The Croupades and Balotades are different from Curvets, inasmuch as that they are much higher behind, and consequently their Time and Measure not so quick and close, but slower and more extended. Therefore the Rider should keep his Horse's Croupe ready and in awe, by striking it from time to time with the Switch, supporting him not quite so high before, and observing to aid with his Legs slower, and not so forward, as in the Curvets.
As the Perfection of Curvets, both upon the Voltes and strait forwards, is owing to the Ease and Justness of the Pesades, the Goodness of Croupades and Balotades depends likewise upon the same Rules. Your Horse being made light before by the means of Pesades and Curvets, begin by making him rise, as well before as behind, less however in the first Lessons than afterwards; for you will never bring him to the true Pitch, were you to exhaust all his Strength at once, since while he is prest and compell'd to put forth all his Strength, he will never be able to catch and mark the Time, the Cadence, and the just Beats of his Air, both behind and before.
I have already said, that the Croupades and the Balotades are higher than the Curvets, they nevertheless partake of it; for though a Horse that makes Balotades, makes the Measure of each Time as high behind as before, yet he follows the Beat of his Fore-feet with that of his Hind-feet, the same as in Curvets; for this Reason, a Horse that is intended for the Croupades and Balotades, ought to be more active, light, and strong than one that is to be drest for Curvets, as he should have less Strength than one who is put to make Caprioles strait forwards, or on Voltes of one Line, and to repeat them in the same Place.
To manage the Strength and Vigour of the Horse you intend to work upon the Voltes in Croupades and Balotades, let the Line of the Volte be larger than for Curvets, and let the Action of the Shoulders not be quite so high; thus you will not only check and confine his Activity and Lightness; but by raising his Shoulders in a less Degree, you will give Liberty to his Croupe, and he will be enabled by this Method to furnish his Airs all together, that is before and behind, better, and with more Ease; there is still another Reason for this, for when the Shoulders come to the Ground from too great a Height, the Shock alarms and disorders the Mouth; and then the Horse losing the Steadiness of his Apuy, he never will raise his Croupe so high as he ought, to make perfect Balotades.
CHAP. XX.
Of Caprioles.
There is no such Thing as an universal Horse; that is, as a Horse who works equally well upon all Airs, the Terre-a-Terre, the Curvets, Mezair, Croupades, Balotades, and Caprioles, each Horse having a particular Disposition, which inclines to some certain Air which suits him best. A Horse that is naturally inclin'd to the high Airs, ought to be managed with great Gentleness and Patience; inasmuch as he will be in greater Danger of being disgusted and spoil'd, as his Disposition to the high Airs is owing generally to the Gaiety and Sprightliness of his Temper; and as such Tempers are usually averse to Subjection, Constraint and Correction, Rigour and Severity would make him become timid and angry, and then he could not attend to and catch the Time, Order, and Measure of the high Airs; therefore if you would reduce him to the Justness of the high Airs, and teach him their Harmony and Measure, you must not expect to succeed by any other ways than by giving your Instructions with great Patience and Judgment, and soon or late he will be gain'd.
The Feet are the Foundations upon which all the high Airs, if I may use the Word, are built. They ought then to be attended to very strictly; for if your Horse has any Pain, Weakness, or other Defect in his Feet, he will be so much the more improper to leap, as the Pain which he must feel when he comes to the Ground, would shoot quite to his Brain.
As a Proof of this, when a Horse whose Feet are bad or tender trots upon the Stones, or hard Ground, you will see him shut his Eyes, drop his Head at each Step, and shake his Tail from very Pain.
The Capriole is the most violent of the high Airs. To make it perfect, the Horse is to raise his Fore-parts and his Hinder to an equal Height; and when he strikes out behind, his Croupe should be upon a Level with his Withers. In rising and in coming down his Head and Mouth should be quite steady and firm, and he should present his Forehead quite strait.—When he rises, his Fore-legs should be bent under him a good deal, and equally. When he strikes out with his Hind-legs, he ought to do it nervously, and with all his Force; and his two Feet should be even, of an equal Height, and their Action the same when he strikes out: lastly, the Horse should at every Leap fall a Foot and a half, or the Space of two Feet distance from the Spot from which he rose.—I don't assert, that in order to make Caprioles a Horse must necessarily pass through Curvets and Balotades; for there are Horses who are naturally more light and active in their Loins than strong, and who are brought to leap with more Difficulty, than to the other Airs in which their Strength must be much more united, and their Disposition attended to; but yet it is certain, that if the Horse is brought to rise by Degrees, and is work'd in the intermediate Airs, before he undertakes the Caprioles, he will not weaken and strain himself so much, and will be sooner confirm'd in his Lesson than one who begins at once with the Caprioles.