Transcriber’s Note:
The cover image was created by the transcriber and is placed in the public domain.
THE SIEGE—PERFORMED BY DOG AND MONKEY ACTORS
HANEY’S
ART OF
TRAINING ANIMALS.
A PRACTICAL GUIDE FOR
AMATEUR OR PROFESSIONAL TRAINERS.
GIVING FULL INSTRUCTIONS FOR
Breaking, Taming and Teaching all kinds of Animals
INCLUDING AN IMPROVED METHOD OF HORSE BREAKING, MANAGEMENT OF FARM ANIMALS, TRAINING OF SPORTING DOGS; SERPENT CHARMING, CARE AND TUITION OF TALKING, SINGING AND PERFORMING BIRDS; AND DETAILED INSTRUCTIONS FOR TEACHING ALL
CIRCUS TRICKS,
AND MANY OTHER WONDERFUL FEATS.
Illustrated With Over Sixty Engravings.
New York:
JESSE HANEY & CO., PUBLISHERS,
OFFICE OF HANEY’S JOURNAL,
No. 119 Nassau Street.
Entered according to Act of Congress in the year 1869, by Jesse
Haney & Co., in the Clerk’s Office of the District Court of the
United States, for the Southern District of New York.
Haney’s Art of Training Animals.
Electrotyped by
Smith & McDougal,
82 and 84 Beekman Street, N. Y.
CONTENTS
[CHAPTER I.] INTRODUCTORY — GENERAL PRINCIPLES OF TRAINING.
[CHAPTER II.] HORSE TAMING AND HORSE TRAINING — HORSE MANAGEMENT — WHIP TRAINING — CURING BAD HABITS, ETC.
[CHAPTER III.] ENGLISH SYSTEM OF TRAINING HUNTERS.
[CHAPTER IV.] TRICKS OF PERFORMING HORSES, AND HOW THEY ARE TAUGHT.
[CHAPTER V.] THEATRICAL HORSES AND THE HORSE DRAMA.
[CHAPTER VI.] BREAKING AND TRAINING MULES — PERFORMING AND “COMIC” MULES.
[CHAPTER VII.] SOME HINTS FOR FARMERS — MANAGEMENT AND TRAINING OF ANIMALS ON THE FARM — SOME EVILS AND HOW TO REMEDY THEM — GOOD TRAINING VS. BAD.
[CHAPTER VIII.] DOGS IN GENERAL — WATCH DOGS — THE SHEPHERD’S DOG.
[CHAPTER IX.] SPORTING DOGS AND THEIR MANAGEMENT AND TRAINING.
[CHAPTER X.] ORDINARY TRICKS PERFORMED BY DOGS.
[CHAPTER XI.] WONDERFUL FEATS PERFORMED BY DOGS — MOST CELEBRATED DOGS OF THE WORLD — LEARNING THE ALPHABET — TO PLAY CARDS AND DOMINOES — TO SELECT ANY ARTICLE DESIRED AND PUT IT ANYWHERE DIRECTED.
[CHAPTER XII.] TAMING AND TRAINING ELEPHANTS — CAPTURE AND TREATMENT — ELEPHANTS AS LABORERS AND AS CIRCUS PERFORMERS.
[CHAPTER XIII.] LIONS, TIGERS, LEOPARDS AND PANTHERS.
[CHAPTER XIV.] TAMING WILD ANIMALS IN GENERAL — SQUIRRELS — BEARS — BUFFALOES — WOLVES — HYENAS — RHINOCEROSES — HIPPOPOTAMI — CROCODILES — ALLIGATORS.
[CHAPTER XV.] EDUCATION OF CATS AND GOATS.
[CHAPTER XVI.] EDUCATED HOGS AND THEIR TRAINING.
[CHAPTER XVII.] PERFORMING MONKEYS — MONKEY EQUESTRIANS — THE “WONDERFUL CYNOCEPHALUS” — MONKEY ACTORS, ETC.
[CHAPTER XVIII.] RATS — MICE — FROGS — TOADS — FLEAS, ETC.
[CHAPTER XIX.] “HAPPY FAMILIES” — ENEMIES BY NATURE MADE FRIENDS BY ART.
[CHAPTER XX.] EDUCATED SEALS — TAME FISH, ETC.
[CHAPTER XXI.] THE ART OF TAMING BIRDS.
[CHAPTER XXII.] SONG BIRDS — THEIR MANAGEMENT AND TUITION.
[CHAPTER XXIII.] TALKING BIRDS AND THEIR TRAINING.
[CHAPTER XXIV.] PERFORMING BIRDS — THEIR TRICKS AND THEIR TRAINING.
[CHAPTER XXV.] SNAKE CHARMING AND SNAKE CHARMER.
PREFACE.
The intention of the present volume is to initiate the reader into all the mysteries and secrets of the “Art of Training Animals,” and to give full and clear explanations of, and instructions in, every branch of that art. It is believed that the reader will find it acceptable whether he desires using its instructions practically either for profit or as an agreeable recreation, or as merely a curiosity to know how the feats herein described are taught.
This is believed to be the first and only attempt made to treat this subject fully and systematically. Fragmentary articles have occasionally appeared, and some works, treating of one or another of the various animals, have given a few brief though interesting paragraphs touching their educatability or sagacity. Even combined these form but a comparatively meager collection, and the volume herewith presented has the essential part of all this as well as a very large amount of matter which is entirely new. The aim has been to make the book as complete as possible, and to do this the author has profited by the experience and writings of others wherever they could be made available. He has, however, striven in all such cases to give full credit. As far as it was possible to communicate with the parties in question, their consent was explicitly obtained, and in no case to the best of his knowledge (certainly not intentionally) has any material been used contrary to the wishes of its owner, or without due acknowledgment, and he would respectfully ask any who may desire to make use of any part of his own labors to a reasonable extent, the same courtesy of full credit to Haney’s Art of Training Animals.
To many gentlemen in the profession we are indebted for details of their experience, and material of various kinds. Much of information relating to birds is derived from the works of the celebrated German fancier Bechstein; while to Mons. Emil de Tarade is due a portion of that about the French dogs. To Mr. Robert Jennings, whose works on the horse, as well as on cattle, are deservedly popular, we are also indebted; also to Mr. Smith of the New York Courier.
While attempting to give plain practical instruction in the art we profess to teach, we have also designed to make a readable book, and it is hoped that its perusal may prove pleasant as well as profitable. That money can be made by training animals, is unquestionably true—even a boy can make his pets more valuable by teaching them a few simple tricks.
In conclusion we may add that to amateurs interested in the subject, a visit to either of the really fine collections of trained and wild animals of Van Amburgh or “Yankee” Robinson, will prove most thoroughly enjoyable. To the proprietors of both of these establishments we are indebted for valuable assistance.
ART OF TRAINING ANIMALS.
CHAPTER I.
INTRODUCTORY—GENERAL PRINCIPLES OF TRAINING.
Dr. Kemp thus concisely and clearly stages the difference between instinct and reason: “In the former there is an irresistible impulse to go through a certain series of motions after a certain fashion, without knowing why they are performed, or what their result will be. In the latter the actions depend upon previous mental judgments, are performed or not at will, and the end of them is early anticipated and defined.”
We believe the evidence is too strong to be doubted that many animals do perceive the relation between cause and effect, and that many of their actions, especially when the animals are surrounded by the unnatural circumstances of a state of domestication, must be ascribed to the reasoning power. There was a dog who lived in a strict monastery where the monks dined alone, and who, instead of asking for their meals, obtained them by knocking at the buttery door, the cook answering by opening the door and pushing the allowance through. The dog observed this proceeding and accordingly knocked at the door and laid in wait until the meal was placed outside, and the door shut, when he ran off with it. This he repeated a number of times.
The contrast between instinct and reason is displayed in the coursing of hares. If an old and a young grayhound be employed we have examples of both instinct and reason. The young one instinctively pursues his game, following every turn and winding, while the old dog, reasoning from past experience, knows that the hare will double, and accordingly does not exactly follow her, but goes across. A similar example is afforded by the dogs employed in hunting the deer in South America. The newly imported dog, in approaching the deer, flies at it in front and is often injured by the concussion. The native dogs have learned to avoid this danger and they invariably keep from the front, and attack from the side or rear.
Instances might be multiplied indefinitely, but our object is only to show the distinction made between reason and instinct; those who desire to investigate the subject more thoroughly can do so through works specially devoted to natural history. No doubt any observing person can recall instances in his own experience with animals, where their actions showed evidence of a greater or less degree of reasoning power.
An action may be partly instinctive and partly the result of reasoning, but a purely instinctive action never changes except under the influence of reason. A hen sits on her eggs from an instinctive impulse to do so. If chalk ones be substituted for the real eggs she tends them with equal care and will not desert them any sooner than she would the others. And yet in other matters perhaps hens have reasoning powers.
Without the possession of these powers we believe no education of animals would be possible; and we farther believe that the capacity for learning is in exact proportion to the ability to reason. A horse or dog can be readily taught things which a hog can never learn, and in the lower scales of animal life all attempts at education become failures. Under the tuition of man the reasoning powers are undoubtedly developed to an extent to which they would never attain in a state of nature, and by judicious and persistent teaching numerous animals have been educated to an almost startling degree. How this has been done we shall show as we proceed.
Not only does the amount of reason vary with different species but with different individuals of the same species, and much of the trainer’s success will depend on the judicious selection of his pupil. Professional trainers take the utmost pains in this selection, and they usually consider that the descendants of an educated animal have, by inheritance, a greater aptitude for learning than others.
The young trainer must not fall into the mistaken notion that mere quickness in picking up a trick is the best quality in an animal. There may be such a thing as learning a lesson too rapidly, and what is learned with but slight effort is sometimes forgotten with equal readiness. Another thing, too much should not be expected of one pupil. Public exhibitors are able to show a large array of tricks because of the number of animals they have, each, as a rule, knowing a comparatively few of these tricks, or, in the case of some of the “sensation” tricks, perhaps only one. Still any animal of ordinary capacity ought, with proper tuition, to be able to learn a sufficient variety to satisfy a reasonable trainer. Judicious management on the part of the exhibitor will often make a variety of tricks out of a single one which the animal has been taught; an example of this is afforded by the “educated hog.”
The first essential for success in training animals is patience. At first many lessons may be given without the slightest apparent impression being made upon the mind of the pupil and an uncommon degree of patience and good temper is required to bear up against such discouraging results. By-and-by, however, the pupil will suddenly appear to realize what is required of him, and will perform his task with surprising accuracy at the very moment his teacher is about to give up in despair. Then each successive lesson is learned with greater ease and rapidity than the preceding one; the weariness and disappointment of the trainer is changed to pleasure at his success, and even the animal appears to sympathize with his master’s joy, and to take pride in his performance.
As it is impossible to explain to an animal what is required of him he can be taught an action only by its constant repetition until he becomes familiar with it. When he knows what you want him to do he will in almost all cases comply with your wishes promptly and cheerfully. For this reason punishments seldom do any good, unless the animal is willful, which is rare. On the contrary they, as a general rule, interfere with the success of the lessons. If the pupil is in constant fear of blows his attention will be diverted from the lesson, he will dread making any attempt to obey for fear of failure, and he will have a sneaking look which will detract materially from the appearance of his performance. This is the case with the animals instructed by a trainer of this city who “trains his horses with a club,” the animals never appearing as well as those taught by more gentle means. But for a rare natural talent this man’s success would have been utterly defeated by his brutality. He is the only one we know of in the profession who does not base his tuition on kindness to the pupil. A sharp word or a slight tap with a small switch will as effectually show your displeasure as the most severe blows. It is both cruel and unwise to inflict needless pain.
All trainers make use of various little tit-bits as rewards for successful performance of tricks. These serve as a powerful incentive to the animal as well as to show him when he has done right. Withholding the accustomed reward when he fails or but imperfectly performs his duty is much more effective than any corporeal punishment. The repetition of the lesson until the animal will himself perform the required action, and the bestowal of these rewards whenever he obeys your order, is really the main secret of training. Of course there are many important details in the practical application, and many clever devices resorted to by trainers to increase the effectiveness of tricks, as well as skillful combinations of simple tricks to produce elaborate and astonishing feats. These we shall fully explain in their proper places.
To certain scents has sometimes been ascribed a mysterious influence upon animals, rendering them docile and subservient to the human will. To the use of these many persons imagine trainers owe their success. Though some scents are relished by certain animals, we doubt whether, as a rule, they have so great a fondness for them as has been asserted. Certainly there is no general use of them in the profession, though they may have been sold to the credulous by ignorant or unprincipled persons, for this purpose. Cats are fond of catnip, and we know of instances where kittens, displaying a violent resistance to being carried in a basket, have been quieted by being given some leaves of this herb. Animals no doubt receive pleasure from the gratification of their sense of smell, but there is about as much reason in conquering an unruly school-boy by giving him a sniff of cologne water, as in taming a colt by causing him to smell that or any other perfume.
To the oil of rhodium is most frequently ascribed the greatest and most general influence over the animal kingdom, almost all animals, according to this theory being powerfully affected by it. This is the “horse taming secret” sometimes sold for considerable sums. There is no good reason to believe it has any important influence over either the disposition or actions of any animal.
The horse taming powders, composed of “a horse’s corn grated, some hairs from a black cat’s tail,” and like absurd ingredients, are too nonsensical to deserve serious notice, though once a staple part of the veterinary art, and still, possibly, believed in by a few persons.
To a certain extent many animals are able to understand the meaning of words. That is, if any particular word of command be used in instructing an animal to do a particular act he will learn to associate that word with the action, and be able to distinguish between a variety of words and apply each to the act associated with it, without confusing them. In training animals it is important that each word of command should be used only in its proper place. The common habit ignorant drivers have of using the words “back,” “whoa,” and others indiscriminately is absurd, and it is not wonderful that their horses sometimes fail to understand them. A story is told of a farmer who had recently purchased a new yoke of oxen, and was driving them in a cart. Slipping from his seat he fell before one of the wheels and very naturally got run over. “Back! back!” he cried to the oxen, meaning for them to stop, but, like many another man, using words which meant something else. The oxen happened to be better linguists, or else had been accustomed to obey literally, and in this case did so by backing as ordered, running over the man for the second time.
CHAPTER II.
HORSE TAMING AND HORSE TRAINING—HORSE MANAGEMENT—WHIP TRAINING—CURING BAD HABITS, ETC.
Some few persons imagine that to possess a proper mastery over their horses, they must maintain their authority by brute force. This is a great mistake. More work, within the limit of safety, can be got out of a horse by kindness than by cruelty, and as far as managing a horse is concerned the chief point is to teach him confidence in you. If he believes you to be his friend he will not only strive to please you, but will have less fear of strange objects which otherwise might startle him and render him refractory.
The Rareys—there are two or three of them—taught the world a most important lesson when they taught it the “power of kindness” and “self-control” in the management of horses, donkeys, zebras, and other animals. How often do we see inconsiderate parents fly into a passion and, without reason or religion, thrash the object of their displeasure. So of brutal, heartless drivers, when the “blinded” horses chance to misstep, get off the track, stumble, or in the wrong place. By their actions it would appear that they expected a horse or an ass to reason quite as well as themselves. Employers may not look for the same talent in their apprentices as in their foreman. Teachers may expect every little urchin to be self-regulating and to mind his books; but this it is his duty to teach him to do, and he should be all patience, all kindness, affection, perseverance, if he would produce the best results. The same spirit is required to subdue and manage a horse. If you say you are not equal to the task; if you say your child, your horse, or your ox knows more than you, is your master, then you are not the one to manage him, and you should resign in favor of one who is superior to child, horse, or ox. A weak man in intellect may indeed be outwitted by a sagacious child or horse.
There is no disguising the fact that viciousness is innate with some horses. But far more so with some, nay, most, men, from whom they get it. It is no doubt sometimes hereditary, and follows some of the best strains of blood we have. That viciousness should accompany a highly nervous organization is not to be wondered at. Hence it causes no surprise when we find such dispositions among the finely organized thoroughbreds—animals of a most sensitive and nervous organization—from which the common expression “thin skinned,” as applied to a too sensitive man, is obviously derived. The treatment horses receive, and the moral atmosphere in which they are thrown, have a much greater influence than most horsemen are generally inclined to admit. The pinching, tickling, rough, boisterous stable boy who annoys a spirited horse for the sake of enjoying his futile, though almost frantic kicks and leers, is affecting the disposition of the horse and his descendants for generations to come, besides putting in jeopardy the lives and limbs of those who are brought in contact with the horse so tampered with. A horse is surely influenced by the character of the men with whom he associates.
Sometimes, however, it is necessary to conquer a bad tempered horse, and if possible to secure a radical conversion or change of character which shall be lasting. No timorous man need undertake this task; he will only make matters worse. A horse tamer should be calm, cool, brave, and fearless—the horse will know it; he should be quiet, for then the horse will be put off his guard; he should be firm and give the brute no advantage, but crowd him up to doing something, and that, invariably, what the tamer wants him to do. Thus any ordinary horse will soon give up and own man his master. The kindest treatment and even petting must always follow yielding; and if possible to help it, the horse should never be frightened by any treatment, and above all things he should never be angered by petty torture. His own contrariness should appear to him to be the cause of all his trouble, and man his best friend. This principle is at the foundation of Rarey’s successful practice.
POWELL’S MANAGEMENT OF WILD HORSES.
Place your horse in a small yard, or in a stable or room. If in a stable or room, it ought to be large, in order to give him some exercise with the halter before you lead him out. If the horse belongs to that class which appears only to fear man, you must introduce yourself gently into the stable, room, or yard, where the horse is. He will naturally run from you, and frequently turn his head from you; for you must walk about extremely slow and softly, so that he can see you whenever he turns his head toward you, which he never fails to do in a short time, say in a quarter or half an hour. I never knew one to be much longer without turning toward me.
At the very moment he turns his head, hold out your hand toward him, and stand perfectly still, keeping your eyes upon the horse, watching his motions, if he makes any. If the horse does not stir for ten or fifteen minutes, advance as slowly as possible, and without making the least noise, always holding out your left hand, without any other ingredient in it than what nature put in it. I have made use of certain ingredients before people, such as the sweat under my arm, etc., to disguise the real secret and many believed that the docility to which the horse arrived in so short a time was owing to these ingredients; but you see from this explanation that they were of no use whatever. The implicit faith placed in these ingredients, though innocent of themselves, becomes “faith without works.” And thus men always remained in doubt concerning the secret. If the horse makes the least motion when you advance toward him, stop, and remain perfectly still until he is quiet. Remain a few moments in this condition, and then advance again in the same slow and almost imperceptible manner. Take notice, if the horse stirs, stop, without changing your position. It is very uncommon for the horse to stir more than once after you begin to advance, yet there are exceptions. He generally keeps his eyes steadfast on you, until you get near enough to touch him on the forehead. When you are thus near to him, raise your hand slowly and by degrees, and let it come in contact with that part just above the nostrils as lightly as possible. If the horse flinches (as many will,) repeat with great rapidity these light strokes upon the forehead, going a little farther up toward his ears by degrees, and descending with the same rapidity until he will let you handle his forehead all over. Now let the strokes be repeated with more force all over his forehead, descending by lighter strokes to each side of his head, until you can handle that part with equal facility. Then touch in the same light manner, making your hands and fingers play around the lower part of the horse’s ears, coming down now and then to his forehead, which may be looked upon as the helm that governs all the rest.
Having succeeded in handling his ears, advance toward the neck with the same precaution, and in the same manner; observing always to augment the force of the strokes whenever the horse will permit it. Perform the same on both sides of the neck, until he lets you take it in your arms without flinching.
Proceed in the same progressive manner to the sides, and then to the back of the horse. Every time the horse shows any nervousness, return immediately to the forehead, as the true standard, patting him with your hands, and thence rapidly to where you had already arrived, always gaining ground a considerable distance farther on every time this happens. The head, ears, neck, and body being thus gentled, proceed from the back to the root of the tail.
This must be managed with dexterity, as a horse is never to be depended on that is skittish about the tail. Let your hand fall lightly and rapidly on that part next to the body a minute or two, and then you will begin to give it a slight pull upward every quarter of a minute. At the same time you continue this handling of him, augment the force of the strokes as well as the raising of the tail, until you can raise it and handle it with the greatest ease, which commonly happens in a quarter of an hour in most horses, in others almost immediately, and in some much longer. It now remains to handle all his legs; from the tail come back again to the head, handle it well, as likewise the ears, breast, neck, etc., speaking now and then to the horse. Begin by degrees to descend to the legs, always ascending and descending, gaining ground every time you descend, until you get to his feet.
Talk to the horse while thus taming him; let him hear the sound of your voice, which at the beginning of the operation is not quite so necessary, but which I have always done in making him lift up his feet. “Hold up your foot,” you will say; at the same time lifting his foot with your hand. He soon becomes familiar with the sounds, and will hold up his foot at command. Then proceed to the hind feet and go on in the same manner; and in a short time the horse will let you lift them, and even take them up in your arms.
All this operation is no magnetism, or galvanism; it is merely taking away the fear a horse generally has of a man, and familiarizing the animal with his master. As the horse doubtless experiences a certain pleasure from this handling, he will soon become gentle under it, and show a very marked attachment to his keeper.
MANAGING HORSES BY KINDNESS.
A lady visiting Egypt some years ago, gave in one of her letters to her friends at home, an instance of the power of gentleness in controlling even the most spirited of horses. She gives the following description of her experience with the Arabian horses: “I fear you may deem me rather boastful of my horsemanship when I tell you that the two Arab horses which threw their cavaliers did not throw me. The cause of the exception was not in me or my skill; it was the very remarkable predilection these intelligent animals feel toward individuals of the weaker sex. Let the wildest and fiercest Arabian be mounted by a woman, and you will see him suddenly grow mild and gentle as a lamb. I have had plenty of opportunities to make the experiment, and in my own stables there is a beautiful gray Arabian which nobody but myself dares to ride. He knows me, anticipates my wishes, and judiciously calculates the degree of fatigue I can bear without inconvenience. It is curious to see how he can manage to quicken his pace without shaking me, and the different sorts of steps he has invented to realize those contradictory purposes. Horses being as liable to forgetfulness as other organized beings, my incomparable gray would allow his natural ambition to overcome his gallantry, and if another horse threatened to pass him, would start off with the speed of the whirlwind. Woe to me if, under these circumstances, I were to trust to the strength of my arm or the power of the bridle! I knew my gallant charger better. Leaving my hand quite loose, and abandoning all thoughts of compulsion, I would take to persuasion; pat him on the neck; call him by his name; beg him to be quiet and deserve the piece of sugar waiting for him at home. Never did these gentle means fail. Instantly he would slacken his pace, prick up his ears as if fully comprehending his error, and come back to a soft amble, gently neighing as if to crave pardon for his momentary offense.”
This power of women over the Arabian horses is partly due, no doubt, to the fact that when still a colt he is reared in the back part of the tent, the movable harem of the Arab. He is constantly petted, and it is the women who see that he is supplied with food, and tenderly cared for. It is the attachment which is by these means awakened in the horse that leads him to so cheerfully yield obedience to the female voice. Deservedly high as may stand the Arabian horse for docility and sagacity, it should not be forgotten that, in the absence of all other amusements, the education of the foal becomes a pleasure as well as a business; it thus becomes attached to its biped companions, and takes a pride in enacting all that is required of him. If his rider falls, the horse will stand by and neigh for assistance; if he lies down to sleep, the horse will watch over him and give notice of the approach of man or beast. Similar anecdotes are related of all horses kindly treated, no matter where may be their home. We heard of one who had a drunken master, and this horse surpassed the Arab example even in intelligence, for he would modify his gait so as to keep his reeling rider from falling off; and if this catastrophe did happen, the horse would stand for hours, regardless of food or drink, and with anger and determination attack man or beast that would approach too near.
TO CURE A STUBBORN DISPOSITION.
If your horse, instead of being wild, seems to be of a stubborn or mulish disposition; if he lays back his ears as you approach him, or turns his heels to kick you, he has not the regard or fear of man that he should have to enable you to handle him quickly and easily; and it might be well to give him a few sharp cuts with the whip, about the legs, pretty close to the body. It will crack keenly as it plies around his legs, and the crack of the whip will affect him as much as the stroke; besides one sharp cut about his legs will affect him more than two or three over his back, the skin on the inner part of his legs or about his flank being thinner, more tender, than on his back. But do not whip him much—just enough to frighten him; it is not because we want to hurt the horse that we whip him—we only do it to frighten vice and stubbornness out of him. But whatever you do, do quickly, sharply, and with a good deal of fire, but always without anger. If you are going to frighten him at all, you must do it at once. Never go into a pitched battle with your horse, and whip him until he is mad and will fight you; it would be better not to touch him at all, for you will establish, instead of fear and respect, feelings of resentment, hatred, and ill-will. It will do him no good, but harm, to strike him, unless you can frighten him; but if you can succeed in frightening him, you can whip him without making him mad; for fear and anger never exist together in the horse, and as soon as one is visible, you will find that the other has disappeared. As soon as you have frightened him, so that he will stand up straight and pay some attention to you, approach him again, and caress him a good deal more than you whipped him; thus you will excite the two controlling passions of his nature, love and fear; he will love and fear you too; and, as soon as he learns what you require, will obey quickly. The stubbornness once broken down, there is seldom any farther trouble of that score, if the horse be afterward managed with judgment and kindness. He will appreciate your kindness and become desirous of pleasing you.
THE CORD AND LINE WEBBING.
One of the main appliances used by horse tamers is a three or four ply cord or rope, one of cotton being the best, such as is used by the Indians for subduing their horses. This cord is a powerful instrument for either good or evil, as it is properly or improperly used. It may be prepared by any one in the manner shown in the engraving:
LOOPING THE CORD.
A knot is to be tied in each end, then make a loop by doubling the cord and passing the knot through as represented above. Be careful to make the loops at such a distance from the knot as will allow the cord to pass around the neck at one end, and the lower jaw at the other, passing the knot through the loop from the opposite side of the loop to where it passed through in making the lap. The necessity for this will be seen on applying the cord. The object is to obtain steady pressure upon the lower jaw, as well as friction in the mouth.
In addition to the cord a piece of worsted webbing, such as is used for driving lines should be prepared in the following manner: Divide it into two parts, one piece being of sufficient length to girt the body. Make a loop in one end large enough for the other end to pass through, so as, when adjusted it is sufficiently long to tie. These pieces of webbing will be useful in carrying out future directions.
TO TEACH A HORSE TO STOP.
The word “whoa” should be used only to stop a horse when he is in motion. Never use it when you approach a horse standing quietly. Horses soon learn to distinguish any word often addressed to them, and they should learn to associate it with some definite and exact duty which you wish them to perform. If any word of command is used indiscriminately, or out of its proper place, the animal becomes confused and loses the association between the word and the object desired.
To teach a horse the meaning of the word “whoa,” the arrangement shown in the accompanying illustration may be used. Put the large web, previously described, around his near fore foot, pass it under the girth; and as the animal walks along, pull up the foot, saying at the same instant, “Whoa.” He will be brought to a stop, and by repeating the lesson he will soon raise the foot and stop even though the web is not pulled upon.
“WHOA.”
TEACHING THE HORSE TO BACK.
TO TEACH A HORSE TO BACK.
Put the cord upon the horse, using the small loop; draw it with a steady pull; this brings the horse’s nose toward his body. Keep a firm hold upon the cord until he steps back a little, using at the same time the word “back.” Then caress him; by doing so you show him that he has done exactly as you wished him to, and the caresses should be repeated every time he obeys. The utmost gentleness must be observed in order not to excite him, and the lesson should not be long enough to tire him. Five to ten minutes being the best length, repeated at intervals of a few hours. As soon as he understands what you desire he will probably back promptly at command.
TO MAKE A HORSE FOLLOW YOU.
The directions make simple what have hitherto been among the mysteries of the circus. Turn the horse into a large stable or shed, where there is no chance to get out, with a halter or bridle on. Go to him and gentle him a little, take hold of his halter, and turn him toward you, at the same time touching him lightly over the hips with a long whip. Lead him the length of the stable, rubbing him on the neck, saying in a steady tone of voice, “Come along, boy!” or use his name instead of “boy,” if you choose. Every time you turn, touch him slightly with the whip, to make him step up close to you, and then caress him with your hand. He will soon learn to hurry up to escape the whip and be caressed, and you can make him follow you around without taking hold of the halter. If he should stop and turn from you, give him a few sharp cuts about the hind legs, and he will soon turn his head toward you, when you must always caress him. A few lessons of this kind will make him run after you, when he sees the motion of the whip—in twenty or thirty minutes he will follow you about the stable. After you have given him two or three lessons in the stable, take him out into a small field and train him; and thence you can take him into the road and make him follow you anywhere, and run after you.
TO STAND WITHOUT HOLDING.
To make a horse stand without holding, after you have him well broken to follow you, place him in the center of the stable—begin at his head to caress him, gradually working backward. If he moves give him a cut with the whip, and put him back to the same spot from which he started. If he stands, caress him as before, and continue gentling him in this way until you can get round him without making him move. Keep walking around him, increasing your pace, and only touch him occasionally. Enlarge your circle as you walk around, and if he then moves, give him another cut with the whip, and put him back to his place. If he stands, go to him frequently and caress him, and then walk around him again. Do not keep him in one position too long at a time, but make him come to you occasionally, and follow you around the stable. Then make him stand in another place, and proceed as before. You should not train your horse more than half an hour at a time.
WHIP TRAINING.
So accustomed are we to the use of bit and reins for driving that we have got to consider them absolutely requisite for guiding a horse. Horses however may, if properly taught, be driven without either bit or reins, merely by signals with the whip. Probably the simplest and most concise directions for whip training are given by Mr. Jennings in his valuable work on training horses. Mr. Jennings says:
“To train a horse thoroughly to drive without bit or line, under the whip, requires from four to six weeks’ time; it requires also a man of strong nerve and self-control to be a successful trainer in this particular branch. Whip training illustrates the beauty and power of our system of horse training. Such a feat as driving a horse without bit or line cannot be accomplished by any other system known to man. Having selected a horse with a moderate share of intelligence, the next thing is to secure a suitable place for training. An enclosure twenty-five or thirty feet square is required. If you have it smaller, and your horse should be disposed to kick, you would be in danger; if larger it gives the animal too much room to get away from the whip. It is better that you go in with the horse alone, as then the animal will have no other object to take his attention. Turn him loose without bridle or halter in the enclosure; take your position in the centre, holding in your right hand a straight whip nine or ten feet long; you crack the whip as you take your position; this alarms the horse and causes him to run into one corner of the enclosure; crack it several times that he may learn that you do not intend to hurt him; now commence tapping him lightly upon the near shoulder, but not to hurt him; if a nervy fellow he is all excitement for a few minutes; continue the tapping until he turns his head toward you, which he will do in a short time. The moment he turns it, however slight it may be, cease the whipping; as soon as he turns it away again repeat the tapping with the whip; in a few minutes he again turns his head toward you; stop the motion of the whip; as he turns away repeat the whip tapping as before; in a very short time he turns around so that you can approach him; now gently caress him; move away and again approach him; should he turn away repeat the whipping, by this means you teach him to come to you on the near side. After he has learned this thoroughly, which requires about one week’s training, half an hour each day, then proceed in the same manner upon the off side; as soon as he obeys the motion of the whip upon this side, take your position behind him, and turn him by the motion of the whip to the right or to the left; as soon as he performs nicely, put the harness upon him, take the lines behind him, and, as you give him the word to go forward, throw the whip down by his right side without touching him, at the same time have the long web around the near fore foot, and give it to an assistant; you want him to stop, give him the word ‘Whoa,’ at the same time your assistant pulls up the foot, turn the whip in a horizontal position above your head—in this way you teach him that the whip in that position means ‘Whoa.’ By repeating these motions, he learns in about four weeks to turn to the right whenever the whip is thrown toward the right shoulder; to the left when thrown toward the left shoulder; to go ahead when thrown down by the right side; and to stop when held in a horizontal position. You now want to teach him to back; having previously instructed him according to our rule, put the cord, using the small loop, in his mouth; take the cord in your hand with the reins, pull upon the reins and say ‘Back,’ at the same time keep the whip directly over the animal’s back, giving it an upward and downward motion, or you may tap him gently upon the back with the whip—this is best done in a sulky. If he starts forward, set him back by pulling quickly upon the cord; repeat the operation until he will go back by the motion of the whip alone. Should he make repeated efforts to go forward, bring the whip quickly once or twice down over his nose, he will not then repeat the operation very often; with this training, it is necessary to use an open bridle, so that the animal will see the motion of the whip; you are now prepared to hook him up for the first drive. Take an assistant with you; have the foot strap or long web secured upon the near fore foot; give it in charge of your assistant; let the lines lie over the dash, as a matter of precaution. Now commence operations with the whip; if the animal acts promptly, remove the foot web and begin again, having the lines over the dash as before; drive the animal in this way at least two or three weeks before removing the bit from the mouth. Your horse is now safe to drive under the whip.”
The large and noble looking horses which draw the trucks of the safe manufacturers in this city, are hitched in single file, only the rear one having reins attached. Sometimes six or eight horses will be required to draw the ponderous load, and the coolness and dexterity with which they wend their way through the confused mass of vehicles in the crowded streets is a truly remarkable sight. Without any guidance the leader will press onward through the mass, deftly avoiding collisions and entanglement. Changes of route, stoppages, etc., are effected by such orders as “Whoa,” “Gee,” “Haw,” which the leader promptly and intelligently obeys.
TO CURE BALKY HORSES.
From the number of “infallible recipes” given in the papers for curing balky horses we should judge a little light on the subject is called for by horsemen. The various remedies which different correspondents describe as having proved effective in their own experience would form a curious collection, though some of them betray a remarkable lack of real knowledge about the matter. One genius has discovered that stuffing a horse’s mouth and nostrils with road dust is highly successful. Another humane individual deeply deplores the barbarous practice of whacking balky horses over the head and legs, and suggests that there should be substituted a system of steady, but not very severe, pounding in one spot with a “smooth club,” until “the pain grows intolerable and he starts nervously forward.” One hero, whose valor deserves to be chronicled for the admiration of future ages, thus modestly relates his experience with “one of the perverse animals,” as he calls his horse:
“The first work I did with him after he came into my possession was to draw a load of hay from the meadow. He started a few rods and then stood still, and no amount of urging that I could command would induce him to budge an inch. I took the pitchfork and sat down on the fore end of the load and began to prick him about the root of his tail, inserting the tines just through the skin. He kicked, but the load of hay was a complete protection. I kept on, moderately and persistently pricking for about five minutes, when he started for the barn. He never attempted to balk but once after, when the mere sight of the pitchfork was sufficient to make him draw.”
In Cecil county, Maryland, a farmer resorted to a rather novel expedient for getting some “go” out of a balky horse. Having loaded his wagon rather heavily with wheat, the horses were either unable or refused to draw it. After trying for some time to put them in motion, he set fire to a sheaf of wheat, and applied the flame to one of the horses. The horse, not relishing the application, by a well directed kick deposited the blazing sheaf in the load of wheat. This becoming ignited, was entirely consumed, together with the wagon. One of the horses, also, narrowly escaped perishing in the conflagration.
Many of the cases of “balkiness” are nothing but want of power to perform the task assigned; a necessary pause from temporary exhaustion. A driver who understands his business will give his team a breathing spell occasionally while pulling a heavy load. Another thing, if you find your team becoming exhausted and about to give out, it is well to stop them of your own accord; and it is well, too, to give them a few moments rest before encountering a peculiarly difficult part of the route.
If you have balky horses, it is your own fault, and not the horse’s, for if they do not pull true there is some cause for it, and if you will remove the cause the effect will cease. When your horse balks he is excited and does not know what you want him to do. For instance, a young horse that has never been “set” in a gully with a load before, is whipped by his owner or driver because he does not draw the load out. The animal is willing to do what he can, but he does not know how to draw out the load. He tries and finds that it does not move, not knowing that a steadier and stronger pull would do it, and when the lash comes down upon him and he hears the yells of his driver he is frightened, and jumps and rears through fear rather than ugliness or balkiness. No better way could possibly be devised to make a horse balky than to beat him under such circumstances. When he gets a little excited, stop him five or ten minutes, let him become calm; go to the balky horse, pat him and speak gently to him, and as soon as he is over his excitement, he will, in nine cases out of ten, pull at the word. After you have gentled him a while, and his excitement has cooled down, take him by the bits; turn him each way a few minutes as far as you can; gentle him a little; unrein him; then step before the balky horse, and let the other start first, then you can take them anywhere you wish. A balky horse is always high spirited and starts quick; half the pull is out before the other starts; by standing before him the other starts first. By close application to this rule, you can make any balky horse pull. If a horse has been badly spoiled you should hitch him to the empty wagon, and pull it around a while on level ground; then put on a little load and increase it gradually, caressing as before, and in a short, time you can have a good work horse.
You might as well attempt to make a horse move a three story building and draw it off, as to get out of a slough with a heavy load, when the animal has never been taught by degrees to draw a load out of such places. It is true that it is bad policy to unhitch a horse from a load under such circumstances, but it is far worse to beat him an hour and then have to do it. Our way of teaching colts is as follows: We put on light loads, after they are well broken to a harness, and go into bad places where it requires hard pulling by degrees; and the animal learns how to draw the load out. He reasons as a man does, thus: “I have been here before and got out, and I can do it again,” and out he goes. We add to the load one or two hundred pounds, and go through the same process, then wait a day or two and try him again, taking care that we require nothing to be done extra except with a lighter load. This is teaching a horse to have confidence in himself, which is the basis of all good draught horses.
A Scotch paper describes a curious case of horse management, and though the same treatment has been equally successful in other instances we are inclined to believe the true secret lies partly in gentling the animal while the preparations are being made. The fact related is curious and may be useful, so we reproduce it:
“On Saturday last a groom, mounted on a high mettled hunter, entered the High street of Coldstream, and, when opposite Sir John Majoribank’s monument, the horse began to plunge and rear to a fearful extent, swerving to the right and then to the left, but go forward he would not, nor could all the exertions of the groom overcome his obstinacy. The street was filled with people expecting to see the animal destroy himself on the spikes of the iron railing around the monument, when Mr. McDougal, saddler, walked up to the groom, and said: ‘I think, my man, you are not taking the proper method to make the horse go; allow me to show you a trick worth knowing.’ ‘Well,’ says the groom, ‘if you can make him go, it’s more than I can;’ when Mr. McDougal took a piece of whipcord, which he tied with a firm knot on the end of the animal’s ear, which he bent gently down, fastening the end of the string to the check buckle of the bridle, which done, he patted the horse’s neck once or twice, and said, ‘Now, let me see you go quietly home like a good horse,’ and, astonishing to relate, it moved off as gently as if nothing had happened. Mr. McDougal says he has seen, in London, horses which no manner of force could make go, while this mild treatment was always successful.”
HOW TO PREVENT HARNESSED HORSES FROM RUNNING AWAY.
For the following useful suggestion we are indebted to Mr. Robert McClure:
“It has often occurred to our mind, on account of the many and destructive runaways of horses harnessed to sleighs, that have taken place in this city and its neighborhood the present winter, that some mode of training might be adopted for family or carriage horses, which would entirely prevent or at least mitigate the violence and excitement of horses that may take fright. A good plan, based upon our knowledge and observation of the excitability and nervous temperament of horses disposed to take fright, would be to harness them with strong harness to an old but stout carriage a few times before the sleighing season, and have them taken slowly out of the city to a country road, not too hard for the horses’ feet, and drive them at a full run or gallop for a few rods at a time. Repeating this several times during the drive will so accustom the horses to the excitement of a run in harness and the rattle of a carriage behind them, that it will become familiar, and when occasions arise, as they sometime will in all large cities, to start them to run, they can be at once brought up and kept under complete control. The training to an occasional run has familiarized such horses with the excitement; but conversely, once let a team not used to it in harness, get a start and run, the excitement every moment becomes greater, takes the place of animal instinct, and all control of them is lost—till brought up against some obstacle, with a general smash of all surroundings, and perhaps the loss of valuable and useful life. Whether the horse be hurt or not, they are forever of no value for family purposes, and the groom or coachman not unfrequently loses both situation and character as a driver. To familiarize your horse to an occasional run in harness will do them no harm; and our word for it, much good will be done, and safety insured.”
HOW TO INSTANTLY STOP RUNAWAY HORSES.
When a Canadian family party, traveling in winter over ice covered rivers and swamps, is so unlucky as to cross a place where the horse sinks, they save him from drowning, and themselves from the danger of sharing the same fate, by pulling a rope so arranged that it chokes him. The water being thus prevented from entering his gullet or windpipe, he floats on the surface, and it only requires a long and firm pull to bring him to solid ground, when the rope being relaxed he quickly recovers his wind and is ready once more to start on his journey.
Perhaps profiting by this example, a similar means has been adopted with success for stopping runaway and subduing infuriated horses whether in riding or driving. It consists of a rein composed partly of thread-covered cat-gut, and partly of common leather, one end of which is attached to the bridle at the top of the horse’s head, while the other rests at the pummel of the saddle, or on the coach box, as the case may be. Running upon the cat-gut part by means of loops, is a short cross piece of cat-gut which rests against the windpipe of the animal, ready to be pulled up against it by taking hold of the nearer end of the rein. A quick and firm pull, to stop the breathing of the animal, is all that is necessary to bring him to an instantaneous pause. He may be in a state of panic, running off with the bit between his teeth in spite of every ordinary means of checking him: but no sooner does he feel the stricture on his breathing than he is conscious of being outwitted and nonplussed and becomes instantly as quiet as a lamb; at the same time he keeps quite firm upon his legs—the check not being by any means calculated to bring him down. On the contrary, from the position in which it places the horse, his shoulders being brought up, and being pressed back upon his haunches, the check is, indeed, calculated to keep him up.
CHAPTER III.
ENGLISH SYSTEM OF TRAINING HUNTERS.
Owing to difference in customs of the two nations, such horses as the English hunters are not the most desirable for use in this country, and the system of training adopted to suit the animals to the requirements of English gentlemen, are seldom called into requisition here. Still, as we desire our work to be as complete as possible, and as the method of training is interesting, though it may prove useful to but few of our readers, we introduce it. We take this spirited description from “A Holiday on Horseback,” from the pen of an English writer whose name is not given:
“A light built, gaylooking thoroughbred was passing into a paddock for a lesson in jumping over a swivel bush hurdle. Without spur or whip, the rider—the horsebreaker’s son—rode the mare steadily at the fence, and she went over without touching a top twig, clearing nine yards in the leap. ‘The great thing, sir, is to bring them into workmanlike ways; not to be fussy and flurried at their fence, so as to take off at the right spot.’ Then he went on to inform us that hunters should be carefully handled at a very early age, if they are intended to become temperate and handy. They may be ridden gently by a light weight with good hands, at three years old, over small fences. At four they ought to be shown hounds, but they should only be allowed to follow them at a distance, after the fences are broken down, for if you put them to large leaps at that age they are apt to get alarmed and never make steady fencers afterward. Above all things, avoid getting them into boggy ditches, or riding them at brooks; but they should be practiced at leaping small ditches, if possible, with water in them, the rider facing them at a brisk gallop, for this gives a horse confidence and courage. The old custom of teaching colts to leap, standing, over a bar is now obsolete, and they are taught to become timber jumpers simply by taking timber as it comes across the country—the present rate of hounds gives no time for standing leaps. The circular bar, however, is not a bad thing if in a good place and well managed. Every description of fence that your hunter is likely to meet with should be placed within a prescribed circle on soft ground, the man who holds him standing on a stage in the center. Another man, following the colt with a whip, obliges him to clear his fences at a certain pace, and in a very short time a good tempered colt will go at his jumps with pleasure.
“Here let me observe—for the conversation had ended—that no matter how carefully a hunter may have been trained, until you taste and try him in the field, it is hard to say whether the right stuff be in him. The best judges are often deceived by outsides and school performances. A few general rules may, however, be given, which will be found of certain application. In a hilly country, for instance, nothing has a chance against a pure thoroughbred. Lengthy horses always make the best jumpers, if they have good hind quarters, good loins and good courage. Extraordinary things have been done by such horses. In 1829 Dick Christian jumped thirty-three feet on King of the Valley; and Captain Littler’s horse, Chandler, cleared thirty-nine feet over a brook at Leamington. The most dangerous of all horses in the field is a star gazer. A hunter should carry his head low, as by so doing he is less liable to fall, and gives his rider a firmer seat. All wild horses lower their crests in leaping. It is, however, the peculiar excellence of going well through dirt which decides the real value of a horse for our best hunting counties. To find out this quality he must be ridden fair and straight. If he flinch on soft ground he is of no use. No matter how wide a horse may be, if he is not deep in the girth he cannot carry weight, and is very seldom a good winded horse, even under a light man. One of the best things that can be said of a hunter is, that at first sight he appears two inches lower than he really is. Short legged horses leap better and safer than long legged cattle, and go faster and farther under hard riders. Horses with straight hind legs never can have good mouths. He should have well placed hind legs with wide hips, well spread gaskins, as much as possible of the vis a lergo, well knit joints, short cannon bone, oblique pasterns and largish feet. The bone of a hunter’s hock cannot be too long. These are the points for strength and bottom.
“‘Handsome is as handsome does,’ and an old whip once said to a nobleman who remarked that his staunch old horse who had carried him through so many troubles had an awkward head: ‘Never mind his ’ed, my lord; I ain’t a going to ride on his ’ed.’ Indeed, what is called the perfect model horse is by no means the best. A horse’s constitution may be too good. Horses of a very hard nature, and very closely ribbed up, are large feeders, with great barrels, and do not make brilliant hunters. They require so much work to keep them in place and wind that their legs suffer, and often give way when their constitution is in its prime. Horses with moderate carcasses last much longer, and, provided they are good feeders, are usually bright and lasting enough, if otherwise well shaped. Finally, a hunter should be well seasoned. Few five year old horses are fit to carry a gentleman across country; for they cannot be sufficiently experienced to take a straight line. About fifteen hands two inches is the best hight for a hunter. His action should be smooth, or it cannot last. The movement of the fore legs should be round, not high; the horse should be quick on his legs as well as fast.”
CHAPTER IV.
TRICKS OF PERFORMING HORSES, AND HOW THEY ARE TAUGHT.
Horses may be taught many amusing tricks, some of which are really wonderful. For teaching horses tricks the implements known as the Rarey straps are requisite, to teach the animal to lie down, etc. The piebald or spotted horses are generally supposed by trainers to be more tractable as well as to possess more talent than others.
THE SHORT AND LONG STRAPS.
A common breaching strap is used to strap up the foot. For using, open the loop, keeping the buckle on the outside, put the loop over foot, then raise foot and pass the strap around the fore-arm from the inside, and buckle it tight; this holds the foot up firmly. The long strap is the one which buckles around the foot. To a ring in this is buckled another strap seven or eight feet long. This is attached to the right foot and passes under the girth, or over the back. Its use is to raise the foot when you wish to bring the horse upon his knees.
THE SHORT AND THE LONG STRAPS.
THE SHORT STRAP IN USE.
TEACHING THE HORSE TO LIE DOWN.
THE APPLICATION OF BOTH STRAPS.
Bend his left fore leg and slip a loop over it, so that he cannot get it down. Then put a surcingle around his body, and fasten one end of the long strap around the other fore leg, just above the hoof. Place the other end under the surcingle, so as to keep the strap in the right direction; take a short hold of it with your right hand; stand on the left side of the horse, grasp the bit in your left hand, pull steadily on the strap with your right; bear against his shoulder till you cause him to move. As soon as he lifts his weight, your pulling will raise the other foot, and he will come on his knees. Keep the strap tight in your hand, so that he cannot straighten his leg if he rises up. Hold him in this position, and turn his head toward you; bear against his side with your shoulder, not hard, but with a steady, equal pressure, and in about ten minutes he will lie down. As soon as he lies down he will be completely conquered, and you can handle him as you please. Take off the straps, and straighten out his legs; rub him lightly about the face and neck with your hand the way the hair lies; handle all his legs, and after he has lain ten or twenty minutes, let him get up again. After resting him a short time, make him lie down as before. Repeat the operation three or four times, which will be sufficient for one lesson. Give him two lessons a day, and when you have given him four lessons, he will lie down on your taking hold of one foot. As soon as he is well broken to lie down in this way, tap him on the opposite leg with a whip when you take hold of his foot, and in a few days he will lie down from the mere motion of the whip.
BRINGING THE HORSE TO HIS KNEES.
PREPARING TO LIE DOWN.
Use great gentleness during the operation. Compel the horse to comply with your wishes, but do not frighten or excite him.
THE HORSE LYING DOWN.
TO TEACH A HORSE TO SIT UP.
A common winding-up of the “grand entree” which usually commences the performances at most circuses, is for the horses of all the riders to lie down at the word of command, and at another command, to sit up on their haunches. The lying down part we have already explained; the getting up is taught by Jennings as follows:
“Lay the animal down as previously directed, having a collar upon him; place a hobble or strap, with a ring in it, around each hind foot; take a pair of ordinary driving lines, pass the buckle end through the collar back to the ring in the hobble, and buckle them; pull the feet up toward the shoulders, and carry the lines back to the hind quarters, hold them firmly in one hand, or give them to an assistant. Have a bridle with a long rein upon the animal; take the rein in your hand, stand upon the tail, and pull upon the bridle rein, keeping the lines firm at the same time; this brings him up in front, and prevents his getting his hind feet back far enough to rise upon them, they being drawn forward and securely held by the lines.”
KICKING AT WORD OF COMMAND.
Jennings gives the following instructions for teaching horses a very common trick performed at circus exhibitions:
“Care must be taken in teaching this trick, that you have a horse not predisposed to vicious propensities, or you may make a confirmed kicker; and then you will have the habit to break-up. A horse of a mild disposition may be taught to perform thus without the risk of his becoming a kicker. I have taught one of my ponies to kick when I desire him to do so, and he cannot be made to kick unless the whip is used lightly upon his hind parts. Having selected your animal, take a pin in your right hand, prick the near hind leg with it and say, ‘Kick with the left foot;’ the animal soon learns to obey. Then proceed with the opposite leg in the same manner. After the horse will kick, with either foot, by a motion of the hand without pricking him you will stand off a short distance, with a long whip in your hand; touch the near hind foot and say, ‘Kick with the left foot;’ then proceed in the same manner with the right foot. By proceeding thus once a day the animal will soon learn to do his part very nicely.”
TALKING HORSES.
If neatly managed one of the most “taking” performances of the “arena” is the answering of questions by the horse. Yankee Robinson has a very fine animal, who replies to his master’s interrogations with much seeming judiciousness. Horses may be taught to shake and nod their heads as negative or affirmative replies, in either of two ways. The first method of training is this: Take your position at the horse’s head with a pin in your hand. Gently prick the animal’s breast. The horse bobs his head, just as he would had a fly alighted on the spot. Repeat the operation several times, each time caressing him, and perhaps rewarding him with a bit of apple occasionally. He will soon learn to nod his head on merely having the hand pointed toward his breast, or he may be trained to do the same by a motion of the foot. To teach the horse to shake his head it is only necessary to prick him slightly anywhere along the mane or over the withers. After a little teaching he will do so on your raising your hand to your head, a motion whose connection with the horse’s action will scarcely be suspected by the audience.
The second method is by pricking his breast at the same moment that you say “yes,” or any other particular word; and by pricking his withers at the same time you say the word “no.” He will soon learn to make the desired motion on hearing the word, even though no motion whatever is made. When exhibiting, the questions should be asked first, and immediately after the signal given to the horse. He, of course, knows nothing of the question, but obeys a definite command, just as he would if ordered to “back” or “whoa.”
Madame Tournaire, who performed her horse by the first method, had a way of coquettishly toying with her whip, and would give the horse the requisite signals by what the public imagined to be a mere display of feminine grace.
Where the horse obeys a word, that word must be incorporated into the question asked, in such a way as to attract his attention. If used too near the commencement of the sentence he will reply before the question is out of your mouth. It is not necessary to use the exact word that he “works” by, provided it sounds to him like it; thus, Yankee Robinson says to his horse during the performance, “I guess you’re as handsome a fellow as these ladies and gentlemen ever saw—don’t you guess so?” The horse nods his head at the emphasized word “guess,” supposing it to be his command “yes.” The next question, perhaps, is, “But others know the most?” In this case the horse, not being posted on Webster, and being guided by the sound, gives his head a negative shake, considering “no” and “know” synonymous.
PERFORMING PONIES.
TEACHING HORSES TO JUMP.
Colts should not be trained in jumping until at least four years old. Until this age the muscles and sinews are too pliable, and there is danger of the animal being strained. It is better never to urge a horse to attempt a leap which he cannot readily accomplish, for severe injury might result from his striking his feet, besides any failure to perform the leap will discourage him.
The bar should at first be placed very low and only raised very gradually. About knee high or less will do to commence with. Commence the instructions by letting one man lead the colt, while another man follows with a whip. The former walks over the bar encouraging the colt with his voice to follow. The man with the whip is only to prevent the horse backing, the whip should never be applied unless the animal is positively restive. With a little coaxing he will soon go over, and having once done so, he will readily repeat it. A few pieces of apple may be advantageously used to induce him to leap the bar, and to reward him for doing so. By using the word “hip” or any other as he jumps, he may be taught to make the leap on hearing it. This is the common method for horses in the ring.
The first lesson should be confined to the standing or walking leap, and if the horse is led half a dozen times over in the manner described this will suffice for the first day. The next day he may be trotted up to it, or more lessons may be devoted to teaching him to leap at command. With each succeeding lesson the bar may be raised until it is as high as the horse’s breast, but beyond this there is no necessity with common animals intended merely for private riding. Neither should the horse be wearied and disgusted with too long lessons. When perfect in his lessons a boy may be placed upon his back to ride him over. The boy must be a good rider, for should the horse stop suddenly at the bar and throw his rider the maneuver will be repeated. A sack containing a couple of bushels of corn is sometimes used instead of the boy, but the boy is better.
TO MAKE A HORSE STAND ERECT.
STANDING ERECT.
To make a horse stand upon his hind feet it is only necessary to compel him to rear up, and then to keep him in that position by gently striking him with the whip either under the fore-arm or under the chin. At first it will be necessary to allow him to resume his natural position after standing erect for a moment or two, but in a little while he will learn to keep his balance for a considerable time. Care should be taken not to excite or keep him in the erect position too long at first. There is also some danger of his falling over backward if too urgently pressed. Ponies may be placed upon their hind feet by lifting them up by the reins, taking hold under the chin close to the bit. By giving the command, “Erect up,” when teaching the animal to take the required position, he may be taught to do so at this command, or he will soon learn to stand up by merely being tapped lightly under the chin. Now give him a few pieces of apple, and by holding out pieces of apple or other “horse” dainties, you may teach him to follow you walking erect.
TO “PIROUETTE.”
“Pirouetting” consists merely in the horse turning around while standing erect upon his hind feet. He may be taught to do this very easily, either by coaxing him to turn by the use of pieces of apple, or by gentle taps upon the cheek. He soon learns to turn at a circular sweep of the whip or at the command to “Pirouette.” This action is the same as is made use of when a horse is supposed to “waltz.”
THE PEDESTAL.
PEDESTAL TRICK.
One of the most common tricks displayed in circuses, and one which is usually hailed with applause, is what is termed the “pedestal” trick. A stout platform is used, to which is attached a wooden “drum” some two feet in hight, out of which projects a wooden rod or post at a slight angle. The horse first steps upon the platform, then places one fore foot upon the drum, and lastly places his other fore foot upon the point of the projecting post. In this position a handsome animal forms a really beautiful picture, and the effect is sometimes enhanced by having a number of men raise the platform upon their shoulders, and bear the horse, high up above the heads of the spectators, like some equestrian statue, around the ring.
To teach this trick some patience is necessary but the method is quite simple. The horse is first led upon the platform several times, being allowed to remain a moment or more each time. He will soon understand when brought into the vicinity of the platform that he is to take his position upon it. Now compel him to raise his foot, and as he attempts to put it down again, guide it with your hand to the required position upon the drum. After a few times he will place it upon the drum of his own accord on being made to raise it. Then in the same manner make him raise the other foot and place it upon the post. This is the most difficult part of the performance on account of the post presenting only a slight foothold, and the horse having only limited power to guide his foot to this position; it is also quite difficult to make the hoof retain its hold even after the right position is gained. After the horse thoroughly understands what is wanted of him he will go through the performance without prompting, for the sight of the platform suggests to him the desired actions. The “carrying around” part is, of course, strictly a ring performance which few persons would care to undertake for private amusement, but if the horse is gentle and has been taught to have entire confidence in his master, and to obey him implicitly, there is little difficulty in this part of the exhibition if done with care.
TO TEACH A HORSE TO KISS.
Give the horse a few pieces of apple from your hand, then place a piece between your teeth, letting it project so that the horse can readily seize it. When he has become used to taking the apple in this way, say, “Kiss,” or “Kiss me,” to him each time before putting the apple in your mouth, and he will by and by put his mouth to your lips at this command. In every case he should be rewarded by a piece of apple, for, to him, “kiss me” means apple, and if he is deceived in getting it he will not so readily obey.
TO MAKE A HORSE FETCH AND CARRY.
For this purpose a small basket or some light article which he can easily seize with his mouth, should be used. Place the handle in his mouth and shut his mouth upon it. Should he drop it when you remove your hand, speak sharply to him, and replace it in his mouth. When he retains it you are to let it remain a few moments, then remove it, pat him, speak encouragingly to him, and reward him. In a short time offer it to him again saying, “Take it,” and he will probably do so; if not place it his mouth and repeat the course already described. When he has learned to take the basket on its being offered, let him follow you around with it in his mouth; then let some one else give it to him while you stand at a distance; now call him toward you and reward him for bringing it to you. He will thus learn in a short time to bring you any article given him. After this, place the basket upon the ground, call his attention to it, order him to “take it,” and he probably will obey, if not, place it in his mouth and repeat the instruction until he will pick it up from the ground. Then a handkerchief or other article may be substituted for the basket, which articles he will soon understand are to be picked up also. He will soon learn to pick up anything you may drop in his presence, or to seize hold of any article that may be offered him, and this latter act may be applied to many tricks, as hereafter described.
FINDING A HIDDEN HANDKERCHIEF.
Having taught the horse to pick up any article dropped in his presence, take a handkerchief and cover it partially with loose earth, leaving it sufficiently exposed for him to readily seize it. Repeat the operation, each time covering the handkerchief more and more completely until it is entirely concealed. He will by this means be led to look for it even when it is entirely covered up. An assistant may now hold his hands over the horse’s eyes while the handkerchief is being concealed. Before an audience this adds to the credit of the performance, but as the handkerchief is hidden in nearly the same place, the horse knows where to look for it and will soon unearth it. Even when hidden at the option of the spectator it is easy to indicate to the horse where to look, by a signal, or his sense of smell will lead him to the spot. Oil of rhodium is said by some to be employed in this trick, to guide the animal to the hidden article. This may be true in some cases but the horse can so easily be taught to accomplish the thing desired without its use that we doubt its being used to any considerable extent.
Another plan adopted for teaching this trick is the following: Spread on the sawdust a white cloth containing a liberal supply of oats, lead the animal around the ring and let him take some of the oats. This is lesson first; its object being to fix in the horse’s mind a connection between the cloth and the oats. The march around the circle being once or twice repeated, he stops at the handkerchief as a matter of course. By dint of practice, say in a couple of weeks, he will learn to stop as readily in a trot or a gallop as in a walk. After a time the handkerchief must be doubled over and tied in a knot; the animal shakes it to get at the grain, but not succeeding, lifts it from the ground, which is just the thing wanted. When the horse has done this a few times, and finds that though he can shake nothing out he will receive a handful of oats as a reward, he may be trusted to perform in public.
TO SELECT A CHOSEN CARD.
In performing this trick in public one of the audience is allowed to choose a card from the pack, and this card, with several others is thrown on the ground. The horse is then asked by his master to select the chosen card from among them, and to give it to the person who chose it. This sounds like quite a difficult feat, especially, as is usually the case, if he has had his eyes blindfolded while the selection of the card was being made.
Having taught the horse to find and pick up the handkerchief it is very easy to substitute any other article in its place. If a card should be substituted it would be picked up just as anything else would be. The main difficulty is to teach the horse to pick the one desired from among the others, and that one only. To do this, spread half a dozen cards upon the ground at intervals of about ten feet. Let the horse go to one end of this line of cards. He will naturally stop at the first one he comes to, and, if left to himself, will pick it up. Instead of allowing him to do this, start him ahead with the voice using the term “Get up,” or any other which he has been taught means “go ahead.” Do this until he reaches the card which you desire him to pick up, at this you must remain silent unless he is about to pass it by like the former ones, in which case you say “Whoa,” and keep him standing before it until he picks it up. When he does this, reward him and speak encouragingly to him, that he may know he has done what you wished. If you make a practice of speaking to him when he stops at the wrong cards, and of keeping silent when he reaches the right one he will soon come to understand that “silence gives consent,” and that that is the proper card to select. The order in which the chosen card is placed in the row should be varied so that the horse may not learn to select the card by its position instead of obeying your signal. This enables you to let your auditors place the cards in any position or order their fancy may dictate without interfering at all with the successful “working” of the horse.
After he has learned to select the desired card without hesitation, he must be so taught that he will hand it to the person who may have selected it, when he comes to perform in public. To teach him this, have an assistant stationed at some distance from you, and when the horse comes to you with the card, instead of taking it from him as you have been accustomed to do, turn his head in the direction of your assistant and start him up. He will go to the assistant if the latter holds out his hand, and, perhaps, whistles to him. Pretty soon the whistling may be dispensed with, and he will carry the card in any direction indicated in search of some one to receive it. When he comes to perform in the ring he will go around the edge looking for somebody to whom he may relinquish the card. The proper person will probably hold out his hand to take it, but a hundred others will quite as certainly do the same thing. Now if the horse selects the right person in spite of the other claimants to lead him astray, a round of applause is pretty sure to crown his success. To insure this he should be taught to relinquish the card at some particular signal given by the trainer. A cough will answer, or any word which can be incorporated into a sentence addressed to him, without being detected by the audience. We have given sufficient instruction on this point in preceding pages, we believe, to enable the trainer to use his own discretion as to the manner of associating the signal with the giving-up of the card, in the horse’s mind.
TO FIRE OFF A PISTOL.
FIRING OFF THE PISTOL.
In performing this trick the pistol (unloaded) should be firmly secured to a post or some other convenient support, as high as the horse can conveniently reach. To the trigger attach a small wisp of hay by a string, so arranged that by pulling at the hay the pistol will go off. Lead the horse up to this, that the savory morsel may attract his attention. He will probably pull at the hay, and in his efforts to get it, will pull the trigger. Let him eat the hay, and repeat the operation several times, patting and speaking kindly to him each time. Now attach a piece of rag to the trigger instead of the hay; show it to him and induce him to take hold of it. Every time he pulls at it, and makes the hammer click, reward him with a piece of apple. When he has become used to pulling the rag when it is shown him, the pistol may be capped. The explosion of the cap may startle him somewhat at first; but gentle treatment and a little encouragement will soon banish his fears, especially if the noise of the explosion be only slight, which would be desirable. When he will snap caps without hesitation a small charge of powder may be tried. A heavy charge only makes a nuisance of the trick, and should only be used when displaying before an audience; even then the desirableness of such a proceeding is very questionable.
TO TEACH A HORSE TO DANCE.
A horse may be taught to dance thus: Fasten the animal with two side-reins between the posts supporting the leaping bar. Take a whip, and, as the music plays, gently touch him with it, using the “jik, jik,” of the groom as you go on. The horse being tied to the posts can move neither backward nor forward, but he will be induced to lift his legs and thereby gain the rudimentary movement of his lesson. After a while the teacher must mount on his back; the horse being fastened by the side reins. Just when he is to raise his leg, a gentle pull must be given to the rein at the proper side to help the movement. In course of time the reins must be loosened, and the horse, if tolerably ready, will soon learn to mark time, quick or slow, in answer merely to a slight jerk of the bridle. The rider must then dismount, and coming before the horse, teach him to dance, or keep time, with a wave of the hand, or by a pat on the foot which he is wanted to lift.
It may be remarked here that, though the dancing horses at the circuses appear to keep time with the music of the band, it is really, in most cases, the band that accommodates its music to the movements of the horse.
TO EAT AT TABLE.
An amusing scene often enacted in the ring is to have a horse seated on his haunches before a table, while the clown obsequiously serves him. A bell is attached to the table, so arranged that the horse can ring it by pulling at a bit of rag, and as the horse is almost continually ringing the bell, and the clown makes apparently frantic efforts to answer this summons each time, while bringing in plates, etc., a vast amount of laughter is usually created. The same instructions which we have given in previous pages relative to sitting down, firing off the pistol, etc., will apply to this trick. It is usual, when the table is finally set, for the clown to seat himself opposite the horse and pretend to share his meal. As the food commonly consists of hay pies, with brown paper crusts, the actual eating, we presume, is generally confined to the horse, but the fun is much increased by the clown taking a huge mouthful of hay, as though intensely hungry, and the horse then snatching it from his mouth, and devouring it himself. This latter feat is a mere modification of the kissing trick, where he takes the piece of apple from the trainer’s mouth.
AN EQUESTRIAN EPICURE.
TO TURN A HAND ORGAN.
This feat may be easily accomplished by the application of the plan already described, which we may term the “pistol principle.” After the horse has learned to take hold readily of anything offered to him, which knowledge he will have acquired if he has already learned to perform the tricks heretofore mentioned, the only additional instruction necessary will be to initiate him into the mysteries of turning the handle. When he has taken hold of the handle, gently move his head so as to produce the desired motion. If, when you let go of his head, he ceases the motion, speak sharply to him and put his head again in motion. With almost any horse a few lessons, and judicious rewards when he does what is required, will accomplish the object, and he will soon both be able and willing to grind out Old Dog Tray, or Norma, if not in exact time at least with as much correctness as many performers on this instrument. Some time since there was a horse connected with Franconi’s circus in Paris, whose education had progressed finely until the organ was reached, as it was in due course of time; this appeared to be the stumbling block in his progress.
THE HAND ORGAN PERFORMANCE.
It seems that the horse in question had already, under the lessons of his master, developed an unusual degree of intelligence, his eyes in particular becoming so full of expression that one could hardly doubt that he understood very much of what was said to him. His master had great hopes of him; he had been in training only a year, and he had already learned to lie down and get up as ordered, to enact the dead horse, to fire a pistol, and to give whichever of his fore hoofs was asked for. At length the professor began the task of teaching this promising pupil to turn a barrel organ; but either this particular species of exercise was repugnant to his tastes, or the sound of the organ was disagreeable to his ears. Certain it was that the animal, usually so docile, was resolute in his refusal to touch the handle of the barrel organ. His preceptor labored at this point for a month without being able to vanquish the repugnance of the horse for the object so constantly presented to his attention. Coaxing, caresses, and the whip were employed in turn, and equally without success. On these occasions the horse’s eyes expressed as clearly as though he had spoken it in so many words the absolute determination not to touch the handle of the organ. The trainer, though naturally of a violent temper, was always patient and gentle with his equine pupil. Whenever he felt that the obstinacy of the horse was on the point of getting the better of his apparent calmness, he would leave the stable to give vent to his irritation out of the sight or hearing of the animal. To those who prophesied that the horse would never turn the handle of the organ, he replied, “He shall turn or die.” At length, perceiving that he made no progress in the work of vanquishing the animal’s obstinacy, he caused the windows of the stable to be stuffed with hay and then boarded over, so that not a ray of light was visible, and a couple of men, hired for the purpose, beat a drum incessantly beside the animal’s stall, relieving one another at stated intervals. The struggle was continued for four days and nights, during which the professor returned to the charge once every hour, presenting the handle of the organ to his refractory pupil, renewing his command to the latter to take hold of it.
The neighborhood was beginning to threaten the trainer with a summons before the police court, to answer to the charge of disturbing its slumbers with the perpetual beating of the horrible drum, which the unfortunate horse, comprehending at last that there was no other chance of deliverance left to him, suddenly seized the handle of the organ with his teeth and turned with all the little strength that was left to him. Daylight was at once restored to the stable, the drummers were dismissed, all possible caresses and the finest oats were lavished on the now docile scholar, who never forgot the terrible lesson of his four days struggle, but, whatever may have been the sentiments with which he regarded the operation, never failed vigorously to turn the handle of the barrel organ whenever the word of command was given.
TO FEIGN LAMENESS.
To teach a horse this trick requires a greater decree of labor and perseverance than is necessary to instruct him in almost any other. So wearisome is the task, and so long is the time required in its accomplishment, that in ordinary cases it is not worth attempting. We propose, however, in this little work to tell all that there is to be told about our subject, even though most of our readers should find many things impracticable in their own cases; and it is well worth while to explain all these matters though it be only to gratify the curiosity which is very naturally felt. An uninitiated person would probably be entirely at a loss how to set about accomplishing this feat, and it is doubtful whether he would succeed in discovering the secret of it without assistance. The mystery is not such a very great matter after all, and may be disclosed in a few words.
If you observe a really lame horse—if you haven’t any in your neighborhood just visit New York and you will find some beautiful specimens of the article—you will perceive that there is a constant jerking or bobbing of his head, caused by his lowering it as he treads upon the lame foot and raising it as he raises the foot again. Now the appearance of lameness is caused just as much by the motion of the head as anything else, and a really sound horse, if he bobbed his head as he lowered and raised a particular foot, would appear lame; in fact he would actually go lame with this foot because the motion of his head would compel him to tread more lightly on that than he did on the others, exactly as in the case of the bona fide lameness. This is the secret, and the trainer’s efforts are directed to producing this motion of the head. To make a horse bob his head is a trifling matter, but to make him do so every time he treads on one particular foot, and to do so at the right moment, without hesitation or mistake, requires many weary lessons, and a stock of patience equal to that popularly supposed to have been possessed by the ancient Job.
Commence by taking the horse by the bridle, close to his mouth, and walking him very slowly. Watch the foot with which you desire him to go lame, and each time that it comes that foot’s turn to step, press the horse’s head gently upward as he raises his foot, and downward as he again places it on the ground. Let your motions be simultaneous with the movement of the foot, proceeding so slowly that there is no danger of becoming confused. By-and-by you may release your hold of the bridle and make the motion with your hand, which he will soon obey. You may then accompany the motion by any sound or word of command, and he will learn finally to make the motion on hearing this sound.
A correspondent of an English journal lately described a pony in his possession who in some way had picked up a knowledge of this trick and applied it very acutely to his own advantage. The gentleman thus describes the proceedings of the animal: “Whenever the pony had been turned out to graze and was afterward brought up to be hitched into the carriage, it invariably turned lame after going a few yards—so lame in fact that I frequently turned back, being ashamed to drive an animal in such apparent pain; I say apparent, because no sooner had the pony been relieved of its harness than it used to canter around. The same pony when brought from the stable would go perfectly well as long as it wished, but when I drove it in any direction contrary to its inclination it became lame immediately; as soon as its head was turned homeward the lameness entirely disappeared.”
TO TEACH A HORSE TO WALK OVER YOU.
This trick is sometimes exhibited by persons desirous of displaying either their own courage or the docility of their horses. There is a natural aversion felt by horses, and indeed by most animals, to treading on a living object. Few horses will, of their own accord, unless they are under excitement, trample upon a child who may chance to be in the way. Many instances are related of horses lifting infants from their pathway and gently putting them down on one side, where they were out of danger. It is therefore pretty safe to allow your horse to step over you, while you lie upon the ground. To insure against accidents, however, a little preliminary training is advisable. First, let an assistant lead the horse over your legs while you are seated upon the ground with those members extended. Then, after a few repetitions, lie down at full length and let the assistant lead the horse over you in various directions. Very soon the horse may be entrusted to walk over you, merely guided by the snapping of your fingers in the direction you desire him to go.
ORDINARY CIRCUS HORSES.
The common horses ridden by circus performers require some training before they are available in the “circle,” though it is slight compared with the instructions of the “trick” horses. The main thing is to break them to trot evenly and steadily around the ring. They may be taught this in an open field by attaching a line to the nose piece of the halter, which line the trainer holds in his left hand while in his right he has a long whip. Starting the horse, the trainer turns slowly as the horse goes around; the line keeps the horse from going away from the trainer in any direction and so forces him to go in a circle; the whip is used to keep him at the proper distance from the man, and so preserve always the same sized circle. The whip should be held on a level with the horse’s shoulder and should be moved so as to accompany him around. Subsequently the line may be removed and the horse will still follow the circle pointed out by the whip, and increase or abate his speed to correspond with its movements. The horse is then ready for the rehearsals of the rider, and soon learns to preserve his pace unbroken, regardless of the movements of the man upon his back.
BREAKING HORSE FOR THE “CIRCLE.”
CHAPTER V.
THEATRICAL HORSES AND THE HORSE DRAMA.
The exact date at which horses were introduced upon the stage we are unable to state. It is the custom with many writers to trace everything back to the ancient Greeks or Romans and build up their subject from this classic foundation; perhaps we might be able to do likewise were we to try, but we prefer to be excused. Certain it is that for many years such dramas as Mazeppa, Herne the Hunter, Putnam, and others of a certain kind have maintained a steady popularity. At first the characters of the heroes in these pieces were performed by males, and their popularity depended upon the beauty and spirit of the horse, the daring of the rider, and the general excellence of the drama—combats, processions, and startling effects being always taking ingredients. By-and-by, however, an adventurous rider of the other sex entered the lists in competition with the gentlemen. Her success inspired others to follow her example, until a dozen or more actresses were found performing the various rôles of the “horse drama.”
In all these pieces the principal attraction, next to the lady rider, is the performance of the horse, which, with very little variation, is generally the same in all. At the back of the stage, crossing and re-crossing it, and rising higher and higher at quite a steep inclination, is a plank gangway, some two or three feet wide. This is technically termed the “run,” and is supported by stout scaffolding, which is hidden by the scenery. At each turn, which is concealed by the “wings,” is a sort of platform to enable the horse to turn and to get a fair position for making the next rush across. The scenery is usually painted to represent mountains, and the canvas which conceals the run is painted to resemble rocks. Ravines and other results of the skillful scene painter’s talents often add to the seeming danger of the pass. Usually a series of different plays are produced during the engagement of the horse and rider, and the same run serves to represent the mountains of Tartary in Mazeppa, the Yankee hills in Putnam, or the natural elevations of any other portion of the world in which the scenes of any particular play may chance to be located. At the proper moment the horse dashes over precipices, rushing torrents, or fearful mountain gorges, (all canvas of course), with his rider astride his back, or strapped upon the “untamed steed,” as the stage business may require. To enable the horse to climb or descend the run without slipping, small pieces of sharpened steel are screwed into his shoes previous to his coming upon the stage. When it is a man who is strapped upon the horse he is usually merely secured by the waist, he holding the girth firmly with his hands. When a woman performs the part it is customary to secure her ankles as well, mainly for the purpose of keeping her on top of the horse should he by any accident fall. In playing Mazeppa the rider is utterly helpless, and without this precaution serious and even fatal injuries might be received. The gentlemen consider their muscle sufficient to enable them to dispense with this care. Some years ago a popular equestrian actress while performing in a western city met with a fearful accident from having one of her feet free in order that she might tickle the horse with her spur, to make him prance and curvette before the audience. On leaving the stage the horse stumbled over some stray scenery or other obstacle, and fell. Had the rider been lashed according to custom on top of the horse the only danger would have been the risk of striking against some projection, for the horse could not fall upon his back. As it was, her leg slipped under the horse as he fell, and his weight coming suddenly upon it, the thigh was broken. It is said that as she was conveyed to the boat the horse followed with every appearance of sorrow, whinnying softly, as though striving to express his sympathy. Many months after the accident, when the rider mounted him for practice previous to resuming her profession, an eye-witness related that it was really wonderful to see how gentle were all the horse’s movements, and how, of his own accord, he would check himself whenever his motion extorted the slightest cry of pain, almost suppressed though it was, from his rider.
In these plays very little training is required by the horse. After the ordinary breaking he is frequently exercised in going over the run. Owing to the restricted space it is very difficult for the horse to display any degree of speed, and as this is the main thing to be accomplished, he is therefore taught to start instantly at a rate which an ordinary horse could not by any means attain within the prescribed limits. We have seen Mazeppa played where the stage was so small that while the horse’s tail was against the wall of the theater his nose was barely prevented protruding beyond the scenes, previous to his starting to rush before the audience, from an imaginary journey of some score of miles. When he did come before the public it was difficult for them to see the whole of him at one time even with the scenes run back as far as possible. How the poor animal managed to travel over the diminutive run which was provided we cannot imagine, and yet the sight from the body of the theater was quite respectable.
After ascending the run the horse and rider must remain high up in the lofty region of the “floats” until a change of scene permits them to descend unobserved, or the play requires their descent in public. A perilous, and consequently attractive, feat has been introduced into this play by one or two unusually reckless and daring riders, consisting of an extension of the run around the gallery of the theatre. Over this narrow road above the heads of the spectators, some hundred feet or more from the ground, amid the glare or the lights, the banging of the orchestra, and the thunders of the multitude, dashes the horse, bearing in triumph “the sensation rider of the world.” A single misstep, the displacement of a single plank in that frail support, and horse and rider would lie a mangled mass below. And this is the very reason the house is jammed with eager throngs—not that they wish the rider to meet the horrible death thus courted night after night, but it is certainly this possibility which renders the performance so attractive. Playing Mazeppa is not always the hight of felicity.
There is a story told of a horse who probably never had the honor of figuring on either posters or play bills, which we think may be appropriately recorded here. A traveler on a dark night presented himself at the door of a country inn, and demanded lodging. The landlord, after some general remarks, suddenly turned pale and asked his guest by what road he had come. Upon being informed he almost fainted with terror. On examination in the morning it was found that the horse ridden by the traveler had walked with safety the string piece of a long bridge, and maintained his footing on the single extended timber, scarcely a foot wide. The planks of the bridge had been torn up for repairs the day previous; a misstep of the sure footed animal would have precipitated himself and rider into a chasm a hundred feet below.
In Mazeppa and similar plays the horse is “worked” by his trainer or master who comes on the stage attired as one of the retinue or attendants. In other pieces the rider himself manages the horse. These horses are seldom used for any other purpose, as ordinary riding or driving would make their mouths hard and render them less easily controlled upon the stage. In the summer their shoes are taken off and they are allowed a holiday in the country pastures. Mr. Collins, an actor of considerable celebrity who played successfully all the range of equestrian characters, and who trained several of the most popular “star” horses, had a magnificent stallion of large size which was probably the handsomest horse in the profession. He was a trifle too large to display his speed to the best advantage in the theater, but on the road, where Mr. C. occasionally displayed his points, there were few animals who could contest the palm with him for speed. He was a fiery fellow, and if annoyed would bite his tormentor fiercely, and few cared to excite his anger. This was made a “point” of on the stage, Mr. C. plaguing him a little unnoticed by the public, and the spirit the horse displayed always “took” with the audience. Mr. C., however, found it necessary to keep out of reach of the animal’s teeth, or even his influence over the horse might not have preserved him from an uncomfortable nip.
Years ago when horse dramas reigned in the Broadway theaters, as well as in the less aristocratic locality of the Bowery, an enterprising manager determined to bring out Herne the Hunter, “in the highest style of the art.” A number of horses, circus men and innumerable supernumeraries were engaged, and the piece produced under the most horse-piece-cious circumstances. The eventful night arrived, the house was crammed. The play progressed, people came on and off the stage, talked, raced, shouted, went through traps, climbed canvas rocks, and indulged in all the customary motions of a grand “spectacle.” There has always been a natural feud between actors and circus folks. The ring people despise those who can only “cackle,” (flash term for talk), while the stage fellows say that folks who travel on their shape, and have no brains to back them up, are contemptible. In those days there was even less good feeling between the two professions than at present. The supes aspiring to the dignity of “the stage” were more intense in their antipathy to the riders than were the actors themselves, and being always ready for a lark, some of them procured a lot of a peculiar kind of tinder which is readily lighted and could be surreptitiously blown into a horse’s nostrils without the culprit being detected. Suddenly in the midst of the performance the horses became restive, and in a moment became unmanageable. Some reared and kicked, some broke through the stage, while others, trampling the foot lights under foot, plunged into the orchestra. All was confusion. An actor advances to the foot lights and assures the audience that they need feel no alarm—nothing of importance is amiss—it is “all right.” At this very moment two horses are murdering their riders in the orchestra. One of the men, literally impaled upon the spikes around the railing, presents a sickening, horrifying, spectacle as he writhes in his death agony. Of course the play was not concluded; the audience departed shocked at the awful sight they had witnessed, and the supes, who had intended no farther harm than a little amusement at the expense of the circus men, now bitterly repented their thoughtless folly. They did what they could to atone for trick by making up a purse for the benefit of the families of the principal victims of the unfortunate affair, but the horse drama had received its death blow on Broadway.
CHAPTER VI.
BREAKING AND TRAINING MULES—PERFORMING AND “COMIC” MULES.
Mules appear fated to labor under an unfavorable and unenviable reputation. Not only has that rather objectionable quality of stubbornness been supposed to exist in their disposition to such an undue degree as to give rise to the saying, “as stubborn as a mule,” but this general reputation for intelligence is by no means first rate. That the mule is by nature inclined to be rather stubborn is undoubtedly true, but it is very questionable whether the wonderful displays of this quality sometimes met with, are not actually as much due to the very measures adopted to overcome the fault as to the natural disposition of the animal. With proper treatment and a little judicious training the objectionable features in a mule’s disposition might be easily remedied.
A LAZY CURE FOR LAZINESS.
There is a clever invention attributed to a certain lazy Hindoo, for overcoming the proverbial laziness of the mule. It appears that the man was employed to oversee a mule working one of those primitive mills in use to this day in India. The man seems to have been slightly inclined toward laziness himself, and was anxious to contrive some plan which would enable him to keep the mule in motion and monopolize all the indolence himself. This he at last accomplished with the aid of a clever device, shown in the accompanying illustration, which explains itself. We give it as a curiosity in the “art of training animals,” without vouching for its strict fidelity to the truth.
The following instructions are given by Mr. Riley, an experienced authority, for breaking mules:
“In breaking the mule, most persons are apt to get out of patience with him. I have got out of patience with him myself. But patience is the great essential in breaking; and in the use of it you will find that you get along much better. The mule is an unnatural animal, and hence more timid of man than the horse; and yet he is tractable and capable of being taught to understand what you want him to do. And when he understands what you want, and has gained your confidence, you will, if you treat him kindly, have little trouble in making him perform his duty.
“In commencing to break the mule, take hold of him gently, talk to him kindly. Don’t spring at him, as if he were a tiger you were in dread of. Don’t yell at him; don’t jerk him; don’t strike him with a club, as is often done; don’t get excited at his jumping and kicking. Approach and handle him the same as you would an animal already broken, and through kindness you will, in less than a week, have your mule more tractable, better broken, and kinder than you would in a month, had you used the whip. Mules, with very few exceptions, are born kickers. Breed them as carefully as you will, the moment they are able to stand up, and you put your hand on them, they will kick. It is, indeed, their natural means of defense, and they resort to it through the force of instinct. In commencing to break them, then, kicking is the first thing to guard against and overcome. The young mule kicks because he is afraid of a man. He has seen those entrusted with their care beat and abuse the older ones, and he very naturally fears the same treatment as soon as a man approaches him. Most persons entrusted with the care of these young and green mules have not had experience enough with them to know that this defect of kicking is soonest remedied by kind treatment. Careful study of the animal’s nature, and long experience with the animal have taught me that, in breaking the mule, whipping and harsh treatment almost invariably make him a worse kicker. They certainly make him more timid and afraid of you. And just as long as you fight a mule and keep him afraid of you, just so long will you be in danger of his kicking you. You must convince him through kindness that you are not going to hurt or punish him. And the sooner you do this, the sooner you are out of danger from his feet.”
PERFORMING MULES.
A “COMIC” MULE.
Chief among circus attractions, especially in the eyes of the boys, are the trick or “comic” mules. A couple of these animals are attached to nearly every troupe, and quite a variety of tricks are performed by them. The performance usually the most eagerly looked forward to, is that reserved for the final part of the exhibition. The regular performances being concluded, one of the mules is retained in the ring and the ring-master invites some boy present among the audience to come forward and take a ride—if he can. There are generally plenty of eager respondents to this invitation, one of whom is permitted to enter the ring. The ring-master leads the mule up to the boy as though to assist him in mounting. If the boy is “green” he will probably be somewhat astonished, as soon as the mule is brought near him, at having the pit of his stomach made a target for the reception of the said mule’s heels. If he has already seen a similar performance he will have anticipated this little episode, which can always be calculated upon without fear of disappointment. After many struggles the boy perhaps succeeds in mounting the mule and then an amusing contest ensues between them—the boy’s efforts being directed to maintain his hold, and the mule’s to dislodge him. Running at full speed, the animal tries to throw his rider by stopping suddenly, and if successful in this attempt, the boy is either thrown head first among his companions, or, if he lands in the ring, is chased out by the mule.
It is rarely that any one succeeds in maintaining his hold for more than a few minutes, unless he is a capital rider, in which case he may be able to master the animal; should this result be at all likely, the ring-master will, on some pretext, interfere and select some less expert rider from the audience. Finally an attaché of the circus, disguised as a countryman, volunteers to ride the mule, and after considerable caricature riding, and ridiculous posturing, he concludes the performance.
Sometimes to enhance the interest in the affair a reward of five dollars is offered to any one who will ride the mule three times around the ring. This was usually done by Dan ——, a prominent circus manager. We were present on one occasion when a big burly “rough” entered the ring at Dan’s general invitation, to compete for the prize. The mule was particularly spunky but he was finally forced to succumb, and notwithstanding all Dan’s attempts to balk the rider, the mule was ridden the requisite number of times around the ring. Lest any of our readers should be led to cherish the delusion that they might thus earn a reward for displaying their mule breaking abilities, we may mention that, in this case at least, the rider did not receive the money. The showman assured him that the offer was only in fun and declined to hand over the amount. The rough thereupon “pitched in” and administered a thrashing to the showman before he could be prevented. A general fight was only averted by the exertions of the police. We believe Dan, while he remained in that locality, did not repeat his offer.
Very little special instruction is required for “comic mules.” The kicking part of the performance may be taught according to the instructions given for teaching horses the same act. The mule is allowed with strangers to give full vent to all the natural viciousness of his nature, and is encouraged therein. Toward his trainer, and those connected with the establishment, such conduct is not allowed. He soon learns from experience that the worst conduct toward boys in the ring is meritorious, and being annoyed by their persistent efforts to ride him, he resorts to every possible device, without requiring any instruction, to get rid of his tormentors.
Another humorous scene sometimes enacted by the mules is a prize fight, the principals being rigged up in costume and furnished with boxing gloves, while two small donkeys are made to seat themselves and hold sponges, as though personating the seconds. Sometimes this latter character is assumed by the clown and ring-master, though it makes little difference. The actions of the mules have a very slight resemblance to a combat and the costumes make them look funny and satisfy the audience. The training required is merely to make them stand erect.
AN ASININE PRIZE FIGHT.
Mules, though possessing less intelligence than horses, may be taught many of the tricks which the latter perform, and the same instructions will suffice for training them.
The sure-footedness of mules has enabled trainers to teach them, in several cases, a very effective and showy trick—that of walking over a number of empty bottles placed upright on a floor or platform. This feat is always highly successful wherever performed, and it is really an excellent one. The bottles used are large, stout porter bottles, which will readily sustain a great weight if placed directly on top. To teach the trick the bottles are at first secured in a platform composed of a double thickness of planks, in the upper one of which holes are cut. In these holes the bottles are placed; the bottoms resting on the lower layer of planks, while the upper one holds them securely in place.
Before teaching this trick the animal is usually taught the ordinary pedestal trick, as explained in a preceding chapter, as a preparatory lesson. He will then more readily acquire the bottle feat. He is first made to place one fore foot on top of a bottle’s neck, then the other fore foot on another. Then the first foot is tapped with the whip to make him raise it and advance it to the succeeding bottle; as he does this his hind foot is struck gently to force him to place it on the vacated bottle. Six or eight bottles are sufficient to commence with, additions being made as the animal becomes proficient. When the trick is learned it is unnecessary to secure the bottles in any way; if the mule places his foot squarely on the top, as he should be made to do, there is no danger of either breaking or upsetting them.
THE PORTER BOTTLE FEAT.
There is a trick related of a couple of English costermongers, or perambulating vegetable dealers, which is amusing if not of practical value. These two worthies were in the habit of passing their donkey through a Devonshire toll gate, on their return trip, free of charge, by making him walk through on his hind legs, arm in arm with them, and taking advantage of the twilight to represent him as a friend slightly under the influence of liquor!
At the south, where mules are almost universally used for many purposes for which horses are used at the north, the negroes are in the habit of directing their movements in many cases entirely by the voice. The animals of that section being as a rule more gently treated, are of a better disposition than their northern brethren. The course of training practiced by their stable masters is by no means systematic, but the animals manage by some means to learn to understand and obey the far from lucid commands. We have often been surprised to see how readily the mules would detect the meaning of what, to our ears, was entirely unintelligible. Probably practice had taught them what was required just as the mules which convey travelers through the wild mountain passes of Spain are reported to stop immediately upon hearing the hail of any of the banditti who infest those regions—habitual experience of the customs of those gentry having taught them to come to a stand still.
There is an amusing, though, possibly, not strictly authentic, story told in connection with the performance of the pantomime of Humpty Dumpty, some years ago, in this city. In this spectacle a small mule was made to appear quite comically by the dexterity of his heels. During the season the regular animal fell ill, and an amateur was substituted. When one of the characters touched the new mule to make him kick, he began in admirable style. He kicked off the fellow and kicked him twice before he touched the boards. Then he ran toward several of the other dramatis personæ, and kicked them. Every movable object on the stage, animate or inanimate, he kicked off. Next he began on the scenery. He kicked down a whole forest, three good sized cottages, a picturesque cascade, a granite prison, a robber’s cave, a royal palace, the Rialto and Vesuvius in eruption, and was about to attack the grand transformation scene from Midsummer Night’s Dream, when a rope was thrown around his neck, and he was dragged off by the whole strength of the company, assisted by all the able bodied supernumeraries. The audience, many of whom supposed the obstreperous mule part of the performance, were delighted at his energy, and demanded with deafening plaudits, a repetition of the scene. The uproar was so great that the manager came out and said that an intermission of fifteen minutes would be given to enable some of the actors to recover the breath that the active mule had kicked out of them, and pledged his honor that the brute should never make another appearance on the Olympic stage. At this the audience roared louder than ever, and for nearly half an hour the performance was suspended by the universal guffaw. Every night afterward while the piece ran, the kicking mule was called for, and the manager of the theater it is said, in consequence, had to insert an advertisement in the daily papers, stating that the animal was mysteriously knocked in the head the same night of his highly successful débût.
CHAPTER VII.
SOME HINTS FOR FARMERS—MANAGEMENT AND TRAINING OF ANIMALS ON THE FARM—SOME EVILS AND HOW TO REMEDY THEM—GOOD TRAINING VS. BAD.
Farmers would find it of great advantage to pay more attention to the education of their domestic animals. Many things may be taught them without any appreciable trouble, which will prove not only convenient, but profitable in the saving of time and labor that may be effected. For instance, any animal on the farm may be taught to come on being called, instead of requiring to be hunted for and chased home whenever wanted. All that is necessary is to give him some dainty as a reward, each time, and the thing will be accomplished almost before you are aware of it. By giving each animal a particular name and calling him by that, you teach each individual to come to you when wanted, and if you reward only the one you call, the others will soon learn to come only when desired. This custom is observed with the sheep in Greece; the shepherd has only to call any one he wants, and the animal will instantly leave its pasturage and its companions and run to the hand of the shepherd, with every token of pleasure. Those which have not learned their name are called “wild,” while the others are termed “tame.”
Animals cannot associate with man without learning something. Many of those habits and tricks which farmers deplore in their stock, are due to the unintentional training that has been given the animals. If your stock run from you, appear to dread your presence and can never be made to stand quietly, perhaps this state of things may be accounted for if you reply candidly to the question whether they have not been accustomed to tormenting or annoyance, and so taught to be wild. No wonder there is complaint of cows being unquiet, when the habit is so general of pelting them with stones, or punching them with sticks, while driving home to milk.
How often instead of attempting to teach the animals proper behavior do we see an apparently contrary course adopted? The “American Stock Journal” has some sensible remarks on this subject:
“We find many persons, when turning stock into or out of pasture, instead of letting down all the bars, leaving two or three of the lower rails in their place; and then, by shouting or beating, perhaps, force the animals to leap over. This is capital training, the results of which are seen in the after disposition of animals to try their powers of jumping where a top rail happens to be off, and this accomplished, to set all fences at defiance, and make a descent upon the corn or grain field, as their inclination, ability or hunger may prompt them. Another good lesson is to open a gate but a little way, and then, as in the case of the bars, force the cattle forward, and by threats and blows compel them to pass through it. The result of this teaching is shown in the determined spirit manifested by some cattle to make a forcible entry into the stable, yards, fields, or in fact, to almost every place where a gate or door may, by accident, be left slightly open. A western farmer says he makes it a rule whenever cattle are made to pass a fence, whether through bars or ‘slipgap,’ to leave one rail for them to pass under. This gives them a downward tendency, and lessens their inclination to jump or look upward, as they are sure to do when a lazy attendant throws down a part of the rails, and makes them vault the rest. Cattle may be taught to go over any fence by the careful training they often get for this end, performed as follows: First, starve them or give them poor feed, which will make them light and restless. As soon as they go over the lowest part of the fence after better provender, make them jump back again, and put on one more rail, saying, ‘I guess that will keep them out.’ Next day, (of course they will be in mischief again) repeat the process, adding another rail; in a short time they will take care of themselves, and harvest the crops without charge.”
That gentleness and good treatment will subdue even naturally unamiable dispositions in animals, is shown by the example of the bulls intended for the bull fights at Havre during the marine exhibition in 1868. The bulls, selected for their ferocity on the plains of the Guadalquiver, were so kindly treated by the railway servants during their journey across Spain and France, that, on arriving at their destination, they had become perfectly tame and could not be induced to fight. The sight-seers were obliged to solace themselves with a regatta in lieu of their anticipated combat.
It may be interesting here to refer briefly to the proper management of bulls. There has been some discussion as to whether or not it is advisable to use bulls for purposes of draught. The advocates of the plan consider that a bull should do some labor and that exercise would be beneficial. The opponents say that the main object of keeping bulls is to breed, and that exhaustive labor would impair the vigor of the descendants. Though the latter is probably the true case bulls should be exercised in the open air if it is desired to keep them in health and vigor. They should always have a ring inserted through the nose that they may be held in control, but they should never be tied up by anything attached to this ring. Always use a rope tied around the horns; a sudden jerk is very apt to tear the ring from the nose. Never fool with bulls, and beware of trusting yourself in their power. They are subject to sudden fits of fierceness, when any defenceless person is liable to be horribly destroyed.
One of the most important duties on the farm is the breaking of steers. It is best to begin with them as calves, and let the boys play with them, and drive them tied or yoked together, taking care they are not abused. When a pair of old steers are to be put together and broken to the yoke, or a pair of bulls, as not unfrequently happens, it is usually best to yoke them, and tie their tails together, in an extempore stall, in a well fenced yard, and then turn them loose in the yard, which should not be large enough for them to run in and get under much headway. If the tails are not tied together they will frequently turn the yoke, which is a very bad habit. After half a day’s association, the lesson of “gee up!” and “whoa!” may be inculcated—and when well learned, probably the next day, “haw” and “gee.” The daily lesson should be given after they have stood yoked a while. They should not be taken from the yard until they have become used to the yoke, and are no longer wild and scary, as they are apt to be at first. Each day all previous lessons should be repeated. Put them before an ox-sled or a pair of cart wheels at first, rather than to a stone boat, as they are apt to step on the chain, and that frightens them. All treatment should be firm but mild, and no superfluous words should be employed.
As regards training heifers, a Pennsylvania farmer who has trained and milked heifers for more than fifty years, and never has any trouble about their jumping, kicking, or running, gives the following as his secret: “When I intend to raise a heifer calf for a milch cow, I always raise it by hand, and when feeding, frequently handle it by rubbing it gently over the head and neck until it becomes tame and gentle. The rubbing is begun at the first feeding with milk, and continued until I quit feeding it; I never afterward have any trouble about milking them.”
CHAPTER VIII.
DOGS IN GENERAL—WATCH DOGS—THE SHEPHERD’S DOG.
Among all the animals the dog seems preëminently intended by nature for the companion and friend of man. Even the instinctive passions all animals have for their own kind appear to be in a measure sacrificed to human influence, for the dogs often care more for the society of man than for that of their own kind. Not only is the dog a trusty and valuable friend and associate of man, but the companionship between the human and the canine races developes in the latter many of those noble qualities not possessed under other circumstances. The Turks look upon the dog with abhorrence, and almost universally in the East he is an outcast from human society. The consequence is that all his good qualities are lost; he is no longer the faithful companion, ready to defend his master with his life, but on the contrary, he is deceitful, bloodthirsty, and as unlike the more favored dog of other countries as it is possible to imagine.
WATCH DOGS.
Many kinds of dogs are used as watch dogs, and where all that is required of them is a notification of nightly intruders, and the awakening of the household, perhaps the species used is of comparatively little consequence. Where the dog is intended to act as a defender as well as a sentinel, strength and courage are important requisites. With many the bull dog is a favorite for this purpose. Though the least intelligent of his species his unflinching and unconquerable courage renders him a terrible opponent. So utterly without intellect is his courage, however, that no consideration of his foe’s powers deters him from attacking the most formidable thing that gives offense. Striking examples of this quality are displayed in England in what are termed “bull baits,” exhibitions whose cruelty and brutality are scarcely excelled in the customs of any other country. In these bull baits the dog, while fastened to the nose of some unfortunate bull, has had one leg after another cut off with a knife to test his courage. So persistent is the dog in maintaining his hold that the most frightful mutilation will not compel him to relinquish it until his strength is exhausted from loss of blood; he has been known to die from this inhuman hacking with his death grip firmly holding the bull.
Probably the best watch dog is the mastiff. Capable of great attachment to his master, he unites strength with intelligence, and, while implacable toward intruders, toward members of his master’s family he is docile and gentle. His hearing is remarkably acute, for he can detect the difference between a familiar and a strange footstep, however light it may be.
THE SHEPHERD’S DOG.
The rapid increase in the importance of sheep husbandry in this country will soon direct attention to the value of proper dogs for assisting in their management and protection. There are several different breeds used for this purpose, varying in different countries with their several local requirements. In Spain the Pyrenean, or St. Bernard’s dogs, are found valuable to accompany the large merino flocks on their annual migrations to the mountains, as a protection against the wolves infesting the Pyrenees. In Spain, too, the mastiff is highly prized, an improved, large breed, with strong feet, short hair and slightly pointed nose, being much in use.
A gentleman of Delaware gave, some years ago, the following account of a shepherd’s dog of the Spanish breed in his possession:
“The dog is three times as large as the shepherd’s dog described by Buffon, but is endowed with the same good qualities: immense strength and great mildness in his usual deportment, though ferocious toward other dogs. I can say, without exaggeration, that at least twenty dogs have been killed in my barnyard, or on my farm, by my dog Montague. His dimensions are three feet eleven inches from his eyes to the root of his tail, and two feet eight inches high over the shoulders. He is a fine animal, entirely white. I prefer that color in recollection of the story of old Jacob. In fact, I had formerly a black dog, and many of my lambs were born black. Since I have had Montague and his mother I have very few black lambs. The natural instinct of this animal is to guard your sheep against wolves and dogs. No other training is required, but to keep them constantly with your flock, the moment they are from the litter, until they are grown.”
What is commonly known as the shepherd’s dog is a smaller breed, seldom more than two feet high. Those in France are usually black with white touches on breast, face, legs, etc.; with sharp head and nose, and with a countenance full of alertness and intelligence. In Great Britain, particularly in Scotland, the colors of the shepherd’s dog are more mixed with shades of red and brown; or black dogs with sharp ears, turning down at the tips. The Scotch breed, or colley, is a light and active one, probably the best adapted for those portions of our own country where there is no danger from wild animals. It is pretty extensively diffused in the United States and British America, and is very useful to the farmer, shepherd or drover.
SCOTCH COLLEY, OR SHEPHERD’S DOG.
The Mexican shepherd’s dog is doubtless a descendant of the Spanish ones introduced at the time of the conquest, and is a marvel of fidelity and intelligence. In training these dogs the method is to select from a multitude of pups a few of the healthiest and finest looking, and to put them to a sucking ewe, first depriving her of her own lamb. By force, as well as from a natural desire she has to be relieved of the contents of her udder, she soon learns to look upon the little interlopers with all the affection she would manifest for her own natural offspring. For the first few days the pups are kept in the hut, the ewe suckling them morning and evening only; but gradually, as she becomes accustomed to their sight, she is allowed to run in a small enclosure with them, until she becomes so perfectly familiar with their appearance as to take entire charge of them. After this they are folded with the whole flock for a fortnight or so; they then run about during the day with the flock, which after a while becomes so accustomed to them, as to be able to distinguish them from other dogs—even from those of the same litter which have not been nursed among them. The shepherds usually allow the slut to keep one of a litter for her own particular benefit; the balance are generally destroyed. After the pups are weaned, they never leave the particular drove among which they have been reared. Not even the voice of their master can entice them beyond sight of their flock; nor can hunger or thirst.
A remarkable example of the intelligence of these dogs is displayed when two flocks approach within a few yards of each other; their respective protectors will place themselves in the space between them, and as is very naturally the case, if any adventurous sheep should endeavor to cross over to visit her neighbors, her dog protector kindly but firmly leads her back, and as it sometimes happens, it may make a rush and succeed in joining the other flock, the dogs under whose charge they are go over and bring them all out, but strange to say, under such circumstances they are never opposed by the other dogs. They approach the strange sheep only to prevent their own from leaving the flock, though they offer no assistance in expelling the other sheep. But they never permit sheep not under canine protection, nor dogs not in charge of sheep, to approach them. Even the same dogs which are so freely permitted to enter their flocks in search of their own are driven away with ignominy if they presume to approach them without that laudable object in view.
The English sheep dog, or drover’s dog, is a tailless animal, larger, coarser, and stronger than the colley. It is very easily trained and is very well adapted for working among cattle, keeping the herd from straggling when on the road or the prairie, and acting as an aid to the farmer in the management of his flocks and herds. One of this breed was used by an American farmer to drive home his cows. It was only necessary to tell him it was time to bring the cows, and he would scour the farm and bring them from all parts safely into the yard. On the prairies such dogs would be of great use.
A careful, well tempered shepherd never allows his dog to harass or worry the sheep. He walks his regular rounds quietly, the dog following at his heels, appearing to take no notice of the sheep, and they almost unconscious of his presence. Should anything occur in which the aid of the dog is needed, he is at hand to perform the will of his master. If the sheep break through a fence into forbidden ground, one word from the shepherd is enough, the dog drives them back without causing much alarm. If a sheep breaks away from the flock, the dog is not allowed to bite it; he is taught to run before it and bark, in order to drive it back to its place.
A dog which has been properly trained will be continually on the look out for stray sheep, and will, of his own accord, visit those parts of the pastures where the fences are weakest, and where ditches or ravines exist, into which the sheep may be in danger of falling. Heavy sheep, with large fleeces, will sometimes lie on their backs for a whole day or night, being unable to get up. When in this position, instances have occurred of their eyes being picked out either by ravens or carrion crows. They are all subject to the attacks of dogs and foxes. A well trained shepherd’s dog will find sheep that are in this position, and attract attention to them.
Well trained dogs will not annoy ewes with lambs, nor show any signs of irritation when assaulted by the ewe for the protection of her young. They keep at a respectable distance from quarrelsome rams, not considering it to be any part of their business to fight with them. They are very watchful at night, especially during the lambing season, guarding the lambs from the attacks of foxes and dogs and all other intruders.
In training a young shepherd’s dog, the services of a well trained, experienced dog will be almost indispensable. The ardent temperament of the young dog must be subdued, and there is no better mode of doing so than by compelling him to accompany a well trained dog and imitate his actions. A long line in the hands of the trainer, attached to a collar or belt on the neck of the young dog is generally necessary in the training process. With the aid of this contrivance the dog may be perfectly subdued, and made to obey all the commands of the trainer. He can be taught to “go away,” “come back,” “come in front,” “come behind,” “bark,” “lie down,” “be quiet,” “get over the fence,” “slop them,” “bring them back,” and every other evolution in the field exercise of the sheep dog. The training should commence when the pup is five or six months old. The older the animal is, the more difficult will it be to train him.
The shepherd’s dog of any of the breeds we have mentioned, has a natural inclination for working among sheep, but he may be spoiled by improper management, and then he becomes an enemy to the flock instead of a protector. A cross between the mastiff, bull dog or cur, and the shepherd’s dog, produces a mongrel which has an insatiate thirst for the blood of the sheep, and can scarcely be restrained from destroying them. The shepherd’s dog should be full blood, anything less is worse than useless. Dogs even of the best breeds may be spoiled by neglect or mismanagement in the training. The shepherd must himself treat the sheep with gentleness if he desires the dog to do so; the dog will act as his master does.
CHAPTER IX.
SPORTING DOGS AND THEIR MANAGEMENT AND TRAINING.
The pointer and the setter are the two universally recognized dogs for hunting game birds. As to which of the two is the better variety authorities differ, and much depends upon circumstances. For hot climates the pointer has more endurance than the setter, but he is also more tender and would suffer in a cold climate. Pointers do not require so careful training, and with sportsmen who are, as is the case with many, loose in their manner of training, a pointer will be a passably well behaved dog where, with the same laxity, a setter would be utterly worthless. As the value of a dog in hunting depends in such a great degree upon his proper understanding of the work in hand, and his prompt and faithful execution of the duties incumbent upon him, too much pains cannot be taken with his training.
PRELIMINARY TRAINING.
The education of sporting dogs should begin in earliest puppyhood. Unless they are early taught obedience, it will be difficult to overcome this neglect by after training. His first lesson may be given with the aid of a piece of beef placed before him on a plate. Naturally he will evince an eagerness to obtain it. Prevent his doing so, by gently tapping him upon the head, at the same time cry, “toho!” By repeating this word each time you check his eagerness, he is taught to associate the slap with the word and to stop when the word is used. This makes the “point.” In a few moments after you must cry, “hie on,” and allow him to seize the meat. “Steady” is the next lesson, and consists in allowing him slowly to approach the plate as you keep repeating the word at short intervals. When near the plate cry, “toho,” and never allow him to reach the meat until you give the command, “hie on!” When you wish him to break his point but not to “pitch in” to the meat, the command, “close on” should be used. Before he reaches the plate, cry, “toho,” and then, “hie on;” when he has pointed, by “close on” he must understand that he is to move cautiously, and this he is taught by the oft repeated command of “steady.” All these commands may be taught with patience, and patience is absolutely necessary. No harshness should be used, and no new lesson should be attempted until the old one is fully mastered. You should always feed the dog yourself.
When the preceding lessons are thoroughly acquired, “charge” may be taught. Gently force him down as you give the command, extend his fore paws and gently place his head between them. Each time he moves, tap him lightly and repeat the command. No more force should be used than is absolutely requisite. Practice him frequently by crying, “charge—charge,” with your hand upraised, and forcing him into the desired position. To make him rise, you should cry, “hie up,” and gently raise him. Repeat these instructions until they are fully understood and readily obeyed, doing a little each day, but doing that thoroughly.
To retrieve is the next lesson to be taught. An old glove or other soft substance should be used, and after allowing the pup to play with it, toss it from you and he will rush to get it. Call him to you after he has got it, and take it from him, rewarding him with caresses and kind words. Repeat this plan using the command, “hie fetch,” when you wish him to go, and “come in,” when you wish him to return. By using the command, “come in,” on all occasions when he is a little distance from you—when you call him to feed him—etc., he will learn to obey it. Hooper in his excellent work[[1]] gives the following directions for teaching a dog to retrieve: “Begin by placing your glove within his mouth, making him retain it; if he rejects it, replace it, gently correcting him, crying, ‘fetch! fetch!’ After he understands the meaning of the word fetch you may let him accompany you in a walk, in some quiet place. Whenever he drops the glove you must gently and encouragingly replace it, crying, ‘fetch! fetch!’ If he rejects it the lash must be used, but sparingly. If you study the disposition of your dog and manage properly, he will soon perfectly understand you, and gaily and happily gambol alongside of you, seldom dropping his charge, and if he should, he will only need the words, ‘hie fetch! fetch!’ to make him bound back with eagerness to regain the lost glove. You may now take the glove, cast it from you, and tell him to ‘hie, fetch!’ He will immediately return with the glove. You may now let him see you drop the glove, walk off thirty or forty yards, wave your hand in the direction of the glove, and cry, ‘hie, fetch!’ He will of course regain the glove. After practising him at this often, you may drop the glove unobserved by him. He will soon follow your track for a considerable distance for a lost article, by receiving the command, ‘hie, fetch!’ You may now give the glove to another person to hide, first permitting the dog to see it in his possession, and he will be almost certain to find it, if it is at all accessible. In your first lessons be careful to place the glove where your dog will be certain to find it—not too far off.”
[1]. Dog and Gun.—Price thirty cents, post paid. An interesting and useful work for every amateur sportsman.
THE SETTER.
He should also be taught to follow closely on at the sportsman’s heel when they are out together; this may be done by saying, “back, back!” and striking him gently with the whip when he attempts to press forward. Any hunting dog may be taught to retrieve notwithstanding the complaints some sportsmen make to the contrary. Great patience is required to teach the dog, but the result of careful training amply compensates for the trouble. Hooper recommends that, after the dog has learned the preceding lessons, he be made to practice them often, playing with a ball.
LESSONS IN THE FIELD.
After the dog has been thoroughly drilled in the preliminary exercises we have described, it will be necessary to teach him their practical application. Much of the future value and usefulness of the dog depends upon his first day’s shooting and the manner in which he is initiated into the sport. We again avail ourselves of Mr. Hooper’s instructions for managing him the first day he is taken out:
“When you observe Dash more excited than usual, you may reasonably expect a bevy near. They will not probably be far off, as he has not become accustomed to the familiar and welcome scent that will enable him to wind them at a distance. Now comes the trying hour for master and pupil. The former should be perfectly cool, and should consider the killing of game a secondary affair—let him give his attention to Dash. The dog seems too eager for the scent—you cry ‘steady! steady!’—if he is apparently near the game, and you are afraid he will flush, you cry ‘toho!’ You approach and find the quail do not raise—you tell him to close on, which he does by moving rather rapidly—you check him by crying ‘steady! steady!’ he points, ‘toho!’ You now approach and flush the bevy; be sure you bring down one bird, and it will be well that you only fire one barrel, that you may have more time to look after Dash, who of course scampers after the whirring bevy. You immediately cry ‘toho! come in!’—on, on he goes; in his wild excitement he disregards your will entirely. You now use your whistle. By this time the birds are out of sight (but you, of course, have marked them), and he is running helter skelter. You must soon get hold of his collar, drag him rather roughly back to where he pointed—lashing him slightly—and make him ‘charge,’ and keep his position until you reload; after which you will take him to where your bird has fallen—indicate the place with your hand, crying ‘hie, fetch! fetch! fetch!’ From his previous lessons he will know that you wish him to look for something, and his nose will soon tell him what it is. Do not let him mouth or toy with it, or he will soon get in the habit of roughly mouthing your game, than which I scarcely know a worse habit.
“You may now rest for a short time, that the bevy may get over their fright; after which they will be more easily found, for if they have been very much frightened, they will not give out sufficient odor to enable your pupil to point well, and he may consequently flush them, thereby doing great harm. You cannot do better than to spend your time in repeating your house training with the dead quail: casting it from you, telling him to ‘close on! steady! charge! hie on! fetch!’ Cast it some distance unobserved—waft your hand in the proper direction, and tell him ‘hie, fetch! fetch! fetch!’ After a short time has elapsed, you may take Dash to where you have marked the birds. When near the birds, keep Dash near you, that he may be the more easily controlled. If he seem too eager he only needs the command of ‘steady!’ to control him. Let the command be in rather an undertone—never get into the snobbish habit of bawling at your dog. Apart from its being an ungentlemanly habit, it frightens the quail more or less, and they will not lie so well to the dog. Ha! but Dash has come down to a point most beautifully, ‘toho!’ You carefully approach, flush and shoot the bird, and immediately give your attention to the dog, crying ‘charge!’ in a strong and emphatic tone; if he breaks, get hold of his collar as soon as possible and lash him, and at the same time drag him to his ‘point’ and make him ‘charge’ and keep his position until you reload. You then cry ‘hie up,’ make friends with him, and cast him off—he soon points again. You manage to get very near the dog, and when you fire, immediately cry ‘charge!’ and it would be well to accompany ‘the word with a blow,’ at this juncture. You make him charge, reload, cry ‘hie up,’ indicate the point where the bird has fallen, and command him to ‘hie fetch!’ You cast him off again, and always manage to control him after you fire—never, never suffering him to break shot without feeling the lash. Remember this is the most critical time for yourself and dog. Never suffer yourself to become excited; do not for some time fire more than one barrel, that you may sooner give your attention to Dash, and you will accomplish much if you can be near enough to Dash to give him the lash as he first springs from the point, at the same time crying ‘charge!’ If you do not suffer yourself to become excited, and lose sight of your dog after your shot, you will soon have him drop at the report of the gun; but rest assured, if you let him have his own way a few times, in your eagerness to secure game, you will rue it for many a day to come. You cannot have this fact too strongly impressed upon yourself. If you control him from the first, your object will be attained. If Dash evinces unusual perverseness in this, it will be well to make him ‘charge’ while on a ‘point.’ Even should he see a dead bird fall, he should not retrieve without permission.”
It is a maxim in hunting never to allow a dog to run ahead of another in a point, but either to make him back, or come in to heel. Besides the danger of flushing your game, it would be permitting an unfair advantage to be taken of the dog doing his duty in the lead, of both which a dog of nice sensibility will show himself to be conscious. It happened, some years since, that a party was out, near Old Point Comfort in Virginia, with a fine pointer belonging to Mr. A——. A small terrier had accompanied them, and whenever the pointer would take his stand, the terrier would rush by him, and put up the birds. Repeating this vexatious, ungentlemanly conduct several times, the pointer was seen to grow impatient. At last having found another bevy, as the terrier attempted to pass him, the pointer seized him, and placing his fore paws on him, held him fast, growling to keep him quiet, and maintaining his point until the sportsmen came up.
WATER DOGS.
The Newfoundland is unquestionably the water dog par excellence, and probably the best individuals of the variety are the celebrated dogs used for duck shooting on the margin of Chesapeake Bay and commonly called the Chesapeake Bay Water Dog. These animals being derived from ancestors of pure breed, and the constant training from generation to generation having caused the transmission of their excellent qualities in increased measure to each successive generation, are probably unrivalled by any other in their particular forte. Owing to thoughtless and injudicious mixing of breeds a true Newfoundland is rarely seen. Although the purer the breed the better water dog he will be, yet many dogs of mixed breeds possessing considerable Newfoundland blood, make excellent dogs for ordinary aquatic sporting.
On breeding the water dog little need be said, for, like Dogberry’s reading and writing, his education “comes by nature.” In his infancy he may be taught to bring a glove and lay it down at your feet as he should do; and, by practice, the comprehension and fulfillment of his various duties will soon follow. He will be found, with judicious encouragement and exercise of authority, more docile than a child. They have been known at four months old to fetch a duck, but lest the constitution be impaired, they should not be put too early at hard service.
“Canton,” a celebrated Newfoundland, owned by Dr. Stewart, of Sparrow’s Point—a great sportsman in his day—was noted for a number of remarkable feats in securing “canvas backs” on the Chesapeake. She surpassed her species generally in unrivalled devotion to the water, and to the sport of ducking, as carried on by the doctor’s colored man, Varnell, with his murderous swivel gun. Her patience and endurance were almost incredible. She was the heroine of many desperate encounters with wounded swans, often pursuing them for miles, and many were her exploits among rotten and floating ice, in pursuit of wounded ducks, sometimes, in fogs and darkness. On one occasion she brought out twenty-two or twenty-three ducks, all killed or wounded by Varnell at a single shot. A good deal of time was lost in pursuing these wounded ducks, and at the close of this pursuit, it being then dark, Varnell gave up the slut as lost, so many hours had she been engaged in bringing out her game; but after Varnell had sorrowfully turned his face homeward, she overtook him with one or two ducks in her mouth; and the old doctor stated that he remembered Varnell saying that at one time, when she was most fatigued, she climbed on a cake of floating ice, and after resting herself on it, renewed the pursuit of the ducks.