so as 
not to let it be perceived4--,if you go 
to the  ,right1 keep your ,bridle-hand a
 little on the ,outside of the ,horse's 
,neck1 turning your little finger up1   
without turning your ,nails at the  same
 time2 although if need be you must turn
 them1 in order to make the  inner ,rein
 work which passes over the             
,little-finger4--,keep your ,arms  and  
,elbows to your ,hips1 by this means you
 will assure and confine your  ,hands1  
which ought to accompany1 and1 if ,i may

 so say1 run along the  ,line of the    
,circle with the ,horse4    ,,in the    
,mezair1 use the same ,aids as in       
working upon ,curvets4--,give  the ,aids
 of the ,legs with ,delicacy1 and no    
stronger than is just  necessary to     
carry your ,horse forward4--,remember   
when you close your  ,legs to make him  
go forward1 to press with the ,outward  
in such a degree  as to keep your ,horse
 confin'd2 and to assist the other in   
driving him  forward2 it is not         
necessary to lay so much ,stress on the 
inner ,leg1  because that serves only to
 guide the ,horse1 and make him cover   
and  embrace the ,ground that lays      
before him4          ,,chap4 ,,xviii4   
,of ,curvets4      ,,of all the high    
,airs1 ,curvets are the least violent1  
and consequently  the most easy to the  
,horse1 inasmuch as they require nothing
 of the  ,horse but what he has done    
before4 ,in reality1 to make him stop   
readily  and justly1 he has been taught 
to take a good and true ,apuy2 in order 

to make him rise1 he has been put       
together1 and supported firm upon  his  
,haunches2 to make him advance1 to make 
him go backward1 and to make  him stop1 
he has been made acquainted with the    
,aids of the ,heels and  ,hands2 so that
 in order to execute ,curvets1 nothing  
remains for him to  do1 but to learn and
 comprehend the ,measure and ,time of   
the ,air4    ,,curvets are derived and  
drawn out of the ,pesades4--,we have    
already said  that ,pesades ought to be 
made slowly1 very high before1 and      
accompanied  a little by the ,haunches4 
,curvets are lower before1 the ,horse   
must  advance1 his ,haunches must follow
 closer1 and beat or mark a quicker     
,time2 the ,haunches must be bent1 his  
,hocks be firm1 his two ,hind-feet      
advance equally at every ,time1 and     
their ,action must be short quick1      
just1 and in exact ,measure and         
,proportion4    ,,this ,action1 when    
suited to the ,strength and ,disposition
 of the ,horse1  is not only beautiful  

in itself1 but even necessary to fix and
 place  his ,head2 because this ,air is1
 or ought to be founded1 upon the true  
,apuy of his ,mouth4 ,it likewise       
lightens the ,fore-part2 for as it      
can't be perform'd unless the ,horse    
collects his ,strength upon his         
,haunches1 it must of consequence take  
the ,weight off from the ,shoulders4    
,,it is well known1 that in working upon
 every ,air1 the ,strength1 the         
,vigour1 and the ,disposition of the    
,horse should be consider'd2 the        
,importance of this ,attention to these 
,qualities is sufficiently              
acknowledged2 and it is granted and     
allowed1 that ,art serves1 and can      
serve1 to no other end than to improve  
and make ,nature perfect4--,now  it will
 be easy to discover to what ,air a     
,horse should be destin'd1  and to what 
he is most dispos'd and capable of      
executing1 by seeing  his ,actions1 and 
by the greater or less ,degree of ,pains
 which will be  requisite to supple him4

 ,when you design a ,horse for the      
,curvets1  take care to chuse one1      
which1 besides having the necessary     
,disposition  to that ,manage1 will have
 likewise ,patience enough in his       
,temper to  perform them well4--,a      
natural ,disposition alone will not     
suffice2 there  are ,horses who will    
present themselves to them1 but being by
 ,nature  impatient of all ,restraint1  
from the ,moment that they feel any     
,pain  or ,difficulty in furnishing what
 you ask of them1 they will disobey  and
 deceive you in the very ,instant that  
you thought them gain'd4--,it  requires 
much ,skill to know how to begin with   
such ,horses1 and to  confirm them in   
their ,business4--,take it for a certain
 ,truth1 that you  will never succeed1  
if your ,horse is not perfectly obedient
 to the  ,hand and ,heel2 if he is not  
supple1 and able to work upon one ,line 
or  ,path1 with ,freedom and ,ease2 and 
if he is not likewise very well seated  
upon his ,haunches in his               

,terre-a-,terre1 which he ought to be   
able to  execute perfectly well4        
,,curvets are improper1 and never       
succeed with ,horses which have bad     
,feet1 or any ,weakness or ,complaint in
 their ,hocks1 whatever ,powers  and    
,qualifications they may otherwise      
have4--,they are likewise apt  to       
encourage a ,horse that is ramingue in  
his ,vice1 and are capable  of teaching 
one which is not so by ,nature1 to      
become ramingue1  if he is not adjusted 
and brought to this ,air with great     
,prudence4  ,indeed1 ,impatience and    
,fretfulness often make a ,horse        
desperate when  put to this ,manage2 and
 not being able to endure the           
,correction1 nor  comprehend the ,aids1 
he betakes himself to all sorts of      
,defences1 as  well as that being       
confounded through ,fear1 he is         
bewilder'd1 and  becomes abject and     
jadish4--,it is almost impossible to say
 which of  these ,imperfections are the 
most difficult to be cured4--,before you

  put a ,horse to make ,curvets1 he     
ought to work ,terre-a-,terre2 and  if  
he can do this1 he ought to be able to  
change ,hands upon one and  two ,lines1 
to go off readily1 and to make a good   
,stop4 ,after this  he should be able to
 make ,pesades easily1 and so high      
before as to be  held and supported in  
the ,hand1 and always make them upon a  
strait ,line  at first1 and not on a    
,circle4--,after this ask of him two or 
three  ,curvets2 let him go then two or 
three ,steps1 then make two or three    
,curvets2 and so alternately4--,if you  
find that your ,horse is well  in the   
,hand1 and that he advances regularly1  
is patient1 and don't  break his ,line1 
but keeps even upon it1 he will dress   
very easily1  and soon2 if he presses   
forward too much1 make him curvet in the
 same  ,place1 and make him often go    
backward4--,after he has thus made two  
or  three1 demand then more of him1     
afterwards make him go backward1 and so 
successively4    ,,one sees but few     

,horses which in making ,curvets1 plant 
themselves well  upon their ,haunches   
and ,hocks1 at least that are not apt to
 hang back1  and who beat and mark      
equally and smartly the ,measure of the 
,air1 and  keep their ,heads true and   
steady2 for this ,reason the first      
,lessons  should be slow and gentle1    
making your ,horse rise very high       
before1  because the longer time the    
,horse is in the ,air1 the easier it    
will be  to him to adjust himself upon  
his ,haunches1 and to assure his ,head1 
and  bend or gather up his ,fore-legs2  
on the contrary1 if he don't rise  high 
before1 he only beats and throws about  
the ,dust1 and shuffles his  ,legs1 and 
can never assemble the different ,parts 
of his ,body and be  united1 as he ought
 to be in this ,manage4    ,,when a     
,horse in his first ,curvets makes of   
himself his ,beats1 or ,times1  diligent
 and quick1 it is to be fear'd that this
 is only owing to  ,fire and            
,impatience2 in this ,case there will be

 reason to suspect1  that he has not    
,strength sufficient for this ,manage1  
that he will soon  do nothing but       
shuffle and throw about his ,legs       
without rising as he  ought1 or else    
that he will become entier2 but if he   
rises freely and  sufficiently high1    
without being in a hurry1 or stiffening 
himself1  and bends his ,hocks1 it will 
then be very easy to shorten1 reduce1   
and  adjust the ,measure of his ,air1   
and to make it perfect in proportion to 
his ,resolution1 his ,strength1 and     
,activity4--,if when you are going to   
raise him1 he rises suddenly of himself1
 consider whether this hasty  ,action be
 not a ,proof likewise of what ,i have  
just now told you4    ,,the ,beauty and 
,perfection of the fine ,airs when      
neatly executed1 and  their ,time just  
and true1 don't consist so much in the  
,diligence and  ,quickness with which   
the ,horse brings his ,hind-feet to the 
,ground and  makes his ,beats2 for if   
that were the ,proof1 the ,horse would  

not have  sufficient ,time to raise his 
,fore-part1 and to gather his ,fore-legs
  under him2 but the true ,measure1 and 
the ,harmony of his ,time1 is when  the 
,hind-feet follow smoothly1 and answer  
immediately to the ,fore-feet1  and that
 these rise again in the ,instant that  
the others touch the  ,ground4    ,,to  
teach a ,horse to beat his ,curvets     
neatly1 and in an equal ,time  and      
,measure1 take care to keep him in a    
good and just ,apuy2 keep  yourself     
strait and well stretch'd down in the   
,saddle1 but without  any ,stiffness1   
preserving always a certain ,ease and   
,freedom1 which  is the ,characteristic 
of an ,horseman3 let your ,hand be about
 three  ,fingers ,breadth above the     
,pommel of the ,saddle1 and a little    
forward  or advanced1 keeping your      
,nails up1 and be diligent and ready to 
raise  your ,horse2 when you do this1   
put your ,body a little forward1 but so 
as  not to let it be perceived3 above   
all put no ,stress in your ,legs1 but   

let them be easy and loose1 they will   
catch the ,time of themselves  better   
than you can give it4 ,i am now speaking
 of an high-drest and  perfect ,horse1  
who works with the greatest ,exactness2 
for if he was to  break the ,line1 to   
throw himself from one ,side to the     
other1 refuse to  advance1 or not to    
lift his ,legs1 you would then be       
obliged to give the  ,aids in proportion
 to his ,understanding and ,feeling4    
,,it is not requisite that a ,horse     
should be absolutely perfect in         
,curvets strait forward1 before you put 
him to make them upon ,voltes4  ,by     
being accustom'd to make them strait    
forward1 when he is put to do  them     
differently1 he would feel a fresh      
,constraint2 in this ,case he  might    
break and perplex his ,air in the       
,action of turning1 he would  falsify   
the ,volte1 and perhaps fall into many  
,disorders2 it is  therefore right1 as  
soon as he is grounded a little in      
,curvets strait  forwards1 to begin to  

teach him the ,time and the ,proportions
 of the  ,volte4    ,,walk him then upon
 a ,volte that is sufficiently large1   
and exactly  round1 taking care that he 
walks neither too slow nor too fast1 and
  making him bring in his ,head to the  
,volte1 so that he may acquire a  ,habit
 of looking always into the ,volte1     
without letting his ,hind-feet  however 
go off the ,line of his ,fore-feet4     
,,having thus taught him in the ,walk to
 both ,hands the ,space or ,ground  of  
the ,volte1 let him make three ,pesades1
 then three more1 and let  him make them
 with ,patience and lightly1 but without
 stopping4 ,trot him  then upon the     
,volte1 stop him without letting him    
rise1 caress him1  and begin with him   
again to the other ,hand1 and repeat the
 same4--,when  he begins to understand  
this ,lesson1 let him make two ,pesades 
together1 then let him walk as before2  
observe these ,rules and this  ,method1 
without hurrying or pressing him2       
increase by degrees by the  ,number of  

,pesades1 and let him walk less as he   
begins to work with  more ,ease2 by     
these means he will soon be brought to  
furnish an entire  ,volte4    ,,when    
your ,horse is so far advanced as to    
work upon the large ,voltes  in this    
slow ,manner1 begin then by degrees to  
contract his ,compass  of ,ground1 and  
the ,measure of the ,pesades1 till the  
,volte and the  ,air are reduced to     
their exact ,proportion2 preventing him 
by ,aids  and ,correction from putting  
his ,croupe out1 or bringing it too much
  within the ,volte1 and taking care    
that he makes no wrong or aukward       
,action with his ,head4    ,,it is      
impossible that a ,horse should furnish 
his ,air high1 without  shortening and  
contracting his ,body a good deal beyond
 his natural  ,posture or ,make2 because
 the ,action of itself is contracted and
  supported on the ,haunches1 in such a 
manner that the ,hind-feet must of      
necessity advance1 and widen the ,line  
which they made in the ,walk2 or  else  

the ,fore-feet must go back1 and keep up
 the ,line and ,roundness  of the       
,volte2 or else that the ,hind or       
,fore-feet keeping an equal             
,proportion1 and answering each to each 
shorten it equally4--,these  different  
,effects are very essential and worth   
remarking4--,the first  ,aid to be given
 should be with the ,legs1 in order to  
make the ,horse's  ,fore-feet keep thro'
 this high ,air the ,line of the ,volte1
 which he  had mark'd out before in the 
,walk4 ,if he goes large1 or quits the  
,line1  or abandons himself upon his    
,shoulders1 or upon the ,hand1 the first
 ,aid  then should come from the ,hand2 
this by confining will operate so as  to
 raise him1 and the ,hind-feet will come
 upon the ,line describ'd in  the       
,passage2 lastly1 if the ,horse is      
obedient1 the ,rider will be able  to   
unite him both behind and before1 by the
 usual ,aids of the ,hand and  ,heel    
acting together4    ,,when a ,horse     
walks or trots upon the ,volte1 he is   

supported in his  ,action by one of his 
,fore and one of his ,hind-feet1 which  
are both  upon the ,ground together1    
while the other two are in the ,air2 so 
that according to this ,method the ,line
 of the ,fore-feet1 and that  of the    
hind1 are made at the same time2 but    
when he raises his ,air  and advances   
upon the ,volte1 all his ,actions are   
changed2 for then  the two ,fore-feet   
are lifted up the first1 and while they 
are coming  down1 he lifts the two      
,hind-feet from the ,ground together1 to
 finish  and continue the ,beats or     
,time of his ,air4 ,the ,fore-feet being
  more advanced than the hind1 must     
necessarily come down first1 and        
consequently the ,horse can never be    
upon strait ,lines crossing each  other1
 as he is when he walks or trots upon   
the ,volte4 ,moreover1  in a high ,air  
the ,horse does not only shorten and    
contract his whole  ,action2 but the    
better to strengthen and assist the     
,attitude in  which he supports and goes

 through his ,air1 he opens and widens  
his  ,hind-feet1 keeping them at least  
twice the ,distance one from the other1 
that he did when he only walk'd or      
trotted upon the ,volte1 and by         
consequence describes different         
,lines4--,there are three ,actions1 and 
three ,motions1 still to be consider'd  
in making ,curvets4 ,these are1  to     
raise him1 to support him while he is in
 the ,air1 and to make him go           
forwards4--,to raise him1 is to lift him
 up as it were by the ,action of  the   
,hand1 and put him upon an high ,air2 to
 support1 is to hinder him  from        
bringing his ,fore-part too soon to the 
,ground2 and carrying him  forward1 is  
to raise1 support1 and go forward at the
 same time1 while  the ,horse is off the
 ,ground4    ,,to make a ,horse go in   
,curvets sideways1 aid only with the    
,hand1  keeping his ,head to the ,wall4 
,for instance1 to the ,right1 aid him   
chiefly with the outward ,rein2 that is 
to say1 turn your ,hand to the  ,right1 

for then the ,left-rein1 which is the   
outward ,rein1 will be  shorten'd and   
operate upon the ,shoulders so as to    
work them4--,if they  go too much1 use  
your inner ,rein1 carrying your ,hand   
out1 and in such  a manner that the     
,shoulders may go before the            
,croupe4--,let him make  three ,curvets 
sideways1 passage him afterwards1 always
 sideways2 then  let him make the same  
,number of ,curvets sideways1 and       
obliquely1  again1 and begin by little  
and little to diminish his ,passage1 and
  augment the ,curvets1 till he is able 
to furnish without ,intervals  an entire
 ,volte of two ,lines4 ,the same ,method
 must be followed in  working to the    
,left1 as has been prescribed for the   
,right4 ,curvets  made backward are more
 fatiguing1 and more apt to make a      
,horse rebel1  than ,curvets strait     
forward upon the ,voltes1 ,demi-voltes1 
or  sideways4--,to teach him to make    
them backwards1 you must make him  go   
backward2 afterwards put him to make    

three or four ,curvets in  the same     
,place1 that is1 without                
advancing4--,then make him go forward   
again1 let him make the same ,number    
again2 and so successively till he      
makes them readily and without          
,assistance4    ,,by ,habit he will     
expect to be made to go backward        
immediately after  the last ,curvet3    
now1 the ,moment he has made one in the 
same ,place1  when he is making the     
second1 seize the ,moment just as he is 
coming  down1 and pull him back1 marking
 a ,time with your ,hand1 just as you   
would pull to make a ,horse go backward 
which resisted the ,hand2 and  this     
,time of the ,hand being made1 ease it  
immediately4 ,in this ,manner  continue 
the ,curvets1 pulling more or less1     
according as he obeys  or resists2      
observing to lessen the ,times of       
pulling him back1 and  to increase the  
,number of the ,curvets backwards4--,if 
he drags his  ,haunches1 that is1 if the
 ,hind-feet don't go together1 but one  

after  the other1 pinch him with both   
,spurs2 but you must put them very back1
  applying them with great ,delicacy1   
and taking care that he be in the  ,hand
 when he comes down4--,if with all this 
he continues disunited1  aid on the     
,croupe with the ,switch1 turning the   
bigger ,end of it in your  ,hand2 and   
this will make him work and keep his    
,time or ,beats very  exactly4    ,,to  
go backwards in ,curvets1 aid with the  
outward ,rein1 you will  confine the    
,fore-part1 and widen the ,hind-legs1   
which ought to be at  liberty1 because  
it is with them that he leads4 ,they are
 follow'd by  the ,fore-parts1 which    
should keep the same ,ground or         
,tract4--,you must  keep your ,hand low1
 that the ,horse may not go too         
high4--,let your ,body  be a little     
forward to give the greater ,liberty to 
the ,hind-legs1 which  are those that   
lead2 and don't aid with your ,legs1    
unless he drags his  ,haunches4--,if the
 ,horse does not unite of his own       

accord1 you must  catch the ,time with  
your ,bridle-hand1 as the ,horse is     
coming to the  ,ground2 in that         
,instant1 put your ,hand to your ,body1 
and so pull him  back4--,let us now see 
how you should be placed in the ,saddle1
 to make  ,curvets upon the             
,voltes4--,let only your outward ,hip   
and outward  ,haunch be a little        
advanc'd2 and remember to loosen always1
 and relax  the ,inside of your ,knees1 
or your ,legs from the ,knees4 ,when you
 intend  to change to the ,left1 let    
your ,hand accompany and correspond with
 your  ,right-leg1 which is to operate2 
when you would change to the ,right1 let
  it answer to your ,left-leg3 ,having  
given this ,aid1 replace yourself1      
stretch yourself down in your ,saddle1  
take away your ,legs1 one or the  other1
 forbear to aid1 and let the ,balance of
 your ,body be somewhat on  the ,inside4
    ,,understanding thus1 and being     
,master of the ,aids for working a      
,horse in  ,curvets strait forwards1    

backwards1 sideways1 to the ,right and  
,left1  you will be able easily to teach
 your ,horse to make a ,cross1 or even  
dance the ,saraband in this ,air2 but   
this requires as much ,justness  and    
,activity in the ,horse1 as ,exactness  
and ,delicacy in the ,rider to  be able 
to give the ,aids1 and very few ,horses 
are able to execute all  these ,lessons 
which ,i have described3 the utmost     
,efforts of ,art1 and  the greatest     
,suppleness that a ,horse can acquire1  
will be in vain1  and unsuccessful1 if  
he is not by ,nature inclin'd and       
disposed to the  ,manage4 ,that sort of 
,exercise which hits the ,temper1 and   
best suits the  ,strength of a ,horse1  
will appear graceful1 and preserve his  
,health2  while that which is opposite  
to his ,temper and ,genius will         
dishearten  him1 make him timid and     
abject1 and plunge him into numberless  
,ails and  ,vices4          ,,chap4     
,,xix4    ,of ,croupades and ,balotades4
      ,,the ,croupade is a ,leap1 in    

which the ,horse draws up his           
,hinder-legs as  if he meant to shorten 
and truss them up under his ,belly4     
,,the ,balotade is likewise a ,leap1 in 
which the ,horse seems as if he         
intended to kick out1 but without doing 
it2 he only offers or makes a  half     
,kick1 shewing only the ,shoes of his   
,hind-feet4    ,,the ,horses that are   
destin'd to these ,airs ought to have a 
light and  steady ,mouth1 and an active 
and lively ,disposition1 with clean and 
nervous ,strength2 for all the ,art and 
,knowledge of the ,horseman can  never  
confer these ,qualities1 which are      
essentially necessary to the            
,perfection of this ,manage4    ,,the   
,croupades and ,balotades are different 
from ,curvets1 inasmuch  as that they   
are much higher behind1 and consequently
 their ,time and  ,measure not so quick 
and close1 but slower and more extended4
 ,therefore  the ,rider should keep his 
,horse's ,croupe ready and in awe1 by   
striking  it from time to time with the 

,switch1 supporting him not quite so    
high  before1 and observing to aid with 
his ,legs slower1 and not so forward1   
as in the ,curvets4    ,,as the         
,perfection of ,curvets1 both upon the  
,voltes and strait  forwards1 is owing  
to the ,ease and ,justness of the       
,pesades1 the  ,goodness of ,croupades  
and ,balotades depends likewise upon the
 same  ,rules4 ,your ,horse being made  
light before by the means of ,pesades   
and  ,curvets1 begin by making him rise1
 as well before as behind1 less  however
 in the first ,lessons than afterwards2 
for you will never bring  him to the    
true ,pitch1 were you to exhaust all his
 ,strength at once1  since while he is  
prest and compell'd to put forth all his
 ,strength1 he  will never be able to   
catch and mark the ,time1 the ,cadence1 
and the  just ,beats of his ,air1 both  
behind and before4    ,i ,,have already 
said1 that the ,croupades and the       
,balotades are  higher than the         
,curvets1 they nevertheless partake of  

it2 for though a  ,horse that makes     
,balotades1 makes the ,measure of each  
,time as high  behind as before1 yet he 
follows the ,beat of his ,fore-feet with
 that  of his ,hind-feet1 the same as in
 ,curvets2 for this ,reason1 a ,horse   
that is intended for the ,croupades and 
,balotades1 ought to be more  active1   
light1 and strong than one that is to be
 drest for ,curvets1  as he should have 
less ,strength than one who is put to   
make ,caprioles  strait forwards1 or on 
,voltes of one ,line1 and to repeat them
 in the  same ,place4    ,,to manage the
 ,strength and ,vigour of the ,horse you
 intend to work  upon the ,voltes in    
,croupades and ,balotades1 let the ,line
 of  the ,volte be larger than for      
,curvets1 and let the ,action of the    
,shoulders not be quite so high2 thus   
you will not only check and  confine his
 ,activity and ,lightness2 but by       
raising his ,shoulders in  a less       
,degree1 you will give ,liberty to his  
,croupe1 and he will be  enabled by this

 ,method to furnish his ,airs all       
together1 that is  before and behind1   
better1 and with more ,ease2 there is   
still  another ,reason for this1 for    
when the ,shoulders come to the ,ground 
from  too great a ,height1 the ,shock   
alarms and disorders the ,mouth2 and    
then  the ,horse losing the ,steadiness 
of his ,apuy1 he never will raise his   
,croupe so high as he ought1 to make    
perfect ,balotades4          ,,chap4    
,,xx4    ,of ,caprioles4      ,,there is
 no such ,thing as an universal ,horse2 
that is1 as a ,horse who  works equally 
well upon all ,airs1 the                
,terre-a-,terre1 the ,curvets1  ,mezair1
 ,croupades1 ,balotades1 and ,caprioles1
 each ,horse having  a particular       
,disposition1 which inclines to some    
certain ,air which  suits him best4 ,a  
,horse that is naturally inclin'd to the
 high ,airs1  ought to be managed with  
great ,gentleness and ,patience2        
inasmuch as  he will be in greater      
,danger of being disgusted and spoil'd1 

as his  ,disposition to the high ,airs  
is owing generally to the ,gaiety and   
,sprightliness of his ,temper2 and as   
such ,tempers are usually averse to     
,subjection1 ,constraint and            
,correction1 ,rigour and ,severity would
 make  him become timid and angry1 and  
then he could not attend to and catch   
the ,time1 ,order1 and ,measure of the  
high ,airs2 therefore if you  would     
reduce him to the ,justness of the high 
,airs1 and teach him their  ,harmony and
 ,measure1 you must not expect to       
succeed by any other ways  than by      
giving your ,instructions with great    
,patience and ,judgment1 and  soon or   
late he will be gain'd4    ,,the ,feet  
are the ,foundations upon which all the 
high ,airs1 if ,i may use  the ,word1   
are built4 ,they ought then to be       
attended to very strictly2  for if your 
,horse has any ,pain1 ,weakness1 or     
other ,defect in his ,feet1  he will be 
so much the more improper to leap1 as   
the ,pain which he  must feel when he   

comes to the ,ground1 would shoot quite 
to his ,brain4    ,,as a ,proof of this1
 when a ,horse whose ,feet are bad or   
tender trots  upon the ,stones1 or hard 
,ground1 you will see him shut his      
,eyes1 drop  his ,head at each ,step1   
and shake his ,tail from very ,pain4    
,,the ,capriole is the most violent of  
the high ,airs4 ,to make it  perfect1   
the ,horse is to raise his ,fore-parts  
and his ,hinder to an  equal ,height2   
and when he strikes out behind1 his     
,croupe should be  upon a ,level with   
his ,withers4 ,in rising and in coming  
down his ,head  and ,mouth should be    
quite steady and firm1 and he should    
present his  ,forehead quite            
strait4--,when he rises1 his ,fore-legs 
should be bent  under him a good deal1  
and equally4 ,when he strikes out with  
his  ,hind-legs1 he ought to do it      
nervously1 and with all his ,force2 and 
his two ,feet should be even1 of an     
equal ,height1 and their ,action the    
same when he strikes out3 lastly1 the   

,horse should at every ,leap fall  a    
,foot and a half1 or the ,space of two  
,feet distance from the ,spot  from     
which he rose4--,i don't assert1 that in
 order to make ,caprioles  a ,horse must
 necessarily pass through ,curvets and  
,balotades2 for  there are ,horses who  
are naturally more light and active in  
their ,loins  than strong1 and who are  
brought to leap with more ,difficulty1  
than to  the other ,airs in which their 
,strength must be much more united1 and 
their ,disposition attended to2 but yet 
it is certain1 that if the ,horse  is   
brought to rise by ,degrees1 and is     
work'd in the intermediate ,airs1       
before he undertakes the ,caprioles1 he 
will not weaken and strain  himself so  
much1 and will be sooner confirm'd in   
his ,lesson than one  who begins at once
 with the ,caprioles4    ,,having thus  
explain'd to ,demonstration the ,motions
 of a ,horse1 when  he makes a perfect  
,capriole1 you may hence gather that    
they have an  ,effect directly opposite 

to that of ,curvets and                 
,pesades4--,these  two ,airs are proper 
to assure the ,head of the ,horse1 and  
to make it  light1 and this by so much  
the more as the principal ,action       
depends  upon the ,haunches1 and a      
moderate ,apuy of the ,mouth2 but       
,caprioles  are apt to give too great an
 ,apuy1 because the ,horse when he makes
  the strongest ,action of his ,air1    
that is1 when he strikes out as he  is  
coming to the ,ground1 is entirely      
supported by the ,hand2 therefore       
before he is put to leap1 he ought to   
have a perfect ,apuy1 and his           
,shoulders should at least be suppled   
and lighten'd by having made  ,pesades2 
and he should be without ,fear1 ,anger1 
or any kind of  ,uneasiness1 because1 as
 ,i have already said1 by leaping he    
learns to  know his own ,strength and   
,power2 and he may put it to bad        
,purposes to  free himself from         
,obedience1 and indulge his ,caprice and
 ,ill-humour4  ,some ,horses have a     

,disposition to this ,air1 and          
sufficient ,strength  to go through it2 
yet have their ,mouth so delicate1      
sensible1 and  averse to the ,hand1 that
 you can't support them without         
hindering them  from advancing2 hence it
 follows that their ,action before is   
cold and  slow1 and never sufficiently  
high1 and they can't be carried forward 
when they raise their ,croupe and strike
 out2 and it is impossible to  keep them
 firm as they come down4 ,to remedy     
this1 begin their ,lesson  upon the     
,trot1 and press them in it so smartly  
as to make them  often go into the      
,gallop2 observe a ,medium however in   
order to save  their ,strength and      
,vigour1 that they may furnish as many  
,leaps as is  requisite to the          
,perfection of the ,air4 ,do the same   
with a ,horse that  has too much        
,strength1 and who retains and avails   
himself it1 so as  not to make his      
,leaps freely and readily2 by this means
 you will abate  his superfluous        

,vigour1 which serves only to disunite  
and make him  troublesome4    ,,it is   
usual to supple a ,horse that is light  
in the ,hand by means of  the ,trot1    
before you teach him to leap3 but a     
contrary ,method must be  observed with 
those which are heavy and clumsey1 or   
that are heavy in  the ,hand4 ,gallop   
and trot them1 and when they are made   
obedient and  drest to the ,caprioles1  
their ,apuy in leaping will grow by     
degrees  lighter and more temperate4    
,the ,exercise of the ,trot and ,gallop 
will  take away all ,fear of the ,aids  
and ,corrections1 and the ,day following
  they will present themselves more     
freely and willingly4 ,with respect to  
the ,horse who pulls or wants to force  
the ,hand1 don't try to correct  him by 
making him go backward1 because by      
working upon his ,bars too  much with   
the ,bit1 you would make them become    
hard and insensible2 but  compel him to 
make some ,caprioles with his ,face to  
the ,wall1 and  keep him up to it closer

 or further off1 as you find him heavy1 
or  endeavouring to force the ,hand2 by 
these ,methods you will constrain him   
to shorten his ,leaps1 and give more    
,attention to his ,business4 ,if he     
abandons himself1 or bears too hard upon
 the ,hand1 hold him firm at the  ,end  
of his ,leap2 and in the ,instant that  
his ,feet are coming to the  ,ground1   
yield it immediately to him1 and he will
 abandon himself much  less upon the    
,bit4--,if he retains himself1 and hangs
 back1 easing your  ,hand to him alone  
will not be sufficient2 but to make him 
advance you  must push him up to his    
,bit1 by aiding him briskly and in ,time
 with  your ,legs4    ,,to dress a      
,horse to the ,caprioles1 the ,pillars  
may be employ'd1 or they  may be        
dispens'd with3 let us explain the      
,rules we should follow with  respect to
 both these ,methods4    ,,it is certain
 that the ,pillars are of use in putting
 a ,horse to this  ,air4--,tie him to   
them1 make him keep up to his ,bit      

properly1 or what is  call'd fill up the
 ,cords1 and endeavour by little and    
little to make  him rise before1 taking 
care to make him bend his ,knees1 and   
gather up  his ,legs as much as you     
possibly can4 ,for this purpose use your
 ,switch  briskly2 for if you can teach 
him to bend his ,legs well1 his ,manage 
will be infinitely more beautiful2 as   
well as that he will be much  lighter in
 the ,hand4    ,,having thus gain'd the 
,fore-part1 put him in the ,pillars     
again1 making  the ,cords somewhat      
shorter in order to make him raise his  
,croupe  from the ,ground1 and yerk out 
equally at the same time with both his  
,hind-legs1 which you must teach him to 
do1 by attacking and striking  him upon 
the ,croupe with the ,switch or         
,chambriere4    ,,when he is so far     
advanced as to rise before1 and lash out
 behind1 it  will be proper to teach him
 to unite these two ,times1 and perform 
them  together4--,let him then be       
mounted1 and always in the ,pillars2 let

 the  ,rider support him in the ,hand1  
and try to make him make one or two     
,leaps1 without hanging upon the ,cords 
of the ,caveson1 in order that he  may  
learn to take a just ,apuy1 and to feel 
it4 ,as soon as he begins  to know and  
obey the ,hand1 he should be aided      
gently with the ,calves  of the ,legs1  
should be supported1 and you should     
pinch him delicately  and finely with   
both ,spurs4 ,if he answers once or     
twice to these ,aids1  without losing   
his ,temper1 or being angry1 you will   
have great ,reason  to expect that he   
will soon furnish his ,leaps equally and
 justly with  respect to the ,hand and  
,heel4    ,,having brought him thus far 
between the ,pillars1 walk him strait   
forward for a certain ,space1 and if he 
don't offer to rise of himself1  try to 
make him4 ,if he himself takes the right
 ,time1 seize the ,moment1  avail       
yourself of it1 and make him make two or
 three ,caprioles1 or  one or two1      
according as you judge it necessary2 by 

letting him walk  thus calmly and       
quietly1 in a short time he will of     
himself begin to  make ,caprioles strait
 forward2 but in case he should discover
 any  ,signs of ,resistance to the ,hand
 or ,heel1 or the other ,aids1          
immediately  have recourse to the       
,caveson and ,pillars4    ,,this is in  
short the ,method of adjusting and      
dressing a ,horse for  ,caprioles by the
 means of the ,pillars4--,a ,method     
extremely dangerous  in itself1 and     
capable of spoiling and making a ,horse 
become desperate  and ungovernable1 if  
it is not practised by ,persons of the  
most  consummate ,skill and ,experience4
    ,,the ,method which ,i prefer is    
indeed more difficult and painful to the
  ,horse1 but more perfect and sure4    
,,the ,horse having been well exercised 
in ,pesades1 walk him strait  forward1  
keeping him together1 and supporting him
 so as to hold and  keep him in the     
,hand1 but not to such a degree as to   
stop him entirely4  ,after this strike  

him gently with the ,end of the ,switch 
upon his ,croupe  and ,buttocks1 and    
continue to do it till he lifts up his  
,croupe1 and  kicks4--,you should then  
caress him1 and let him walk some       
,steps1  and then attack him again1 not 
minding to make him rise before1 nor    
hindering him from it1 if he offers so  
to do4 ,remember to encourage and  coax 
him every time that he answers to the   
,aids1 and obeys4--,being thus          
acquainted with the ,aid of the ,switch1
 put him to make ,pesades of a  moderate
 ,height strait forward1 and at the     
second or third1 attack him  behind with
 your ,switch to make him lash out4 ,if 
he obeys1 make him  rise before again in
 the ,minute that his ,hind-legs come to
 the ,ground1  in order to make him     
furnish two or three more ,pesades1 to  
work his  ,haunches4 ,after this coax   
and caress him without letting him stir 
from  the ,place1 if his ,apuy be firm  
and good2 and in case it is hard1  make 
him go backward1 or if it is light and  

just1 letting him advance  quietly and  
slowly4    ,,to enable him to make his  
,leaps just1 and to know the exact ,time
 of  making them1 you should no longer  
regard what ,number of ,pesades he      
makes before or after his ,leap1 but in 
the ,moment that you feel him  ready and
 prepar'd1 and whilst he is in the      
,pesade1 aid him briskly  behind1       
letting him in the ,beginning not rise  
so high before1 when you  intend he     
should yerk out behind1 as you would    
were he only to make a  ,pesade1 that so
 his ,croupe may be more at liberty1 and
 he may yerk  out with greater ,ease2 in
 proportion as his ,croupe becomes light
 and  active1 you may raise his         
,fore-parts higher and higher1 and      
support him  while in the ,air1 till he 
makes his ,leaps true and in just       
,proportion4    ,,when you have         
sufficiently practised these ,lessons1  
you may retrench  by degrees the ,number
 of the ,pesades which separated and    
divided the  ,leaps4 ,you may demand now

 of him two ,leaps together2 from these 
you may  come1 with ,patience and       
,discretion1 to three1 from three to    
four ,leaps2  and lastly1 to as many as 
he can furnish in the same ,air1 and    
with  equal ,strength4 ,remember always 
to make him finish upon his ,haunches1  
it is the only sure way to prevent all  
the ,disorders a ,horse may be  guilty  
of from ,impatience and ,fear4          
,,there are some ,horses who will leap  
very high1 and with great ,agility      
strait forwards1 which when put to leap 
upon the ,voltes1 lose all  their       
natural ,grace and ,beauty2 the ,reason 
is1 that they fail for ,want  of        
,strength1 and are not equal to the     
,task1 in which all their ,motions  are 
forced and constrain'd4    ,,if you find
 a ,horse who has a good and firm ,apuy1
 and who has  ,strength sufficient to   
furnish this ,air upon the ,voltes2     
begin with  him by making him know the  
,space and ,roundness of the ,volte to  
each  ,hand2 let him walk round it in a 

slow and distinct ,pace1 keeping his    
,croupe very much press'd and confin'd  
upon the ,line of the ,volte1  which    
ought to be much larger for this ,air   
than for ,croupades and  ,balotades4    
,,this being done1 make him rise1 and   
let him make one or two  ,caprioles1    
follow'd by as many ,pesades2 then walk 
on two or three  ,steps upon the same   
,line2 then raise him again1 supporting 
him more and  more1 and keeping him even
 on the ,line of the ,volte1 so that it 
may  be exactly round1 and confining his
 ,croupe with your outward ,leg4    ,,if
 this ,lesson be given with ,judgment1  
your ,horse will soon make all  the     
,volte1 in the same ,air2 and to make   
him furnish a second1 as soon  as he has
 closed and finish'd the first1 raise   
him again1 and without  letting him stop
 get from him as many as you can1       
working him always  upon this ,volte1 in
 which he walks and leaps alternatively1
 till he  closes and ends it with the   
same ,vigour and ,resolution as he did  

the  first4    ,,aid always with the    
outward ,rein1 either upon the ,voltes1 
or when you  leap strait forwards1 you  
will narrow and confine the ,fore-parts1
 and  enlarge the ,hind-parts1 by which 
means the ,croupe will not be press'd1  
but free and unconstrain'd4    ,i ,,will
 enlarge no further upon his ,chapter2  
for what regards the making  ,caprioles 
upon the ,voltes1 you may look back to  
what has been  already said on the      
,subject of ,curvets3 remember that the 
surest way  to succeed1 when you        
undertake to dress a ,horse to          
,caprioles1 is to  arm yourself with a  
,patience that nothing can subdue or    
shake2 and to  prefer for this purpose  
such ,horses as have a ,disposition1 are
 active1  light1 and have a clean sinewy
 ,strength1 to such as are endowed with 
greater ,strength and ,force2 for these 
last never leap regularly1 and  are fit 
for nothing but to break their ,riders  
,backs1 and make them spit  ,blood1 by  
their irregular1 violent1 and unexpected

 ,motions4          ,,chap4 ,,xxi4      
,of the ,step and ,leap4      ,,the     
,step and ,leap is composed of three    
,airs2 of the ,step1 which is the       
,action of the ,terre-a-,terre2 the     
rising before1 which is a ,curvet2  and 
the ,leap1 which is a ,capriole4        
,,this ,manage is infinitely less       
painful to a ,horse than that of the    
,capriole2 for when you dress a ,horse  
to the ,capriole1 he will  of himself   
take this ,air for his ,ease and        
,relief2 and in time those  ,horses1    
which have been drest to the ,caprioles1
 will execute only  ,balotades and      
,croupades1 unless particular ,care is  
taken to make  them yerk out4    ,,it is
 this likewise1 which1 next to running a
 brisk ,course1 enlivens  and animates a
 ,horse most4--,to reduce a ,horse to   
the ,justness of this  ,air1 you must   
begin by emboldening and making him lose
 all fear of  ,correction2 teaching him 
to keep his ,head steady1 and in a      
proper  ,place2 lightening ,his         

,fore-parts1 by putting him to make     
,pesades2  teaching him to know the     
,aids of the ,switch1 the same as in the
 ,lesson  of the ,caprioles2 and by     
giving him a firm and good ,apuy1 full  
in  the ,hand3 though it is certain1    
that the ,step contributes to give  him 
this ,apuy1 inasmuch as that it puts him
 in the ,hand2 besides that  it gives   
him ,strength and ,agility to leap1 just
 as we ourselves leap  with a quicker   
,spring while running1 than if we were  
to stand quite  still and leap2         
therefore most old ,horses generally    
fall into this ,air4    ,,when your     
,horse is sufficiently knowing in these 
several ,particulars1  teach him to     
rise1 and support or hold him in the    
,air2 then let him  make four ,pesades1 
and afterwards let him walk four or five
 ,steps  slow and equal2 if he forces   
the ,hand1 or retains himself too much1 
he  should be made to trot these four or
 five ,steps rather than walk2 after    
this make him rise again1 and continue  

this ,lesson for some ,days4    ,,when  
he is so far advanced as to comprehend  
and understand this  sufficiently1 begin
 by putting him to make a ,pesade1      
demand then a  ,leap1 and finish by     
letting him make two ,pesades together4 
,there  are two things to be observ'd1  
which are very essential in this        
,lesson2  one1 that when he is to make  
the ,leap he should not rise so high    
before as when he makes ,pesades only1  
that so he may yerk out with  greater   
,ease and ,liberty2 the other ,caution  
is always to make your last  ,pesade    
longer and higher than the other1 in    
order to prevent your  ,horse from      
making any irregular ,motions by        
shuffling about his ,legs1  if he should
 be angry and impatient1 as well as to  
keep him in a more  exact ,obedience2   
and to make him light1 if he is         
naturally heavy and  loaded in his      
,fore-parts1 or apt to lean too much    
upon the ,hand4    ,,again1 reduce the  
fourth ,pesade into a ,leap1 as you did 

the first2  then make two ,pesades      
following1 and after this let him walk  
quietly four or five ,steps1 that he may
 make again the same ,number of         
,pesades1 and in the same ,order4 ,in   
proportion as the ,horse begins to      
understand1 and is able to execute these
 ,lessons1 you should augment  likewise 
the ,leaps one by one1 without hurrying 
or changing the ,order1  making always  
between the ,leaps a single ,pesade1 but
 lower than those  in the first ,lesson2
 and then two more again after the last 
,leap1  sufficiently high4 ,by degrees  
the ,horse will grow active and light   
in his ,hind-parts1 you must raise him  
then higher before1 and support  him    
longer in the ,air1 in order to make him
 form the ,leaps perfect1 by  means of  
prudent and judicious ,rules1 often     
practised and repeated4  ,if your ,horse
 forces the ,hand1 or presses forward   
more than you would  have him1 either   
from ,heaviness of ,make1 or from having
 too much ,fire  in his ,temper2 in this

 case you should oblige him to make the 
,pesades  in the same ,place1 without   
stirring from it2 and instead of letting
  him advance four or five ,steps1 you  
should make him go backwards as  many4  
,this ,correction will cure him of the  
,habit of pressing forward1  and forcing
 the ,hand4 ,upon this ,occasion        
likewise you should use a  ,hand-spur to
 prick his ,croupe1 instead of a        
,switch4    ,,to make this ,air just and
 perfect1 it is necessary that the      
,action of  the ,leap be finish'd as in 
the ,caprioles1 except that it ought to 
be  more extended1 and the ,pesade which
 is made between the two ,leaps  should 
be changed into a ,time of a quick and  
short ,gallop2 that is1  the two        
,hind-feet ought to follow the          
,fore-feet1 together in a quick  ,time  
and briskly1 as in ,curvets in the      
,mezair2 but in this the  ,horse should 
advance more1 not be so much together1  
nor rise so high4    ,,the ,perfection  
of this ,time of the ,gallop depends    

upon the ,justness  of the ,horseman's  
,motions4--,they ought to be infinitely 
more exact  in this ,lesson1 than in the
 ,caprioles1 or any other ,airs1 which  
are  performed strait forward4    ,,in  
reality1 if the ,horseman is too slow1  
and don't catch the exact ,time  which  
parts the two ,leaps1 the ,leap which   
follows will be without any  ,spring or 
,vigour1 because the ,animal so         
restrain'd and held back1 can  never    
extend himself1 or put forth his        
,strength2 if he don't support  and     
raise his ,shoulders sufficiently high1 
the ,croupe will then be  higher than it
 ought to be2 and this ,disproportion   
will force the ,horse  to toss up his   
,nose1 or make some other bad ,motion   
with his ,head as  he is coming to the  
,ground in his ,leap2 or else it will   
happen that  the succeeding ,time will  
be so precipitate1 that the next ,leap  
will  be false and imperfect1 as the    
,horse will not be sufficiently united1 
but will be too heavy and lean upon the 

,hand4--,if he is not together1  the    
,leap will be too much extended1 and    
consequently weak and loose1  because   
the ,horse will not be able to collect  
his ,strength1 in order to  make it     
equal to the first4    ,,learn then in a
 few ,words what should be the          
,horseman's ,seat1 and what  ,actions he
 should use in this ,lesson4    ,,he    
should never force1 alter1 or lose the  
true ,apuy1 either in  raising1         
supporting1 holding in1 or driving      
forward his ,horse4--,his  ,head should 
be not only firm and steady1 but it is  
indispensably  necessary that his ,seat 
should be exactly strait and just2 for  
since  the ,arm is an ,appendix of the  
,body1 it is certain that if the        
,motions  of the ,horse shake or        
disorder the ,body of the ,rider1 the   
,bridle-hand  must inevitably be shook1 
and consequently the true ,apuy         
destroy'd4    ,,in this ,attitude then  
approach the ,calves of your ,legs1     
support and hold your ,horse up with    

your ,hand1 and when the ,fore-part  is 
at its due ,height1 aid with the ,switch
 upon the ,croupe4    ,,if your ,horse  
rises before1 keep your ,body strait and
 firm2 if he  lifts or tosses up his    
,croupe1 or yerks out1 fling your       
,shoulders back  without turning your   
,head to one side or the other1         
continuing the  ,action of the ,hand    
that holds the ,switch4    ,,remember   
that all the ,motions of your ,body     
should be so neat and fine  as to be    
imperceptible2 as to what is the most   
graceful ,action for the  ,switch-hand1 
that over the ,shoulder is thought the  
best2 but then this  ,shoulder must not 
be more back than the other2 and care   
must be taken  that the ,motion be quick
 and neat1 and that the ,horse do not   
see it so  plainly as to be alarm'd4    
,i ,,have said1 that when the ,horse    
made his ,leaps too long and  extended1 
you should then aid with your           
,hand-spur2 and for this  ,reason1      
because the ,hand-spur will make the    

,horse raise his ,croupe  without       
advancing1 as the ,effect of the ,switch
 will be to raise the  ,croupe1 and     
drive the ,horse forward at the same    
time2 it should  therefore be used to   
such ,horses as retain themselves4      
,,remember that you should never be     
extreme with your ,horse1 and work him  
beyond his ,strength and ,ability2      
indeed one should never ask of a ,horse 
above half of what he can do2 for if you
 work him till he grows languid  and    
tired1 and his ,strength and ,wind fail 
him1 you will be compell'd to  give your
 ,aids roughly and openly2 and when that
 happens1 neither the  ,rider or the    
,horse can appear with ,brilliancy and  
,grace4      ,,the ,,end4