A LIGHT HAND. 323 



The great beauty of a hand is perfect lightness of touch, to 

 be constantly feeling and playing with the sensitive mouth of 

 the animal — which will soon come to delight in the influence of 

 such a hand, and will manifest its pleasure by tossing, rolling 

 over and over, and champing the bits — to be continually guiding 

 and directing every motion, and regulating every step, by the 

 slightest possible exertion of force, which will accomplish its 

 end ; to be for ever giving and taking; never continuing to use 

 force a moment after resistance has ceased, or obedience been 

 yielded ; never submitting to be overpowered, for a moment. 

 It is not easy for any one, it is not possible for every one, to 

 obtain quite a perfect hand — for some men are deficient in. 

 sensibility of touch, in tact, and in temper, all of which are 

 needed to produce absolute perfection ; but every one is capa- 

 ble of obtaining a steady seat and a passable hand, sufl&cient 

 for all ordinary purposes ; though not, perhaps, sucli as would 

 enable him to go across a country, like Squire Osbaldeston, or 

 to make a managed horse dance to music, like Sir Sidney 

 Meadows or Franconi. 



The annexed cuts, one and two, show the first and general 

 position of the hand, and the 

 method of holding the bridle 

 rein ; the first, when riding 

 with a single snaffle bit, the 

 reins then being held between 

 the middle and the fourth, and 

 outside of the little fingers, the 

 ends being brought out, and 

 secured from slipping between the forefinger and the ball of the 

 thumb. 



The second, when a bit and bridoon are used, with two 

 reins ; in which case the snaf- 

 fle reins are held, as here 

 shown, between the middle 

 and fourth, and the fourth and 

 little fingers ; the curb reins 

 between the fore and middle 

 fingers, and outside of the lit- 

 tle finger ; the ends to be held 

 and secured as before. 





