To make a Horse go in Curvets sideways, aid only with the Hand, keeping his Head to the Wall. For instance, to the Right, aid him chiefly with the outward Rein; that is to say, turn your Hand to the Right, for then the Left-rein, which is the outward Rein, will be shorten'd and operate upon the Shoulders so as to work them.—If they go too much, use your inner Rein, carrying your Hand out, and in such a manner that the Shoulders may go before the Croupe.—Let him make three Curvets sideways, passage him afterwards, always sideways; then let him make the same Number of Curvets sideways, and obliquely, again, and begin by little and little to diminish his Passage, and augment the Curvets, till he is able to furnish without Intervals an entire Volte of two Lines. The same Method must be followed in working to the Left, as has been prescribed for the Right.
Curvets made backward are more fatiguing, and more apt to make a Horse rebel, than Curvets strait forward upon the Voltes, Demi-voltes, or sideways.—To teach him to make them backwards, you must make him go backward; afterwards put him to make three or four Curvets in the same Place, that is, without advancing.—Then make him go forward again, let him make the same Number again; and so successively till he makes them readily and without Assistance.
By Habit he will expect to be made to go backward immediately after the last Curvet: now, the Moment he has made one in the same Place, when he is making the second, seize the Moment just as he is coming down, and pull him back, marking a Time with your Hand, just as you would pull to make a Horse go backward which resisted the Hand; and this Time of the Hand being made, ease it immediately. In this Manner continue the Curvets, pulling more or less, according as he obeys or resists; observing to lessen the Times of pulling him back, and to increase the Number of the Curvets backwards.—If he drags his Haunches, that is, if the Hind-feet don't go together, but one after the other, pinch him with both Spurs; but you must put them very back, applying them with great Delicacy, and taking care that he be in the Hand when he comes down.—If with all this he continues disunited, aid on the Croupe with the Switch, turning the bigger End of it in your Hand; and this will make him work and keep his Time or Beats very exactly.
To go backwards in Curvets, aid with the outward Rein, you will confine the Fore-part, and widen the Hind-legs, which ought to be at liberty, because it is with them that he leads. They are follow'd by the Fore-parts, which should keep the same Ground or Tract.—You must keep your Hand low, that the Horse may not go too high.—Let your Body be a little forward to give the greater Liberty to the Hind-legs, which are those that lead; and don't aid with your Legs, unless he drags his Haunches.—If the Horse does not unite of his own accord, you must catch the Time with your Bridle-hand, as the Horse is coming to the Ground; in that Instant, put your Hand to your Body, and so pull him back.—Let us now see how you should be placed in the Saddle, to make Curvets upon the Voltes.—Let only your outward Hip and outward Haunch be a little advanc'd; and remember to loosen always, and relax the Inside of your Knees, or your Legs from the Knees. When you intend to change to the Left, let your Hand accompany and correspond with your Right-leg, which is to operate; when you would change to the Right, let it answer to your Left-leg: Having given this Aid, replace yourself, stretch yourself down in your Saddle, take away your Legs, one or the other, forbear to aid, and let the Balance of your Body be somewhat on the Inside.
Understanding thus, and being Master of the Aids for working a Horse in Curvets strait forwards, backwards, sideways, to the Right and Left, you will be able easily to teach your Horse to make a Cross, or even dance the Saraband in this Air; but this requires as much Justness and Activity in the Horse, as Exactness and Delicacy in the Rider to be able to give the Aids, and very few Horses are able to execute all these Lessons which I have described: the utmost Efforts of Art, and the greatest Suppleness that a Horse can acquire, will be in vain, and unsuccessful, if he is not by Nature inclin'd and disposed to the Manage. That sort of Exercise which hits the Temper, and best suits the Strength of a Horse, will appear graceful, and preserve his Health; while that which is opposite to his Temper and Genius will dishearten him, make him timid and abject, and plunge him into numberless Ails and Vices.
CHAP. XIX.
Of Croupades and Balotades.
The Croupade is a Leap, in which the Horse draws up his Hinder-legs as if he meant to shorten and truss them up under his Belly.
The Balotade is likewise a Leap, in which the Horse seems as if he intended to kick out, but without doing it; he only offers or makes a half Kick, shewing only the Shoes of his Hind-feet.
The Horses that are destin'd to these Airs ought to have a light and steady Mouth, and an active and lively Disposition, with clean and nervous Strength; for all the Art and Knowledge of the Horseman can never confer these Qualities, which are essentially necessary to the Perfection of this Manage.