INTRO D UCTION. 



young idea how to sit firm, how to acquire that natural 

 adaptation to every movement of the animal under him, 

 which constitutes perfect balance, and how to handle his 

 reins. 



The second mode is that of mounting the tyro on a 

 perfectly-trained horse, and step by step leading him on till, 

 aided by practice in the riding school or under a quaUfied 

 out-of-door instructor, such proficiency may be attained as 

 is necessary for amusement, or even show, air, and exercise, 

 or all four combined. A graceful seat may be insured, and 

 good hands acquired, but long and continuous practice on 

 every variety of horse will alone entitle the pupil to call him- 

 self a *' horseman." Artistic riding implies something more 

 than mere boldness and the ability to charge an ox fence, or 

 '•go in-and-out-clever;" it means the mesmeric influence 

 — the brain, the eye, the nerves, the muscles, all unconsciously 

 acting on the aids together — of the man guiding and bend- 

 ing the horse to his will without seeming effort. Those 

 among us who may be termed " fair riders " are numerous. 

 One may make a good show on a well-broken hack in the 

 park, another may ride well to hounds, a third may distin- 

 guish himself "between the flags" or "on the flat," but to 

 excel in all is given to but very few. The pupil who has 

 commenced late in life will always find it difficult to throw 

 off a certain riding school mannerism unless, so soon as a 

 safe firm seat has been secured, the lessons are continued 

 on horses all differing in temper and action. Learning and 

 diversity of practice should go hand in hand. 



We now come to the third method, which is the easiest 

 to the instructor. We have now to deal with boys who 

 have never ridden. A hard plucky boy is pretty sure to 

 make an apt pupil. The material to work on is good, and, 

 with the help of a little encouragement, sticking-plaster, and 



