Acrobats and Mountebanks

by Hugues Le Roux; Jules Garnier

To make it point, the ring-master has simply to place [p166] himself squarely in front of the horse, to shake his riding-whip with the left hand, whilst he cracks his long whip with the right.

But although the horse learns these tricks with comparative facility, a great effort is required before it can be taught to kneel. The trainer is obliged to resort to surprise. A bracelet is attached to the two fore pasterns just above the hoof, and a cord is attached to it by one end, the other being held by the trainer. Suddenly M. Loyal attracts the attention of the horse by a sharp cry; at the same time he shakes its confidence by a pull at the cord and a vigorous blow on its shoulder. In a short time the horse kneels down at the master’s call without being tripped or coerced in any way.

Next to this achievement, the most difficult feat is teaching a horse the trick of changing feet. This requires fully a year of patience. The animal is led into the arena and commences its usual exercise round it. The trainer allows it to settle quietly into its stride, then abruptly, with a touch of the whip cleverly applied, he tries to break its pace; that is to say, to make it change step. If this result is obtained, the horse is allowed to gallop round the ring once or twice, then it is checked again to make it return to its former step. When the animal understands what it ought to do at the touch of the whip, instead of completing the turn round the ring on one foot, it is forced to change at the half round. Afterwards it is only allowed a quarter turn, then only three or four steps without changing, and lastly only two. The horse thus appears to dance the polka when it performs to music, which accompanies and follows its movements.

The ring-master usually chooses a well-bred horse from [p167] amongst the animals trained in this way, and already broken, for initiation into the haute école.

No one will expect me to discuss here the principles of this training, nor even the theories of circus horsemanship. [p168] I refer the reader to the special treatises written upon the subject by men in the profession, particularly to the fine book which the historian of sport, Baron de Vaux, has published under the title of Les Hommes de Cheval.[10] I especially recommend the perusal of the chapter consecrated to the Franconi family. It contains an account of how Laurence Franconi taught the present manager of the two circuses the principles of the School of Versailles, whilst freeing good horsemanship from the superfluities in use in the time of Pluvinel. Laurence Franconi wished for a less formal, less studied style of horsemanship. The introduction into France of English horses trained in the hunting-field and on the race-course, and the re-organization of the cavalry, had demonstrated the necessity of preparing horses for greater freedom of action. It was realized that good riding did not consist merely in forcing a horse to show off and tire itself uselessly in obtaining a striking effect, but in well calculating the strength of the steed, in husbanding its forces, and regulating its paces. It was at last recognized that the ideal horse of the haute école should be easy in its balance and in its artificial paces under the guidance of its rider, and that on his side the rider should only use the force necessary to maintain this balance, and to secure the execution of the airs of the haute école.

On these principles Laurence Franconi trained Blanche, Norma, and Hector; Victor Franconi, his son, trained Frisette, Ajax, Waverley, and Brillante; and Charles Franconi, his grandson, educated Régent and Moscou. [p169]

I remember being present at the Cirque d’Été during one of Moscou’s rehearsals, ridden by Mdlle. Marguerite Dudlay. The little empty circus was illumined by a red light, the reflection of the April sun upon the velvet of the benches. Charles Franconi was watching the work of the equestrian and her horse. It was a Russian stallion, beautifully shaped and very elegant; in its veins it showed the vigour of the [p170] Slav-blood, full of revolt, excitement, passion, and violence, veiled by affected gentleness, lost in compliance with its rider’s will.

A ring-master, armed with a whip, held the horse in front of a barrier which he gradually raised. Without any apparent effort Mdlle. Dudlay lifted the grand quivering beast over the bar. The young girl was bareheaded, and her hair had fallen down with the shock. She was a charming picture in her dangerous leaps, with her long wavy hair flowing over her shoulders.