Henry L. de Bussigny

Equitation (1922)

Summary

Henry L. de Bussigny,  Equitation (1922)

“ The hands of the rider are two vowels of the equestrian alphabet; the legs are two consonants; accuracy of seat unites the four letters into a word of the language with which rider and horse communicate. If a letter is lacking, or if the word is not formed, then there is no sense.
All this is no dream, no illusion of the mind. It is a fact, a reality; albeit, it is understood only by the master who knows the language and appreciates the significance of each letter and each combination, as the educated horse understands them. A fine hand means nothing. A hard hand is a fault.
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Source: Wikisource

Henry L. de Bussigny,  Equitation (1922)

“ The rider, under these conditions, feels in his seat the squareness and equality both of the different strides and of each step. The horse gives a light and agreeable contact upon the hand, the head and neck are perfectly steady and yet firm, while the rider feels that, with the least tension on the reins, the neck will flex like an elastic band. All the time he feels in his seat that, with the least shifting of his weight or the slightest alteration in legs, hand, body, or head, the equilibrium will vanish. The animal moves between the rider and the ground, rhythmically. ”
Source: Wikisource

Henry L. de Bussigny,  Equitation (1922)

“ OF all the low airs which a horse can execute, the passage is the most rhythmic, the most artistic, and the most scientific. It is not an artificial gait, but an entirely regular and natural movement. Let a horse of any conformation, trained to any kind of service, be out of the stable and free. He trots at the passage. His head is up, his neck well placed, his tail in the air. Hocks, haunches, knees, and shoulders flex on their centers of motion, high, with energy, cadence, and balance. The back and loins are supple, the nostrils are well opened, and the breathing is deep even to snorting. ”
Source: Wikisource

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