The Horseman’s Seat:
THE principles and rules which have hitherto been given for the horseman’s seat are various, and even opposite, according as they have been adopted by different masters, and taught in different countries, almost by each master in particular; and every nation having certain rules and notions of their own. Let us see, however, if art has discovered nothing that is certain and invariably true.—The Italians, the Spaniards, the French and, in a word, every country where Riding is in repute, adopt each a posture which is peculiar to themselves: the foundation of their general notions is the same, but each country has prescribed rules for the placing the man on the saddle.
This contrariety of opinions which have their origin more in prejudice than in truth and reality, has given rise to many vain reasonings and speculations, each System having its followers; and as if truth was not always the same, and unchangeable, but at liberty to assume various and even opposite shapes; sometimes one opinion prevailed, sometimes another, insomuch that those who understand nothing of the subject, but yet are desirous of being informed, by searching it to the bottom, have hitherto been lost in doubt and perplexity.
There is nevertheless a sure and infallible method, by the assistance of which it would be very easy to overturn all these systems; but not to enter into a needless detail of the extravagant notions, which the Seat alone has given rise to; I will here endeavour to trace it from principles by so much the more solid, as their authority will be supported by the most convincing and self evident reasons.
In order to succeed in an art where the mechanism of the body is absolutely necessary, and where each part of the body has its proper functions, which are peculiar to that part; it is most certain that all and every part of the body should be in a natural posture: were they in an imperfect situation they would want that ease and freedom which is inseparable from grace; and as every motion which is constrained being false in itself, and incapable of justness, it is clear that the part so constrained and forced would throw the whole into confusion; because each part belonging to and depending upon the whole body, and the body partaking of the constraint of its parts, can never feel that fixed point, that just counterpoise and equality, in which alone a fine and just execution consists.
The objects to which a master, anxious for the advancement of his pupil, should attend, are infinite. To little purpose will it be to keep the strictest eye upon all the parts and Limbs of his pupil’s Body; in vain will he endeavour to remedy all the defects and faults which are found in the posture of almost every scholar in the beginning, unless he is intimately acquainted with the close [dependance] and connexion there is between the motions of one part of the body with the rest; a correspondence caused by the reciprocal action of the muscles, which govern and direct them: unless, therefore, he is master of this secret, and has his clue to the labyrinth, he will never attain the end he proposes; particularly in his first lessons, upon which the success of the rest always depend. These principles being established we may reason in consequence of them with clearness.
In horsemanship, the Body of man is divided into three parts; two of which are moveable, the third immoveable.
The first of the two moveable parts is the Trunk or Body, down to the Waist; the second is from the Knees to the Feet; so that the immoveable part is between the waist and the knees. The parts then which ought to be without motion are the Fork, or Twist of the horseman, and his thighs; now that these parts should be kept without motion, they ought to have a certain hold and center to rest upon, which no motion that the horse can make can disturb or loosten; this point or center is the basis of the hold which the horseman has upon his horse, and is what is called the Seat; now if the seat is nothing else but this point or center, it must follow, that not only the true grace, but the symmetry and true proportion of the whole attitude depend upon those parts of the body that are immoveable.
Let the horseman then place himself at once, upon his Twist, sitting exactly in the middle of the saddle; let him support this posture, in which the Twist alone seems to sustain the weight of the whole body, by moderately leaning upon his buttock.
Let the Thighs be turned inward, and rest flat upon the sides of the saddle; and in order to this let the turn of the thighs proceed directly from the hips, and let him employ no force or strength to keep himself in the saddle, but trust entirely to the weight of his body and thighs; this is the exact equilibrio: in this and this only consists the firmness and support of the whole building; a firmness which young beginners are never sensible of at first, but which is to be acquired, and will always be attained by exercise and practise. I demand but a moderate stress upon the buttocks, because a man that sits full upon them can never turn his thighs flat to the saddle; the thighs should always lay flat to the saddle, because, the fleshy part of them being insensible, the horseman would not otherwise be able so nicely to feel the motions of his horse: I insist that the turn of the Thigh must be from the Hip, because it can never be natural, but as it proceeds from the hollow of the hip bone.
I insist farther that the horseman never avails himself of the strength or help of his thighs, except he lets his whole weight rest upon the center, as before described; because the closer he presses them to the saddle, the more will he be lifted above the saddle on any sudden or [iregular] motion of the Horse.
Having thus firmly placed the immovable parts, I now pass on to the first of the Movables, which is as I have already observed the body as far as to the waist. I comprehend in the Body, the Head, the Shoulders, the Breast, the Arms, Hands, Reins and Waist of the Horseman.
The head should be free, firm and easy, in order to be ready for all the natural motions that the horseman may make in turning to one side or the other. It should be firm, that is to say, strait, without leaning to the right or left, neither advanced nor thrown back; it should be easy because if otherwise it would occasion a stiffness, and that stiffness affecting the different parts of the body, especially the back bone, the whole would be without ease and constrained.
The shoulders alone influence by their motions that of the breast the reins and waist.
The horseman should present or advance his breast, by that his whole figure opens and displays itself; he should have a small hollow in his reins, and push the waist forward to the pommel of the saddle, because this position corresponds and unites him to all the motions of the horse.
Now only throwing the shoulders back, produces all these effects, and gives them exactly in the degree that is requisite; whereas if we were to look for the particular position of each part [seperately] and by itself, without examining the connection that there is between the motions of one part with those of another, there would be such a bending in his reins that the horseman would be, if I may so say, hollow backed; and as from that he would force his breast forward and his waist towards the pommel of the saddle, he would be flung back, and must sit upon the rump of the horse.
The arms should be bent at the elbows, and the elbows should rest equally upon the hips; if the arms were strait, the consequence would be, that the hands would be too low, or at too great a distance from the body; and if the elbows were not kept steady, they would of consequence, give an uncertainty and fickleness to the hand, sufficient to ruin it for ever.
It is true that the Bridle-hand is that which absolutely ought to be steady and immoveable; and we might conclude from hence, that the left elbow only ought to rest upon the hip; but grace consists in the exact proportion and symmetry of all the parts of the body, and to have the arm on one side raised and advanced, and that of the other kept down and close to the body would present but an aukward and disagreeable appearance.
It is this which determines the situation of the hand which holds the whip; the left hand being of an equal heighth with the elbow; so that the knuckle of the little finger, and the tip of the elbow be both in a line, this hand then being rounded neither too much nor too little, but just so that the wrist may direct all its motions, place your right hand, or the whip hand, lower and more forward than the bridle hand. It should be lower than the bridle hand because if it was upon a level with it, it would restrain or obstruct its motions; and were it to be higher, as it cannot take so great a compass as the bridle hand, which must always be kept over against the horseman’s body: it is absolutely necessary to keep the proportion of the elbows, that it should be lower than the other.
The legs and feet make up the second division of what I call the moveable parts of the body: the legs serve for two purposes, they may be used as aids or corrections to the horse, they should then be kept near the sides of the horse, and in a perpendicular line with the horseman’s body; for being near the part of the horse’s body where his feeling is most delicate, they are ready to do their office in the instant they are wanted. Moreover, as they are an [apendix] of the thighs if the thigh is upon its flat in the saddle, they will by a necessary consequence be turned just as they ought, and will infallibly give the same turn to the feet, because the feet depend upon them, as they depend upon the thighs.
The toe should be held a little higher [then] the heel, for if the toe was lowest the heel would be too near the sides of his horse and would be in danger of touching his horse with his spurs at perhaps the very instant he should avoid such aid or correction.
Many persons notwithstanding, when they raise their toe, bend and twist their ankle as if they were lame in the part. The reason of this is very plain; because they make use of the muscles in their legs and thighs, whereas they should only employ joint of the foot for this [purpose,]
Such is in short the mechanical disposition of all the parts of the horseman’s body.
These ideas properly digested the practitioner will be able to prescribe rules for giving the true and natural Seat, which is not only the principles of justness, but likewise the foundation of all grace in the horseman, of course, the first endeavour of those who wish to become horsemen, should be to attain a firm and graceful seat: the perfection of which, as of most other arts and accomplishments depend upon the ease and simplicity with which they are executed, being free from affectation and constraint as to appear quite natural and familiar.
Therefore the immoveable parts as before observed ought to be so far without motion as not to wriggle and roll about so as to disturb the horse, or render the seat weak and loose: but the thighs may be relaxed to a certain degree with propriety and advantage, when the horse hesitates and doubts whether he shall advance or not; and the body may likewise, upon some occasions, become moveable and change its posture to a certain degree, as when the horse retains himself, it may be flung back more or less as the case requires; and consequently inclined forward when the horse rises so high as to be in danger of falling backwards; what keeps a ship on the sea steady? BALLAST, by the same rule, what keeps the horseman STEADY? trusting to the weight of his body: it is for this reason that beginners are first made to ride without stirrups; for were they allowed to use them before they had acquired an equilibrio and were able to stretch their legs and thighs well down, so as to set firmly in the saddle, and close to it, they would either loose their stirrups by not being able to keep their feet in them; or the stirrups must be taken up much too short, in which case the rider would be pushed upwards from the saddle, and the Seat destroyed throughout; as the parts of the body like the links of a chain depending upon one another, safety likewise requires they should ride without them at first, as in case of falling tis less dangerous.
It is the general practice of those who undertake to teach horsemanship, when they put a scholar upon a horse, to mix and confound many rules and precepts together, which ought to be distinct and [seperate;] such as making him attend to the guidance of the horse, demanding an exactness of hand, and other particulars, which they [croud] upon him before he is able to execute, or even understand half of them. I would recommend a slower pace at first being likely to gain more ground at the ending post, and not to perplex the scholar with Aids, of the effects of the Hand, and more nice and essential parts of the ART: till the SEAT is gained and CONFIRMED.
For this purpose let the seat alone be cultivated for some time, and when the scholar is arrived at a certain degree of firmness and confidence so as to be trusted, I would always advise the master to take hold of the longeing rein and let the pupil intirely leave the governing of his horse to him, going sufficiently to both hands holding his hands behind him.
This will, I insist upon it very soon settle him with firmness to the saddle, will place his head, will stretch him down in his saddle, will teach him to lean gently to the side to which he turns so as to unite himself to his horse and go with him and will give that firmness ease, and just poize of body, which constitute a perfect Seat, founded in truth and nature and upon principles so certain, that whoever shall think fit to reduce them to practise will find them confirmed and justified by it. Nor would it be improper to accustom the scholar to mount and dismount on both sides of his horse, as many things may occur to make it necessary, as well as that he cannot have too much activity and address, for this reason tis a pity that the art of Vaulting is discontinued.—And there is another duty too essential to be omitted, but hitherto not performed by matters, which is to instruct their pupils in the principles and theory of the Art, explaining how the natural paces are performed, wherein they differ from each other, and in what their perfection consists; which, by not joining theory with practice, are unknown to many, who may shine in a menage, but work as mechanically and superficially as the very horse [thay] ride.
Having thus far said what with practice will be sufficient to form the seat of the Horseman, I shall next endeavour to describe the use of the bridle hand and its effects, &c.