THE DEFENSES OF THE HORSE 



sensitive than before the training began. The ig- 

 norant, therefore, whose number is legion, hearing 

 the noise, think that the flexion of the mouth is 

 complete. This is a mistake. The sound really 

 comes from the mouthpiece of the Liverpool bit 

 sliding on the shaft of the branches. 



I object, therefore, to this sort of bit for the sad- 

 dle horse. The effect on the bars is not sufficiently 

 precise. The shaft, by allowing the mouthpiece to 

 slide on the branches, makes it possible for the 

 cannon to transmit the pressure from the hand 

 from below upward along the bars, and in conse- 

 quence to press the mucous membrane of the bars 

 against the first molars. When the rider's hand is 

 rigid, the mouthpiece stays pressed against these 

 teeth. When the hand cedes, the mouthpiece drops. 

 At the next effect of the hand, it again slides up. 

 Thus it is the mouthpiece only which responds to 

 the pressure of the hand, not the lower jaw, though 

 this yielding of the lower jaw is the sine qua non of 

 the flexions of the mouth and neck. 



The horse, properly trained with snaffle and curb, 

 raises its tongue very lightly as it opens its mouth, 

 finds the snaffle with its tongue and lifts this. As 

 the effect of the hand ceases, the tongue returns to 

 its normal position, and the snaffle falls against the 

 mouthpiece of the bit and makes the silvery note 

 so precious to the rider. But with the Liverpool bit, 

 it is the bit itself which gives the sound. The rea- 

 soned and the scientific equitation recognize flex- 



330 



