Hand-book for horsewomen

by Henri Lucien de Bussigny

The right foot falling naturally on the panel of the saddle, the point forward and somewhat down, and the right side of the leg held closely to the saddle.

As the firmness of the seat depends greatly upon a close hold of the pommel by the muscles of the right knee, it is important that they should have as free play as possible; and, if the foot is turned outward, not only is the effect ungraceful, but the muscles soon become fatigued and the whole position constrained, even that of the right shoulder, which will be held too far forward.

The left foot in the stirrup, without leaning on it.

If a lady leans her weight on the stirrup, her natural tendency will be to sit over too much to the left, which may cause the saddle to turn, and is very hard on the horse's back; besides, as she is out of equilibrium, any sudden movement will shake her loose in her seat.

The point of the foot turned slightly to the right, and the heel held lower than the rest of the foot.

If the point is turned somewhat in, the whole leg will rest more easily and closely against the saddle; and, if the heel is lower than the ball of the foot, additional contact of the leg will be gained, which is important in managing a horse, and, when a spur is worn, it will not be so apt to touch him at a wrong time.

The part of the right leg between the knee and the hip-joint should be turned on its outer or right side, and should press throughout its length on the saddle; while, on the contrary, the inside of the left leg should be in permanent contact with the saddle. The knees should, in their respective positions, be continually in contact, without any exception. The lower or movable part of the leg plays upon the immovable at the knee-joint, the sole exception being when the rider rises to the trot, at which time the upper part of the leg leaves the saddle.

This position on horseback may be called academic, or classical; and, from the beginning, a lady should endeavor to obtain it, without, of course, becoming discouraged if, for some time, she fails to attain perfection.

I have met with excellent results by allowing my pupils to leave this correct position, and then resume it again, at first standing still, then at other gaits progressively. "Progression" in horsemanship means the execution of a movement at a trot or gallop after it has been learned and practiced at a walk. In this way pupils soon become conscious both of the right and the wrong seats, and the difference between them, and it is consequently easy to correct any detail in which they may find themselves defective. I have done this in accordance with a principle in which I firmly believe, i. e., that the best teacher is he who soonest makes his pupil understand what is expected of her, and how to accomplish it. The former is theoretical, the latter practical horsemanship, and there is a great difference between them.