I would recommend a
slower pace at first being likely to gain more ground at the ending
post, and not to perplex the scholar with _Aids_, of the effects of the
_Hand_, and more nice and essential parts of the ART: till the SEAT is
gained and CONFIRMED.

For this purpose let the seat alone be cultivated for some time, and
when the scholar is arrived at a certain degree of firmness and
confidence so as to be trusted, I would always advise the master to take
hold of the longeing rein and let the pupil intirely leave the governing
of his horse to him, going sufficiently to both hands holding his hands
behind him.

This will, I insist upon it very soon settle him with firmness to the
saddle, will place his head, will stretch him down in his saddle, will
teach him to lean gently to the side to which he turns so as to unite
himself to his horse and go with him and will give that firmness ease,
and just poize of body, which constitute a perfect _Seat_, founded in
truth and nature and upon principles so certain, that whoever shall
think fit to reduce them to practise will find them confirmed and
justified by it. Nor would it be improper to accustom the scholar to
mount and dismount on both sides of his horse, as many things may occur
to make it necessary, as well as that he cannot have too much activity
and address, for this reason tis a pity that the art of _Vaulting_ is
discontinued.--And there is another duty too essential to be omitted,
but hitherto not performed by matters, which is to instruct their pupils
in the _principles_ and theory of the _Art_, explaining how the natural
paces are performed, wherein they differ from each other, and in what
their perfection consists; which, by not joining theory with practice,
are unknown to many, who may shine in a menage, but work as mechanically
and superficially as the very horse thay[+] ride.

Having thus far said what with practice will be sufficient to form the
seat of the Horseman, I shall next endeavour to describe the use of the
bridle hand and its effects, &c.

OF THE BRIDLE HAND.

The knowledge of the different characters, and different natures of
horses, together with the vices and imperfections, as well as the exact
and just proportions of the parts of a horse's body, is the foundation
upon which is built the theory of the art of horsemanship; but this
theory will be useless and even unnecessary if we are not able to carry
it into execution.

This depends upon