DRIVING.
“The rash boy Phaeton his proud chariot drove
Till he was smitten by almighty Jove:
Take heed, young driver, while you like him boast,
You are not ‘spilled’ against an ugly post.”—Swift.
INTRODUCTION.
Our young friends ought to know, not only how to ride, but also how to drive. From the very earliest times, horse and chariot races were considered the noblest of sports, and Apollo is represented as driving the chariot of the sun. The four horses were typical of the four seasons of the year. Four horses driven abreast was common also to the Olympic games, and the Hippodrome was the scene of chariot races in which even a greater number was sometimes used.
It was, indeed, an imposing sight to see the Hippodromic course at the time of one of these chariot festivals. The place set apart for the contest was about a mile in length. Over a bar that ran across the entrance of the lists was placed a brazen dolphin, and upon an altar in the middle of the barrier stood an eagle of the same metal. By means of a machine, put in motion by the president of the games, the eagle suddenly sprang up into the air with its wings extended, so as to be seen by all spectators; and at the same moment the dolphin sank to the ground, which was a signal for the cars to arrange themselves in order for the race. Besides the statue of Hippodamia, and the table on which were placed the crowns and palm-branches, there were several images and altars in the course, particularly that of the genius Taraxippus, who, as his name imports, was said to inspire the horses with a secret terror, which was increased by the shrill clangour of the trumpets placed near the boundary, and the deafening shouts and outcries of the multitude.
While the chariots were ranged in line ready to start, the horses, whose ardour it was difficult to restrain, attracted all eyes by their beauty, as well as for the victories which some of them had already gained. Pindar speaks of no less than forty chariots engaged at one and the same time. If we recollect that they had to run twelve times the length of the Hippodrome, in going and returning, and to steer round a pillar or goal erected near each extremity, we may imagine what confusion must have ensued when, upon the signal trumpet being sounded, they started amid a cloud of dust, crossing and jostling each other, and rushing forward with such rapidity that the eye could scarcely follow them. At one of the boundaries a narrow pass was left only for the chariots, which often baffled the skill of the expertest driver; and there were upwards of twenty turnings to make round the two pillars; so that at almost every moment some accident happened, calculated to excite the pity or insulting laughter of the assembly. In such a number of chariots at full speed, pushing for precedence in turning round the columns, on which victory often depended, some were sure to be dashed to pieces, covering the course with their fragments, and adding to the dangers of the race. As it was, moreover, exceedingly difficult for the charioteer, in his unsteady two-wheeled car, to retain his standing attitude, many were thrown out, when the masterless horses plunged wildly about the Hippodrome, overturning others who had, perhaps, previously escaped every danger, and thought themselves sure of winning. To increase the confusion, and thereby afford better opportunities for the display of skill and courage, there was reason to believe that some artifice was employed for the express purpose of frightening the horses when they reached the statue of Taraxippus. So great sometimes was their consternation, that, no longer regarding the rein, the whip, or the voice of their master, they broke loose, or overturned the chariot, and wounded the driver.
Such is the ancient description given by a Greek writer of the chariot races of the Hippodrome. We have no coach racing now-a-days, except omnibus racing in the streets: not a great deal of “coaching.” Now and then, indeed, we see the “Brighton four-horse,” and start with wonder at the sight. But still there are necessities for private driving, more important at the present than at any former period; and we hold driving to be not only a necessary, but an indispensable accomplishment to every young gentleman.
THE HORSE IN HARNESS.
A horse fully equipped in harness, attached to a dennet or stanhope, is one of the most beautiful things to look at in the world: few boys are trusted to drive a pair; nor have they physical power for the task. We will therefore confine our attention chiefly to single harness, adding only a short description of the various kinds of carriages in common use. If, however, the youthful charioteer can drive a single horse well, he will find no difficulty in controlling a pair, provided their mouths are sufficiently tender for his strength to manage. The horse is [here] represented harnessed to a light dennet-gig.
THE HORSE
May be either a full-sized harness horse, or a galloway, or a pony; the two last being the best fitted for juvenile driving.
THE HARNESS,
In every case, is composed of the same parts, which consist of three essential divisions: 1st, the driving, or guiding part; 2d, the drawing part; and 3d, that for holding up the shafts. The driving part comprises the bridle and reins. The bridle is made up of a front piece (1), a head piece (2), two cheek pieces and winkers (3), a nose band (4), and a throat lash (5). The cheek pieces are buckled to the bit (6) by means of leather loops, called billets, as also are the driving-reins (7), and the bearing-rein, which is attached to a separate bit called the bridoon (a plain snaffle), and then is hooked to the pad-hook. This is now very generally dispensed with, as shown in the cut at the head of this article; but for young drivers it is often desirable when they have not strength to check the fall of a horse. The drawing parts consist of a padded oval ring fitted to the shoulders, and called the collar (10), sometimes replaced by a padded strap across the chest called the breast-strap. On the collar are fastened two iron bars called hames (12), by means of a strap at the top and bottom (8-11), and these hames have a ring in the upper part for the reins to pass through, called the hame terret (9); and nearer the lower part, a strong arm of iron covered with a coating of brass, silver, or leather, which receives in its eye the tug of the trace (13.) The trace (17) is a long and strong strap of double leather, stitched, which runs from the collar to the drawing bar, and may be lengthened or shortened by a buckle. The part for holding the gig up consists of a pad or saddle, which is buckled on to the horse by the belly-band (16), and from which the shaft is suspended by the back-band and shaft-tug. It is prevented from slipping forward by the crupper, which is slipped over the tail. Besides these parts, some horses have in addition a breechen (18-19) which holds the shafts back in going down hill; and when they are addicted to kicking, a strap is buckled over their hips to the shaft which is called a kicking-strap.
THE CARRIAGE.
THE BRITZSCHKA.
The Dennet-gig, as represented in the [last page], is the most common form for a two-wheeled carriage; but there are also the Stanhope, the Cabriolet, as [here shown], the Tilbury, and the Dog-cart. The various open four-wheeled carriages are the Britzschka, Barouche, and Phaeton; and of closed four-wheeled carriages there are the Brougham and Clarence on elliptic springs, and the chariot and family coach with c springs. When these two last are made to open, they are called the Landaulet and Landau.
NEW BROUGHAM.
THE FAMILY COACH.
PUTTING TO.
Before driving, it is necessary that the horse or pony should be “put to,” which is effected as follows: 1st, slip the shafts through the tugs, or, if there are hooks, drop them down into them; 2d, put the traces on to the drawing-bar, either hooking them on, or else slipping them on to the eyes, and being careful to place the leather stops in these, to prevent the trace coming off; 3d, buckle the belly-band sufficiently tight; and 4th, buckle the kicking-strap, or breechen, if either is used. After this, the reins are taken from the terrets, where they were previously placed, and the horse is ready.
DIRECTIONS FOR DRIVING.
In driving, the reins are held differently from the mode already described as used in riding, the fore-finger being first placed between them, and then both the reins are grasped by all the other fingers, and the near-side rein is also held firmly against the fore-finger by means of the thumb. In this way, on an emergency, the near or left rein may be pulled by itself, by holding it firmly with the thumb, and suffering the other, or off rein, to slip through the fingers, or vice versâ. The most usual way is to pull the left rein with the left hand, and the right with the right hand, by hooking one or two fingers over it while held firmly in the left. In this manner, with the whip also held in the right hand, the horse is guided or stopped. The young driver should take care and keep his feet well before him, with his knees as straight and firm as possible, so that in case of a fall of the horse he may not be thrown forwards out of the vehicle he is driving. He should also sit square to his work, with his elbow held easily to his side, and his left thumb pointing to his horse’s head, by which, as in riding, his elbow is pretty sure to be properly placed. The bit should not be too firmly pulled against, but a light and “give and take” kind of handling is the best, by which the horse is allowed freedom of action, and yet is checked if he makes a mistake. In meeting other vehicles, the rule is to keep to your left, and in passing them, to leave them also on your left. This should be rigidly adhered to for fear of the accidents which would otherwise constantly happen.
In reference to driving in America, nothing better can be given than the rules of the English school for driving. In America the rule governing the side to pass another rider on is the reverse of the English rule. In America the law is “drive to the right.” In England it is to the left. The former appears to us to be the “right” one.
