77 



In order to accomplish this feat the pack must have the 

 fullest confidence in its huntsman and the man must 

 be an artist. 



Although a silent huntsman is preferable to a noisy- 

 one the former may err by being too silent. In drawing 

 woodlands or coverts of any size hounds ought to be 

 able to hear the huntman's voice at intervals or they 

 will be Hstening and wondering where he is instead of 

 looking for a fox. An occasional note on a horn saves 

 the voice in large woods and gives the pack an indication 

 of the direction a covert is being drawn. 



The silent huntsman in drawing a large wood will 

 have half the pack at his horse's heels and the remainder 

 ranging so wide that they are unable to hear when a 

 fox is found. It stands to reason that if a hound with 

 head up is straining his hearing to keep in touch with 

 the huntsman he cannot be giving all his attention to 

 searching for a fox. The judicious use of both horn 

 and voice is of great assistance in large coverts, but the 

 former should be used sparingly. Apart from drawing, 

 there is a great art in forcing an unwilhng fox to fly 

 from a large wood and keeping the pack together. 

 It sometimes happens when scent is moderate, the lead- 

 ing hound can only speak to the line in such a faint 

 voice that the others cannot hear it, but it should not 

 escape the huntsman's ear, and he should get as near as 

 possible, cheering the others on. In this way the pack 

 can be kept to the line of their hunted fox and a change 

 avoided, which will assuredly happen if they are allowed 

 to wander. It matters httle what notes on the horn 

 are used or what sounds are made by voice if all are 

 equally distinct and hounds know the meaning of each. 

 If the same tones are used for cheering hounds on to 

 a hne as are used when encouraging them to draw. 



