Seat 93 



as his shoulders and present the ridiculous appearance of 

 working his arms as if he were a flying-machine or a pin- 

 ioned duck going through the motions of flight. Again, 

 he may thrust his foot too far forward, as if bracing himself 

 against the rush of the wind, or too far back, as if he were 

 trying vainly to get upon his knees. He may slouch in 

 the body too far forward, as if he were weak in the back, 

 or he may sit so straight and stiff as to suggest his being 

 inspired with the idea that he is some great general about 

 to be cast in bronze for a public park. By riding with too 

 long stirrup-irons he may resemble a scarecrow in a corn-field, 

 or by having them needlessly short suggest a monkey riding 

 on a circus horse. Correct form is that which gives the figure 

 the greatest ease and grace of carriage at the same time with 

 the securest seat and least fatigue. Ease, graceful carriage, 

 absence of fatigue, come from unconsciousness. The com- 

 bination must be natural. Bad form with unconsciousness 

 is better than a position which is forced or unnatural.* 



The easiest and most graceful position for the arms is 

 with the elbows hanging naturally against the sides, the 

 upper arm and the forearm at right angles to each other. 

 The hands should nearly meet in front of the body just above 

 the lap, and just high enough to clear the pommel of the 

 saddle, held naturally with thumbs uppermost, and far 

 enough in front of the body to permit free action of the 

 wrists in taking and giving to the natural backward and 

 forward oscillation of the bit when the horse is in motion. 



The length of stirrup-leathers is a question much dis- 

 cussed. The straight leg — the forked or military seat — 



* See page 92. 



