THE MODEL SADDLE HORSE 37 



willing, in company or alone, to back; to change his 

 gaits from walk to trot or canter without flurry or 

 mixing himself. In fact, although full of fire and 

 gaiety, he must be so trained that all his desires are 

 subservient to the rider's wants and comforts. 



And yet, perfectly trained though he may be, if he 

 is well-bred and high-strung, you must expect him 

 occasionally to play and frisk. Nor should playful 

 romping, an occasional squeal or buck when coming 

 out of the stable on a frosty morning, or upon hearing 

 some startling sound, be charged against him, even 

 in the show ring. After all, what we want is not a 

 "machine," but a living, sentient animal, trained to 

 respect our wishes. 



A horse as well made and trained as I have above 

 depicted will undoubtedly be hard to find anywhere 

 in America, for the simple reason that the average 

 American knows little, and cares less, about what 

 really constitutes a well-broken saddle horse, and 

 never troubles himself about "bitting" or "making" 

 an animal. 



There are, of course, exceptions to every rule, and 

 men like Emile Anthony, William McGibbon, J. H. 

 Collins, Robert Moreland, Walter Baker, Chas. Butler, 

 and the late Chas. Railey and Jimmy Schweiger,* to 

 say nothing of Mrs. John Gerken and Miss Belle Beach, 

 have always appreciated a well-broken animal, and 

 know how to "make" them as well as any foreigner. 

 But these men are in the minority, and the horses they 

 have broken soon lose all they have learned by the 

 slovenly riding of their customers. 



The average American show horse, considered 



* Not to mention such expert horsemen of foreign birth as Ernest 

 Fownes, Geo. von Kalowski. 



