tricks of performing horses, and how they are taught.
horses may be taught many amusing tricks, some of which are really wonderful. for teaching horses tricks the implements known as the rarey straps are requisite, to teach the animal to lie down, etc. the piebald or spotted horses are generally supposed by trainers to be more tractable as well as to possess more talent than others.
the short and long straps.
a common breaching strap is used to strap up the foot. for using, open the loop, keeping the buckle on the outside, put the loop over foot, then raise foot and pass the strap around the fore-arm from the inside, and buckle it tight; this holds the foot up firmly. the long strap is the one which buckles around the foot. to a ring in this is buckled another strap seven or eight feet long. this is attached to the right foot and passes under the girth, or over the back. its use is to raise the foot when you wish to bring the horse upon his knees.
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the short and the long straps.
the short strap in use.
teaching the horse to lie down.
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the application of both straps.
bend his left fore leg and slip a loop over it, so that he cannot get it down. then put a surcingle around his body, and fasten one end of the long strap around the other fore leg, just above the hoof. place the other end under the surcingle, so as to keep the strap in the right direction; take a short hold of it with your right hand; stand on the left side of the horse, grasp the bit in your left hand, pull steadily on the strap with your right; bear against his shoulder till you cause him to move. as soon as he lifts his weight, your pulling will raise the other foot, and he will come on his knees. keep the strap tight in your hand, so that he cannot straighten his leg if he rises up. hold him in this position, and turn his head toward you; bear against his side with your shoulder, not hard, but with a steady, equal pressure, and in about ten minutes he will lie down. as soon as he lies down he will be completely conquered, and you 37can handle him as you please. take off the straps, and straighten out his legs; rub him lightly about the face and neck with your hand the way the hair lies; handle all his legs, and after he has lain ten or twenty minutes, let him get up again. after resting him a short time, make him lie down as before. repeat the operation three or four times, which will be sufficient for one lesson. give him two lessons a day, and when you have given him four lessons, he will lie down on your taking hold of one foot. as soon as he is well broken to lie down in this way, tap him on the opposite leg with a whip when you take hold of his foot, and in a few days he will lie down from the mere motion of the whip.
bringing the horse to his knees.
preparing to lie down.
use great gentleness during the operation. compel the horse to comply with your wishes, but do not frighten or excite him.
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the horse lying down.
to teach a horse to sit up.
a common winding-up of the “grand entree” which usually commences the performances at most circuses, is for the horses of all the riders to lie down at the word of command, and at another command, to sit up on their haunches. the lying down part we have already explained; the getting up is taught by jennings as follows:
“lay the animal down as previously directed, having a collar upon him; place a hobble or strap, with a ring in it, around each hind foot; take a pair of ordinary driving lines, pass the buckle end through the collar back to the ring in the hobble, and buckle them; pull the feet up toward the shoulders, and carry the lines back to the hind quarters, hold them firmly in one hand, or give them to an assistant. have a bridle with a long rein upon the animal; take the rein in your hand, stand upon the tail, and pull upon the bridle rein, keeping the lines firm at the same time; this brings him up in front, and prevents his getting his hind feet back far enough to rise upon them, they being drawn forward and securely held by the lines.”
kicking at word of command.
jennings gives the following instructions for teaching horses a very common trick performed at circus exhibitions:
“care must be taken in teaching this trick, that you have a horse not predisposed to vicious propensities, or you may make a confirmed kicker; and then you will have the habit to break-up. a horse of a mild disposition may be taught to perform thus without the risk of his becoming a kicker. i have taught one of my ponies to kick when i desire him to do so, and he cannot be made to kick unless the whip is used lightly upon his 39hind parts. having selected your animal, take a pin in your right hand, prick the near hind leg with it and say, ‘kick with the left foot;’ the animal soon learns to obey. then proceed with the opposite leg in the same manner. after the horse will kick, with either foot, by a motion of the hand without pricking him you will stand off a short distance, with a long whip in your hand; touch the near hind foot and say, ‘kick with the left foot;’ then proceed in the same manner with the right foot. by proceeding thus once a day the animal will soon learn to do his part very nicely.”
talking horses.
if neatly managed one of the most “taking” performances of the “arena” is the answering of questions by the horse. yankee robinson has a very fine animal, who replies to his master’s interrogations with much seeming judiciousness. horses may be taught to shake and nod their heads as negative or affirmative replies, in either of two ways. the first method of training is this: take your position at the horse’s head with a pin in your hand. gently prick the animal’s breast. the horse bobs his head, just as he would had a fly alighted on the spot. repeat the operation several times, each time caressing him, and perhaps rewarding him with a bit of apple occasionally. he will soon learn to nod his head on merely having the hand pointed toward his breast, or he may be trained to do the same by a motion of the foot. to teach the horse to shake his head it is only necessary to prick him slightly anywhere along the mane or over the withers. after a little teaching he will do so on your raising your hand to your head, a motion whose connection with the horse’s action will scarcely be suspected by the audience.
the second method is by pricking his breast at the same moment that you say “yes,” or any other particular word; and by pricking his withers at the same time you say the word “no.” he will soon learn to make the desired motion on hearing the word, even though no motion whatever is made. when exhibiting, the questions should be asked first, and immediately after the signal given to the horse. he, of course, knows nothing of the question, but obeys a definite command, just as he would if ordered to “back” or “whoa.”
madame tournaire, who performed her horse by the first method, had a way of coquettishly toying with her whip, and would give the horse the requisite signals by what the public imagined to be a mere display of feminine grace.
where the horse obeys a word, that word must be incorporated 40into the question asked, in such a way as to attract his attention. if used too near the commencement of the sentence he will reply before the question is out of your mouth. it is not necessary to use the exact word that he “works” by, provided it sounds to him like it; thus, yankee robinson says to his horse during the performance, “i guess you’re as handsome a fellow as these ladies and gentlemen ever saw—don’t you guess so?” the horse nods his head at the emphasized word “guess,” supposing it to be his command “yes.” the next question, perhaps, is, “but others know the most?” in this case the horse, not being posted on webster, and being guided by the sound, gives his head a negative shake, considering “no” and “know” synonymous.
performing ponies.
teaching horses to jump.
colts should not be trained in jumping until at least four years old. until this age the muscles and sinews are too pliable, and there is danger of the animal being strained. it is better never to urge a horse to attempt a leap which he cannot readily accomplish, for severe injury might result from his striking his feet, besides any failure to perform the leap will discourage him.
the bar should at first be placed very low and only raised very gradually. about knee high or less will do to commence with. commence the instructions by letting one man lead the colt, while another man follows with a whip. the former walks over the bar encouraging the colt with his voice to follow. the man with the whip is only to prevent the horse backing, the whip should never be applied unless the animal is positively restive. with a little coaxing he will soon go over, and having once done so, he will readily repeat it. a few pieces of apple may be advantageously used to induce him to leap the bar, and to reward him for doing so. by using the word “hip” or any 41other as he jumps, he may be taught to make the leap on hearing it. this is the common method for horses in the ring.
the first lesson should be confined to the standing or walking leap, and if the horse is led half a dozen times over in the manner described this will suffice for the first day. the next day he may be trotted up to it, or more lessons may be devoted to teaching him to leap at command. with each succeeding lesson the bar may be raised until it is as high as the horse’s breast, but beyond this there is no necessity with common animals intended merely for private riding. neither should the horse be wearied and disgusted with too long lessons. when perfect in his lessons a boy may be placed upon his back to ride him over. the boy must be a good rider, for should the horse stop suddenly at the bar and throw his rider the maneuver will be repeated. a sack containing a couple of bushels of corn is sometimes used instead of the boy, but the boy is better.
to make a horse stand erect.
standing erect.
to make a horse stand upon his hind feet it is only necessary to compel him to rear up, and then to keep him in that position by gently striking him with the whip either under the fore-arm or under the chin. at first it will be necessary to allow him to resume his natural position after standing erect for a moment or two, but in a little while he will learn to keep his balance for a considerable time. care should be taken not to excite or keep him in the erect position too long at first. there is also some danger of his falling over backward if too urgently pressed. ponies may be placed upon their hind feet by lifting them up by the reins, taking hold under the chin close to the bit. by 42giving the command, “erect up,” when teaching the animal to take the required position, he may be taught to do so at this command, or he will soon learn to stand up by merely being tapped lightly under the chin. now give him a few pieces of apple, and by holding out pieces of apple or other “horse” dainties, you may teach him to follow you walking erect.
to “pirouette.”
“pirouetting” consists merely in the horse turning around while standing erect upon his hind feet. he may be taught to do this very easily, either by coaxing him to turn by the use of pieces of apple, or by gentle taps upon the cheek. he soon learns to turn at a circular sweep of the whip or at the command to “pirouette.” this action is the same as is made use of when a horse is supposed to “waltz.”
the pedestal.
pedestal trick.
one of the most common tricks displayed in circuses, and one which is usually hailed with applause, is what is termed the “pedestal” trick. a stout platform is used, to which is attached a wooden “drum” some two feet in hight, out of which projects a wooden rod or post at a slight angle. the horse first steps upon the platform, then places one fore foot upon the drum, and lastly places his other fore foot upon the point of the projecting post. in this position a handsome animal forms a really beautiful picture, and the effect is sometimes enhanced by having a number of men raise the platform upon their 43shoulders, and bear the horse, high up above the heads of the spectators, like some equestrian statue, around the ring.
to teach this trick some patience is necessary but the method is quite simple. the horse is first led upon the platform several times, being allowed to remain a moment or more each time. he will soon understand when brought into the vicinity of the platform that he is to take his position upon it. now compel him to raise his foot, and as he attempts to put it down again, guide it with your hand to the required position upon the drum. after a few times he will place it upon the drum of his own accord on being made to raise it. then in the same manner make him raise the other foot and place it upon the post. this is the most difficult part of the performance on account of the post presenting only a slight foothold, and the horse having only limited power to guide his foot to this position; it is also quite difficult to make the hoof retain its hold even after the right position is gained. after the horse thoroughly understands what is wanted of him he will go through the performance without prompting, for the sight of the platform suggests to him the desired actions. the “carrying around” part is, of course, strictly a ring performance which few persons would care to undertake for private amusement, but if the horse is gentle and has been taught to have entire confidence in his master, and to obey him implicitly, there is little difficulty in this part of the exhibition if done with care.
to teach a horse to kiss.
give the horse a few pieces of apple from your hand, then place a piece between your teeth, letting it project so that the horse can readily seize it. when he has become used to taking the apple in this way, say, “kiss,” or “kiss me,” to him each time before putting the apple in your mouth, and he will by and by put his mouth to your lips at this command. in every case he should be rewarded by a piece of apple, for, to him, “kiss me” means apple, and if he is deceived in getting it he will not so readily obey.
to make a horse fetch and carry.
for this purpose a small basket or some light article which he can easily seize with his mouth, should be used. place the handle in his mouth and shut his mouth upon it. should he drop it when you remove your hand, speak sharply to him, and replace it in his mouth. when he retains it you are to let it remain a few moments, then remove it, pat him, speak encouragingly to him, and reward him. in a short time offer it to 44him again saying, “take it,” and he will probably do so; if not place it his mouth and repeat the course already described. when he has learned to take the basket on its being offered, let him follow you around with it in his mouth; then let some one else give it to him while you stand at a distance; now call him toward you and reward him for bringing it to you. he will thus learn in a short time to bring you any article given him. after this, place the basket upon the ground, call his attention to it, order him to “take it,” and he probably will obey, if not, place it in his mouth and repeat the instruction until he will pick it up from the ground. then a handkerchief or other article may be substituted for the basket, which articles he will soon understand are to be picked up also. he will soon learn to pick up anything you may drop in his presence, or to seize hold of any article that may be offered him, and this latter act may be applied to many tricks, as hereafter described.
finding a hidden handkerchief.
having taught the horse to pick up any article dropped in his presence, take a handkerchief and cover it partially with loose earth, leaving it sufficiently exposed for him to readily seize it. repeat the operation, each time covering the handkerchief more and more completely until it is entirely concealed. he will by this means be led to look for it even when it is entirely covered up. an assistant may now hold his hands over the horse’s eyes while the handkerchief is being concealed. before an audience this adds to the credit of the performance, but as the handkerchief is hidden in nearly the same place, the horse knows where to look for it and will soon unearth it. even when hidden at the option of the spectator it is easy to indicate to the horse where to look, by a signal, or his sense of smell will lead him to the spot. oil of rhodium is said by some to be employed in this trick, to guide the animal to the hidden article. this may be true in some cases but the horse can so easily be taught to accomplish the thing desired without its use that we doubt its being used to any considerable extent.
another plan adopted for teaching this trick is the following: spread on the sawdust a white cloth containing a liberal supply of oats, lead the animal around the ring and let him take some of the oats. this is lesson first; its object being to fix in the horse’s mind a connection between the cloth and the oats. the march around the circle being once or twice repeated, he stops at the handkerchief as a matter of course. by dint of practice, say in a couple of weeks, he will learn to stop as readily in a trot or a gallop as in a walk. after a time the handkerchief 45must be doubled over and tied in a knot; the animal shakes it to get at the grain, but not succeeding, lifts it from the ground, which is just the thing wanted. when the horse has done this a few times, and finds that though he can shake nothing out he will receive a handful of oats as a reward, he may be trusted to perform in public.
to select a chosen card.
in performing this trick in public one of the audience is allowed to choose a card from the pack, and this card, with several others is thrown on the ground. the horse is then asked by his master to select the chosen card from among them, and to give it to the person who chose it. this sounds like quite a difficult feat, especially, as is usually the case, if he has had his eyes blindfolded while the selection of the card was being made.
having taught the horse to find and pick up the handkerchief it is very easy to substitute any other article in its place. if a card should be substituted it would be picked up just as anything else would be. the main difficulty is to teach the horse to pick the one desired from among the others, and that one only. to do this, spread half a dozen cards upon the ground at intervals of about ten feet. let the horse go to one end of this line of cards. he will naturally stop at the first one he comes to, and, if left to himself, will pick it up. instead of allowing him to do this, start him ahead with the voice using the term “get up,” or any other which he has been taught means “go ahead.” do this until he reaches the card which you desire him to pick up, at this you must remain silent unless he is about to pass it by like the former ones, in which case you say “whoa,” and keep him standing before it until he picks it up. when he does this, reward him and speak encouragingly to him, that he may know he has done what you wished. if you make a practice of speaking to him when he stops at the wrong cards, and of keeping silent when he reaches the right one he will soon come to understand that “silence gives consent,” and that that is the proper card to select. the order in which the chosen card is placed in the row should be varied so that the horse may not learn to select the card by its position instead of obeying your signal. this enables you to let your auditors place the cards in any position or order their fancy may dictate without interfering at all with the successful “working” of the horse.
after he has learned to select the desired card without hesitation, he must be so taught that he will hand it to the person who may have selected it, when he comes to perform in public. 46to teach him this, have an assistant stationed at some distance from you, and when the horse comes to you with the card, instead of taking it from him as you have been accustomed to do, turn his head in the direction of your assistant and start him up. he will go to the assistant if the latter holds out his hand, and, perhaps, whistles to him. pretty soon the whistling may be dispensed with, and he will carry the card in any direction indicated in search of some one to receive it. when he comes to perform in the ring he will go around the edge looking for somebody to whom he may relinquish the card. the proper person will probably hold out his hand to take it, but a hundred others will quite as certainly do the same thing. now if the horse selects the right person in spite of the other claimants to lead him astray, a round of applause is pretty sure to crown his success. to insure this he should be taught to relinquish the card at some particular signal given by the trainer. a cough will answer, or any word which can be incorporated into a sentence addressed to him, without being detected by the audience. we have given sufficient instruction on this point in preceding pages, we believe, to enable the trainer to use his own discretion as to the manner of associating the signal with the giving-up of the card, in the horse’s mind.
to fire off a pistol.
firing off the pistol.
in performing this trick the pistol (unloaded) should be firmly secured to a post or some other convenient support, as high as 47the horse can conveniently reach. to the trigger attach a small wisp of hay by a string, so arranged that by pulling at the hay the pistol will go off. lead the horse up to this, that the savory morsel may attract his attention. he will probably pull at the hay, and in his efforts to get it, will pull the trigger. let him eat the hay, and repeat the operation several times, patting and speaking kindly to him each time. now attach a piece of rag to the trigger instead of the hay; show it to him and induce him to take hold of it. every time he pulls at it, and makes the hammer click, reward him with a piece of apple. when he has become used to pulling the rag when it is shown him, the pistol may be capped. the explosion of the cap may startle him somewhat at first; but gentle treatment and a little encouragement will soon banish his fears, especially if the noise of the explosion be only slight, which would be desirable. when he will snap caps without hesitation a small charge of powder may be tried. a heavy charge only makes a nuisance of the trick, and should only be used when displaying before an audience; even then the desirableness of such a proceeding is very questionable.
to teach a horse to dance.
a horse may be taught to dance thus: fasten the animal with two side-reins between the posts supporting the leaping bar. take a whip, and, as the music plays, gently touch him with it, using the “jik, jik,” of the groom as you go on. the horse being tied to the posts can move neither backward nor forward, but he will be induced to lift his legs and thereby gain the rudimentary movement of his lesson. after a while the teacher must mount on his back; the horse being fastened by the side reins. just when he is to raise his leg, a gentle pull must be given to the rein at the proper side to help the movement. in course of time the reins must be loosened, and the horse, if tolerably ready, will soon learn to mark time, quick or slow, in answer merely to a slight jerk of the bridle. the rider must then dismount, and coming before the horse, teach him to dance, or keep time, with a wave of the hand, or by a pat on the foot which he is wanted to lift.
it may be remarked here that, though the dancing horses at the circuses appear to keep time with the music of the band, it is really, in most cases, the band that accommodates its music to the movements of the horse.
to eat at table.
an amusing scene often enacted in the ring is to have a horse 48seated on his haunches before a table, while the clown obsequiously serves him. a bell is attached to the table, so arranged that the horse can ring it by pulling at a bit of rag, and as the horse is almost continually ringing the bell, and the clown makes apparently frantic efforts to answer this summons each time, while bringing in plates, etc., a vast amount of laughter is usually created. the same instructions which we have given in previous pages relative to sitting down, firing off the pistol, etc., will apply to this trick. it is usual, when the table is finally set, for the clown to seat himself opposite the horse and pretend to share his meal. as the food commonly consists of hay pies, with brown paper crusts, the actual eating, we presume, is generally confined to the horse, but the fun is much increased by the clown taking a huge mouthful of hay, as though intensely hungry, and the horse then snatching it from his mouth, and devouring it himself. this latter feat is a mere modification of the kissing trick, where he takes the piece of apple from the trainer’s mouth.
an equestrian epicure.
to turn a hand organ.
this feat may be easily accomplished by the application of the plan already described, which we may term the “pistol principle.” after the horse has learned to take hold readily of anything offered to him, which knowledge he will have acquired if he has already learned to perform the tricks heretofore mentioned, the only additional instruction necessary will be to 49initiate him into the mysteries of turning the handle. when he has taken hold of the handle, gently move his head so as to produce the desired motion. if, when you let go of his head, he ceases the motion, speak sharply to him and put his head again in motion. with almost any horse a few lessons, and judicious rewards when he does what is required, will accomplish the object, and he will soon both be able and willing to grind out old dog tray, or norma, if not in exact time at least with as much correctness as many performers on this instrument. some time since there was a horse connected with franconi’s circus in paris, whose education had progressed finely until the organ was reached, as it was in due course of time; this appeared to be the stumbling block in his progress.
the hand organ performance.
it seems that the horse in question had already, under the lessons of his master, developed an unusual degree of intelligence, his eyes in particular becoming so full of expression that one could hardly doubt that he understood very much of what was said to him. his master had great hopes of him; he had been in training only a year, and he had already learned to lie down and get up as ordered, to enact the dead horse, to fire a pistol, and to give whichever of his fore hoofs was asked for. at length the professor began the task of teaching this promising pupil to turn a barrel organ; but either this particular species of exercise was repugnant to his tastes, or the sound of the organ was disagreeable to his ears. certain it was that the 50animal, usually so docile, was resolute in his refusal to touch the handle of the barrel organ. his preceptor labored at this point for a month without being able to vanquish the repugnance of the horse for the object so constantly presented to his attention. coaxing, caresses, and the whip were employed in turn, and equally without success. on these occasions the horse’s eyes expressed as clearly as though he had spoken it in so many words the absolute determination not to touch the handle of the organ. the trainer, though naturally of a violent temper, was always patient and gentle with his equine pupil. whenever he felt that the obstinacy of the horse was on the point of getting the better of his apparent calmness, he would leave the stable to give vent to his irritation out of the sight or hearing of the animal. to those who prophesied that the horse would never turn the handle of the organ, he replied, “he shall turn or die.” at length, perceiving that he made no progress in the work of vanquishing the animal’s obstinacy, he caused the windows of the stable to be stuffed with hay and then boarded over, so that not a ray of light was visible, and a couple of men, hired for the purpose, beat a drum incessantly beside the animal’s stall, relieving one another at stated intervals. the struggle was continued for four days and nights, during which the professor returned to the charge once every hour, presenting the handle of the organ to his refractory pupil, renewing his command to the latter to take hold of it.
the neighborhood was beginning to threaten the trainer with a summons before the police court, to answer to the charge of disturbing its slumbers with the perpetual beating of the horrible drum, which the unfortunate horse, comprehending at last that there was no other chance of deliverance left to him, suddenly seized the handle of the organ with his teeth and turned with all the little strength that was left to him. daylight was at once restored to the stable, the drummers were dismissed, all possible caresses and the finest oats were lavished on the now docile scholar, who never forgot the terrible lesson of his four days struggle, but, whatever may have been the sentiments with which he regarded the operation, never failed vigorously to turn the handle of the barrel organ whenever the word of command was given.
to feign lameness.
to teach a horse this trick requires a greater decree of labor and perseverance than is necessary to instruct him in almost any other. so wearisome is the task, and so long is the time required in its accomplishment, that in ordinary cases it is not 51worth attempting. we propose, however, in this little work to tell all that there is to be told about our subject, even though most of our readers should find many things impracticable in their own cases; and it is well worth while to explain all these matters though it be only to gratify the curiosity which is very naturally felt. an uninitiated person would probably be entirely at a loss how to set about accomplishing this feat, and it is doubtful whether he would succeed in discovering the secret of it without assistance. the mystery is not such a very great matter after all, and may be disclosed in a few words.
if you observe a really lame horse—if you haven’t any in your neighborhood just visit new york and you will find some beautiful specimens of the article—you will perceive that there is a constant jerking or bobbing of his head, caused by his lowering it as he treads upon the lame foot and raising it as he raises the foot again. now the appearance of lameness is caused just as much by the motion of the head as anything else, and a really sound horse, if he bobbed his head as he lowered and raised a particular foot, would appear lame; in fact he would actually go lame with this foot because the motion of his head would compel him to tread more lightly on that than he did on the others, exactly as in the case of the bona fide lameness. this is the secret, and the trainer’s efforts are directed to producing this motion of the head. to make a horse bob his head is a trifling matter, but to make him do so every time he treads on one particular foot, and to do so at the right moment, without hesitation or mistake, requires many weary lessons, and a stock of patience equal to that popularly supposed to have been possessed by the ancient job.
commence by taking the horse by the bridle, close to his mouth, and walking him very slowly. watch the foot with which you desire him to go lame, and each time that it comes that foot’s turn to step, press the horse’s head gently upward as he raises his foot, and downward as he again places it on the ground. let your motions be simultaneous with the movement of the foot, proceeding so slowly that there is no danger of becoming confused. by-and-by you may release your hold of the bridle and make the motion with your hand, which he will soon obey. you may then accompany the motion by any sound or word of command, and he will learn finally to make the motion on hearing this sound.
a correspondent of an english journal lately described a pony in his possession who in some way had picked up a knowledge of this trick and applied it very acutely to his own advantage. the gentleman thus describes the proceedings of 52the animal: “whenever the pony had been turned out to graze and was afterward brought up to be hitched into the carriage, it invariably turned lame after going a few yards—so lame in fact that i frequently turned back, being ashamed to drive an animal in such apparent pain; i say apparent, because no sooner had the pony been relieved of its harness than it used to canter around. the same pony when brought from the stable would go perfectly well as long as it wished, but when i drove it in any direction contrary to its inclination it became lame immediately; as soon as its head was turned homeward the lameness entirely disappeared.”
to teach a horse to walk over you.
this trick is sometimes exhibited by persons desirous of displaying either their own courage or the docility of their horses. there is a natural aversion felt by horses, and indeed by most animals, to treading on a living object. few horses will, of their own accord, unless they are under excitement, trample upon a child who may chance to be in the way. many instances are related of horses lifting infants from their pathway and gently putting them down on one side, where they were out of danger. it is therefore pretty safe to allow your horse to step over you, while you lie upon the ground. to insure against accidents, however, a little preliminary training is advisable. first, let an assistant lead the horse over your legs while you are seated upon the ground with those members extended. then, after a few repetitions, lie down at full length and let the assistant lead the horse over you in various directions. very soon the horse may be entrusted to walk over you, merely guided by the snapping of your fingers in the direction you desire him to go.
ordinary circus horses.
the common horses ridden by circus performers require some training before they are available in the “circle,” though it is slight compared with the instructions of the “trick” horses. the main thing is to break them to trot evenly and steadily around the ring. they may be taught this in an open field by attaching a line to the nose piece of the halter, which line the trainer holds in his left hand while in his right he has a long whip. starting the horse, the trainer turns slowly as the horse goes around; the line keeps the horse from going away from the trainer in any direction and so forces him to go in a circle; the whip is used to keep him at the proper distance from the man, and so preserve always the same sized circle. the whip 53should be held on a level with the horse’s shoulder and should be moved so as to accompany him around. subsequently the line may be removed and the horse will still follow the circle pointed out by the whip, and increase or abate his speed to correspond with its movements. the horse is then ready for the rehearsals of the rider, and soon learns to preserve his pace unbroken, regardless of the movements of the man upon his back.
breaking horse for the “circle.”
