1"30 TTirj ART OF TAJITNO HOKSES. 



end in season, or that you see a hard rider, Avlien starling 

 with three hundred companions at the joyful sound of 

 Tally-ho, pricking and holding his horse, to have him ready 

 for a great effort the moment he is clear of the cro^Yd. 



By a judicious use of the curb rein, you collect a tired 

 horse ; tired horses are inclined to sprawl about. You 

 draw his hind-legs under him, throw him upon his 

 haunches, and render him less liable to fall even on his 

 weary or weak fore-legs. But a pull at the reins when 

 ahorse is falling may make him holdup his head, but 

 cannot make him hold up his legs. 



" When a horse is in movement there should be a 

 constant touch or feeling or play between his mouth 

 and the rider's hands." Not the hold by which riders of 

 the foreign school retain their horses at an artifkial 

 parade pace, which is inconceivably f\itiguing to the 

 animal, and quite contrary to our English notions of 

 natm-al riding; but a gradual, delicate firm feeling of 

 the mouth and steady indications of the legs, which 

 keep a fiery well-broken horse always, to use a school 

 phrase, '• between your hands and legs." 



You cannot take too much pains to acquire this art, 

 for although it is not exercised on an old hack, that you 

 ride with reins held any how, and your legs dangling 

 anywhere, it is called into action and gives additional 

 enjoyment to be striding the finest class of high-couraged 

 delicate-mouthed horses — beautiful creatures that seem 

 to enjoy being ridden by a real liorseman or light-handed 

 Amazone, but which becomes frantic in isinorant orbratal 

 hands. 



" A horse should never be turned without being made 

 to collect himself, without being retained by the hands 

 and urged by the legs, as well as guided by both; that 

 is, in turning to the right both hands should retain him, 



