Art Of Show Jumping

Lt.-Col. J. A. Talbot-Ponsonby on H.M. The Queen Mother's Flamingo Bay, an ex-racehorse being schooled for Show Jumping. FOREWORD BY LT, COL. M. P. ANSELL WITH PHOTOGRAPHS BY R. C. B. GARDNER A. S. BARNES AND COMPANY, INC. · NEW YORK COPYRIGHT © 1960 BY A. S. BARNES AND COMPANY, INC. LIBRARY OF CONGRESS CATALOG CARD NUMBER: 60-11440 PRINTED IN THE UNITED STATES OF AMERICA FOREWORD P as Talbot-Ponsonby so rightly says, should always be the goal for which every rider strives relentlessly. Perfection will seldom, if ever, be reached, but the rider who studies the technique in every detail will be the nearer to achieving success. In every competition there will always be found the four or five riders who battle for the first place, and it is the one who can maintain his concentration and offer every assistance to the horse who will be the winner. Once in the arena the rider cannot afford to make a single mistake, as unlike many other sports no second opportunity is offered, and the standard is now so high that every detail must be carefully studied. There can be no person better qualified than Jack Talbot-Ponsonby to write such a book as this, for not only was he a brilliant rider but he proved his greatness with success, and now in the past few years he has shown himself to be an equally great instructor. The more one learns about riding the more one realizes how little one knows. The writer of this book has had an opportunity of learning much from the many he has trained, for it was he who introduced Wilf. White into the international field, and also taught and guided Peter Robeson throughout his successful years. When training the Olympic team he could not fail to learn much from Harry Llewellyn, Wilf. White, Peter Robeson, and Duggie Stewart, all great horsemen, and equally ready to learn. The simplest way to learn is to watch and study the artistry of the successful riders, and how very much simpler is the task when one may study with photographs, all carefully selected, and with the important lessons briefly described. Many photographs are taken of jumping, but few photographers have the imagination of R. C. B. Gardner, who studiously avoids focusing his lens and attention solely on the actual obstacle. ERFECTION, Perhaps Talbot-Ponsonby owed much of his success to his great judgment when approaching a fence, and throughout this book the approach and take-off are emphasized. Riders often do not realize that success or failure is often decided many yards from the obstacle, or even when the previous obstacle is being jumped. This book is excellently written by a great artist, who was an individualist, and one who has discussed and studied every detail. Eiders are fortunate in having the opportunity of studying these details with such simplicity, and I only hope they will take the opportunity this book offers. Let all remember that no artist will succeed unless he studies the technique and detail of great masters, and Talbot-Ponsonby is a great master. CONTENTS Foreword Riding Over Show Fences 5 9 PART ONE: CORRECT TECHNIQUES The Approach The Take-off Over the Fence The Landing The Getaway after Landing 11 13 26 38 54 66 PART TWO: THE IMPORTANCE OF STYLE The Approach and Take-off Over the Fence Landing and Getaway Conclusion 77 79 86 94 100 RIDING OVER SHOW FENCES P the complete outcome of mental and physical endeavor, is a goal that must always be just around the corner. Yet the qualities necessary to strive relentlessly for it often bring out the best in us. The attainment of success, carrying with it peace of mind and justified inward satisfaction, can never be easy whatever the objective may be, and, however sensational the success may seem, one knows instinctively that a little something here, or a little something there, would have improved the standard of that success. In the field of sport it is happily the case that there is a very wide divergence of opinion as to the merits of different forms of sport. Some maintain that football produces the complete answer as entertainment, and entire satisfaction as a result of skill and effort. Others derive greater pleasure from watching or playing golf; whilst others again prefer to develop their prowess at athletics. Whatever sphere is chosen, the path to intended perfection is difficult. Hard work, determination and concentration, a thorough knowledge of the technicalities of the subject, and, perhaps first and foremost, enthusiasm for it, are imperative for success. The aspirant to fame must be prepared to give himself happily and whole-heartedly to the fulfilment of his ambitions. Who knows but one day perfection may no longer be just around the corner? Show Jumping, which has now definitely "arrived" in Great Britain as an international sport, is no exception to this. Being a dual performance, dependent upon the harmonious synchronization of action and movement of horse and rider, it takes precedence above purely individual sports. In addition to being a decorative and exciting spectacle, jumping can afford anyone an enthralling subject for study. Riding over fences in the ring is an art of its own, requiring skill, nerve, cool determination, and mutual sympathy and understanding. There is no doubt that some riders have a natural flair for Show Jumping, but there can be no reason why those not so fortunately gifted should 9 ERFECTION, not learn to acquit themselves with distinction, by intelligent application of the principles involved. My object, therefore, in compiling this small book is to draw attention, with the aid of photographs, to the ways and means of jumping, to emphasize the basic principles, and to endeavor to point out its technicalities. There are three main factors upon which success depends. The horse's natural jumping propensities must be of a sufficiently high standard to be capable of being molded to compete with great heights and spreads, and he needs to be bold, courageous, but nevertheless calm. His training on the flat will clearly determine the quality and efficiency of the whole performance, and the attitude or position adopted by the rider will affect directly his ability to control and influence the horse's movements and effort. For purposes of convenience and study, a Show Jumping round can be divided into five distinct phases which, in practice, merge into one smooth and fluent whole, showing grace and rhythm of movement. During the approach the rider is making arrangements for jumping the next fence; at the take-off, when the horse is making the propulsive effort required to clear the obstacle, the rider is adjusting his weight to conform with the horse's upward and forward movement; while airborne, the rider is again distributing his weight in order that it in no way interferes with the horse's jumping effort; on landing, he is ensuring that his attitude is conducive to instantaneous control; and immediately after, he is again commencing the approach. Throughout, the rider is relying on the dividends obtained from training on the flat. Initial education in free forward movement enables him to vary pace. Obedience to hand and leg makes possible control of stride, and facilitates changes in direction. The maintenance of balance makes the approach work smooth, the horse's jumping effort of maximum power, and his head carriage constant. The production of impulsion carries with it a reserve of energy, which can be disposed of at will. Jumping is a fascinating and tantalizing game. It embraces so many different angles of equitation. It allows of different styles and techniques. But there can be no doubt that the hunting field provides a basis which is shared by no other country. 10 THE APPROACH T approach can be taken as the total length of track taken by the horse during a round, with the exception of the distance covered from the time the forelegs leave the ground till the hind legs land the far side of the fence. Patently, then, it is the most important phase, and determines entirely the very necessary requisite of clearing the fence. The rider's objective, dependent upon training on the flat, is precision at the speed applicable to the event, which is coincidental with the approach phase. The ideal approach is unhurried, calm, smooth, and fluent.* It should, above all, be happy and confident. Considerations governing it cover a wide range. The line of approach is determined by the rider during his inspection of the course on foot, entailing supple and accurate changes of direction. At the point where the change of direction ends, the straight portion of the approach commences, its length being decided by the type of fence to be jumped. Here obedience to hand and leg enables the rider to shorten or lengthen stride to bring the forefeet to the most suitable spot for the take-off. Throughout, the maintenance of a fluid balance is of paramount importance. Always on the bit, with a low, constant, and slightly over-bent head carriage, the horse should be compressed toward his center, with the result that his hocks can engage beneath him, and his back can be rounded, affording him maximum power. The harnessing of the horse's energy, or impulsion, which is closely allied to collection, will provide the rider with a reserve force to cope with difficult situations or correct temporary shortcomings. It is only too apparent that training on the flat is the bed -rock of the ideal approach. The rider's attitude should be arranged so that he can give his indications clearly and quietly, maintain balance at all times, and generally ride the course according to plan. He must take care not to overweight the loins, and, by intelligent anticipation, control the situation with lightness and sympathy of hand and leg. HE * It should be full of life, showing zest and rhythmic co-ordination. 13 PLATE 1 The fence is of a spread variety. One of the governing principles of stride control is to bring the take-off close to the first element of a spread jump, in order to minimize the over-all distance to be cleared. This has been successfully arranged. The forelegs are leaving the ground for the take-off, whilst the hind are still sweeping forward and past them to produce propulsion into the air. Great use is being made of the back, loins, and hocks. The head and neck are nicely placed and have ample freedom. The rider's seat-bones are leaving the saddle, having done their work in maintaining balance and impulsion. His hands, if perhaps a little high, are keeping an even feeling on the horse's mouth, and his attention is centered forward for the next approach. He is, in general, alert but relaxed, and the whole picture shows rhythm and purpose. PLATE 2 Here the fence in question is an upright one. The most suitable spot for the take-off can, as a guide, be taken to be the height of the fence away from it. A bold horse, such as this one, can conveniently jump from a greater distance away. The stride arrangements have therefore gone according to plan, and the horse has arrived at the take-off in a high state of balance with plenty of impulsion. Great power is shown behind the saddle, and the hocks are engaging. The rider is comfortable, and his weight is distributed to give maximum assistance. The toe has, however, dropped a little, pushing the knee up, and, if the hands were lower, an even feeling on the mouth would be more certain. Definitely a happy and confident approach. 14 PLATE 1 PLATE 2 PLATE 3 The horse's muscular quarters are most certainly collecting beneath him, and his hocks are engaging. The stride appears right for the type of fence, and the head and neck are suitably placed. Although the rider seems to be functioning ably, and to be producing results, there is something not entirely satisfactory about his attitude. The impression is that, were difficulties to arise now, he would not be able to cope with them. This perhaps is caused by the lower leg being drawn too far back, often resulting, partly physically and partly psychologically, in a sudden feeling of incapacity of action. PLATE 4 The ultimate stride before take-off at the same fence. The horse's hind legs are moving forward for the last time, but, owing to the head being a little high, they may not come far enough forward to produce maximum power. The rider shows concentration and a nice sense of balance, but the body is perhaps inclined a little far forward at this stage. 16 PLATE 3 PLATE 4 PLATES 5 & 6 There is no doubt that control of stride is essential for the successful negotiation of a succession of formidable obstacles. In order to achieve this control, the rider must be capable of maintaining balance and impulsion, and he must have implicit obedience to hand and leg. If the horse's head carriage is low, constant, and slightly over-bent, if his back is rounded and his hocks are engaging beneath him, he is situated so that it is reasonably easy for him to shorten or lengthen stride when asked to do so. During the shortening process the horse should be compressed like a spring towards his center, the rounding of his back being accentuated. The pace should be maintained by a quickening of the hoof beats, and the head should remain low and steady. If the horse evades the rider's hand by throwing up his head, his neck becomes rigid and his back hollowed. This prevents him physically from obeying the leg, the hocks are left behind and pace and momentum decrease. It follows, therefore, that if this occurs when near the fence, it is going to be difficult for the horse to make a good jump. These two photographs show such an evasion taking place, and draw attention to the awkward situation in which the rider finds himself. 18 PLATE 5 PLATE 6 PLATE 7 The horse's back is rounded and his hocks are moving well under him. His outlook is keen but calm, and he is enjoying his jumping. Ethically, the rider is very correct. There seems, however, to be something missing. Concentration perhaps, and the incentive for victory? It is difficult to define, but she does not appear quite real, or at home on the horse. PLATE 8 The words unhurried and smooth are not exemplified in this picture. The horse's head is high, with the standing martingale taking considerable strain. This implies very clearly that time spent working on the flat to improve balance, obedience, and suppleness is needed before a good approach can be achieved. The rider would be well advised to use a different saddle, as the shape of this one forces his center of gravity too far back. 20 PLATE 7 PLATE 8 PLATE 9 One more stride before the take-off, and the arrangements during the approach have worked according to plan. Balance and impulsion are there, and a satisfactory jump should follow. The rider's back is a little constricted, due perhaps to a slight rigidity in the muscles of the knee. The whole picture is, however, workmanlike, and should produce good results. PLATE 10 The horse shows apprehension, and is losing pace and momentum as the stride is shortened. This would be fatal were the fence to be a large spread. The probability is that he has not been evenly on the bit during the approach as a result of an absence of real free forward movement. The rider is adopting a somewhat crouching attitude, making constructive leg action difficult. 22 PLATE 9 PLATE 10 PLATE 11 Balanced, with impulsion in plenty, the horse is showing clearly his enthusiasm. A slight disobedience to the hand is bringing his nose up and out a little, which may derive from a certain rigidity in the rider's back, and so through to his hand. A shorter stirrup, making the knee act more as a buffer, would help to lighten the hand. The general impression is one of life and courage. PLATE 12 "It should, above all, be happy and confident." Regrettably this does not seem to apply. There is growing loss of co-ordination, and it is doubtful if either horse or rider is sure of what the other will do next. This may be due to the fact that by having a very short rein, and by pushing the seat back in an effort to drive, the rider has a straight arm, and so has lost lightness of touch and a certain amount of control. The horse does not trust him. 24 PLATE 11 PLATE 12 THE TAKE-OFF B DAVENPORT'S words in his Dream of the old Meltonian are very apt at this stage. The quotation, "With your muscular quarters beneath you collected," describes a state of affairs eminently desirable at the take-off. The rider has made arrangements for the horse to commence his jump from the spot best suited for the fence in question, and must now ensure that he does not interfere with the drive from the hind legs into the air, but, in fact, assist by preserving balance. Loss of rhythm and co-ordination now may well adversely affect the parabola it is hoped the horse will describe. So it is important that the rider move his weight forward smoothly without displace ment of the lower leg; that his fingers and hands, being supple and separated sufficiently to allow of instantaneous independent action, keep an even feeling on the horse's mouth, following the natural movement of the head and neck; and that he looks forward along his chosen route for the next approach phase, which is not far away. ROMLEY PLATE 13 The horse's forelegs are being bent up from the knee, and the hocks, having come well under him, are, with great power, propelling him into the air. The rider is comfortable, is looking well forward, and is giving complete freedom to the back and loins. His hands are ideally placed for independent action if required, and are moving slightly back to retain an even feeling on the horse's mouth. There is no interference with the horse's natural movement, and the general impression is one of workmanlike efficiency. PLATE 14 Restricted effort seems to be the key-note of this picture. The horse has started his jump with great boldness, but the over-all rigidity on the rider's part has already curtailed the freedom of movement of the head and neck. This will result in a dwell at the initial stage of the next phase, "over the fen ce," and will demand great effort on the horse's part to clear the fence with his hind legs. Were the rider's knee more supple, he would not be so reliant on his hands for balance. 26 PLATE 13 PLATE 14 PLATE 15 The horse's forehand has left the ground, and his forelegs are just beginning to fold up. His back is well rounded, he is making great use of his hocks and quarters, and his whole demeanor is happy. A picture of confident power. The rider's position is very correct. He is beautifully balanced, and is distributing his weight forward smoothly to assist his horse's effort. His control is assured through a straight and even feeling on his horse's mouth, and no displace ment of the lower leg. He is alert but supple, and is looking along his next approach. PLATE 16 A picture of a different horse and rider taken a fraction of a second later at a similar type of fence. The horse is producing his final thrust into the air, and his forelegs are folding up. The rider has abandoned the saddle, and his body has been thrown forward so that he is lying along the neck, pinning his hands to it. His lower leg, being parallel to the back, has ceased to be operative. His attention is focused only on the take-off element of this fence. Throughout the jump there will be drastic changes in his weight distribution, and his control will not be regained until, certainly, the stride after landing. This will be unbalanced, adversely affecting the next approach. 28 PLATE 15 PLATE 16 PLATE 17 An interesting type of fence, being easily and gracefully dealt with. The horse's back is nicely rounded, and great propulsive power is thereby evident. The rider is at ease, and in complete rhythm with his horse, whose outlook is one of happy confidence. The maintenance of balance for the getaway is assured. A slightly shorter rein might perhaps be advantageous, in order to make instantaneous obedience to hand indication on landing a certainty. PLATE 18 There is a school of thought whose contention is that a distinct increase in feeling on the mouth, amounting at times to a definite pull, should be exerted as the hind legs come to the ground for the last time before the take-off, with the object of helping the forehand into the air. For some types of fence, notably those of parallel variety, it is, without doubt, beneficial. There are, however, dangers to it. One, for instance, is that the horse may well take off when it is the rider's intention to shorten stride close to the fence. In this case the pull has acted on the rider, bringing his leg to a standing position with the stirrup-iron as pivot, and drawing his hands back against his ribs, where they cannot act lightly or independently. The jump will be jerky and unharmonious, with a real danger of loss of balance on landing. 30 PLATE 17 PLATE 18 PLATE 19 The horse is giving final propulsion from the near hind leg. His forelegs are well tucked up, and he is beginning to stretch his head and neck out to gain distance, and to help the hind quarters up. The rider is well with his horse, and is master of the situation. His hands are separated, ready to give all the rein required. If, perhaps, showing a little rigidity at the knee, he is neverthe less nicely balanced, and his position shows ease and fluency. His concentration on things to come is very apparent. PLATE 20 The horse has taken off very close to the fence and would appear to have lost impulsion. The rider's weight is placed very forward and to the right, resulting in a backward displacement of the lower leg, and making efficient and helpful hand action impossible. In fact, contact with the right side of the horse's mouth is lost, and the left hand is forced up on to the crest. Such a position will interfere with the horse's effort, the landing will be unbalanced, and the whole lacks harmony. 32 PLATE 19 PLATE 20 PLATE 21 The horse's hocks are well under him, but stride arrangements on the approach have brought his take-off very close for the type of fence in question, making the jump difficult. To obviate this, the rider is bending his forehand slightly to the left so as to jump the fence at an angle, thereby gaining distance. In so doing, he has fixed his knee muscles, which has set the lower leg against the hand. Thus he is standing in his stirrups, and his balance is sustained through his hand to the horse's mouth. He will interfere with the parabola which he desires the horse to describe, and, until relaxed, will not be capable of complete control. Rigidity of the knee communicates itself to the rest of the body. PLATE 22 The horse has started a good, if somewhat deliberate jump. The rider, however, seems over-anxious to arrive the far side of the fence. He has pivoted, with a straight leg, on his stirrup-irons, and is very much in front of his horse. In consequence, the hands are very high on the neck, undermining control. There can be little rhythm in the ensuing phases. 34 PLATE 21 PLATE 22 PLATE 23 Final propulsion has been completed, and all but the near hind toe has left the ground. The head and neck are stretching out, and the forelegs are folded up as close as the body allows. The rider's weight distribution is assisting the horse's effort, and the hands conform with the outward and downward movement of the head. Note that, from the horse's mouth to the rider's hip, the rein, arm, and body form practically a straight line. A beautifully controlled and elegant jump. PLATE 24 The horse's head and neck are restricted, and he seems uncertain of the wis dom of stretching forward. The rider's position may well account for this. He appears to be carrying out the first precept of riding, to remain on board, by grasping his horse firmly round the upper part of the neck, and to have abandoned any pretense of rendering assistance or of retaining control during the jump. As a result of his attitude, the reins no longer control the forehand, the lower leg, being pushed to the rear, can take no constructive action, certainly until after the horse has landed, and, by leaning down to the left, his weight is concentrated through his right shoulder on to the horse's neck. 36 PLATE 23 PLATE 24 OVER THE FENCE P can be a fascinating business, and although the majority of people profess to dislike being taken, it is remarkable how interested they become when their own picture is in evidence. Over the fence is the moment usually chosen for Show Jumping photographs, mainly no doubt because it is the most spectacular, but also because it is the moment when the horse and rider are apt to look their best. When analyzing such photographs, the horse's attitude in general, and the use he is making of his limbs in particular, will frequently show whether the rider is assisting or hindering him, and in what way. Different theories have been put forward regarding the ideal position for the rider, but surely this must be resolved by two things—assistance and control. To assist his horse to clear the fence, the rider must distribute his weight, and use his fingers and hands to keep an even feeling, so that balance is not disturbed. To retain control, which he must have in the very near future upon landing, he must be looking along his chosen route, his hands must be positioned for independent action, his lower leg must be ready to give any indication required, and his seat must be far enough out of the saddle to obviate any possibility of cramping the loin muscles, but not so far that there is a danger of pivoting on the stirrup-iron, which will at once act on the hands. Moreover, he should be relaxed and supple, for any muscular rigidity will not only communicate itself to the horse but also impede split-second action. The "over-the-fence" phase is the one during which peculiarities in the rider's position are most noticeable, and, in consequence, criticisms are usually leveled at him at this phase, to the exclusion of the others. Although pro foundly important, it is only a part of the whole performance, and it would be a great mistake to judge a rider's quality solely on his position "in the air." HOTOGRAPHY 38 PLATE 25 PLATE 25 Everything according to plan, and an excellent example of balance and poise. The rider is in complete harmony, and on the alert for any eventuality. The attitude adopted is all that could be desired, combining assistance to the horse, and sympathetic control over him. The positioning of the rider's hand and leg, the weight distribution, and forward outlook along the next approach, should be noted. Exhibitions of this high quality will always draw the crowd and merit their approval, thus being of inestimable value to the future of Show Jumping. 39 PLATE 26 The horse is enjoying himself, and showing approval of the arrangements made during the approach and take-off. His forelegs are well folded, and he is beginning the forward and downward movement of head and neck. The rider's attitude is precise and rhythmical. He is riding with a short rein to keep an even feeling, to ensure that the horse knows where his hand is, and to maintain complete control during the next phases of the jump. His attention is centered on the next fence. An excellent jump, taken with ease and fluency. PLATE 27 The horse is making a bold jump. The rider, by allowing his lower leg to travel forward, has set himself against the horse's forward and upward movement, so that his center of gravity is too far back, and his hands are forced up. The result may well be a dislodgment of the fence by the hind legs, as the horse will not be able to round his back correctly, due to the overburdening of his loins. A horse cannot systematically clear large obstacles if ridden in this way. 40 PLATE 27 PLATE 28 A small fence, but dealt with by horse and rider in classical style. The landing phase is about to begin, and the rider is so placed that he will be able to carry out any maneuver he may deem necessary. He is looking straight ahead, where no doubt the next fence is situated, and is beginning to measure his stride to it. He will land in a highly balanced state, and will be able to shorten or lengthen stride immediately to suit the occasion. PLATE 29 The horse is jumping with a flat back, and a knock down with the hind legs seems probable. The rider is endeavoring to rectify this by throwing his weight as far forward as he can. In doing this he has pushed his elbow out, making an even feeling difficult. He has obscured vision to the right by leaning down on the near side, and, with an unbalanced landing a distinct probability, another fence close to this one might prove to be very awkward. 42 PLATE 28 PLATE 29 PLATE 30 A very pleasing picture. The rider is sitting very correctly, and is master of the situation. It is of interest that the right rein rests between the little and fourth fingers, denoting a very light feeling on the mouth. A more complete folding up of the horse's forelegs would be desirable. PLATE 31 The theory must be that, if the rider's weight is entirely segregated from the horse, he will have complete freedom from any form of human embarrassment. After all, a horse jumping loose seldom makes a mistake. In fact, the greater portion of the rider's weight is being taken up by his forearms and hands on the horse's neck. He has abandoned contact with the mouth, his outlook does not allow for consideration of future developments, and he will not regain a position in the saddle from which control can be exercised until well after the landing phase. 44 PLATE 30 PLATE 31 PLATE 32 It is affirmed in some quarters that the introduction of time as a deciding factor has encouraged flat-back jumping, and that horses no longer arch themselves properly over a fence. This is a very sweeping contention, and must surely be a fallacy when the great heights and spreads now crossed in puissance events are considered. Speed events are tests of quick thinking, obedience, impulsion, and handiness. The courses designed for them are not tests of big jumping, and quickness in the air is often decisive. From the dimensions of the fences shown in this picture, it can be assumed that it was taken during a speed event. Ethically, a more rounded back could be desired at this stage. The fence is, however, being given enough room, and the rider is ideally placed for a quick getaway after landing. He will be able, as a result of his position, to make any sharp change of direction without loss of balance. PLATE 33 A very different type of fence, high, flimsy, with a large spread, built as an eliminator rather than as a test of quality. A knock down of the farthest ele ment seems certain. Perhaps if the rider's weight distribution and general position were adapted for assistance it might yet be avoided. Now is the moment for great extension of the head and neck to help the hind quarters, a reaction rendered impossible by the present position of the rider's hands. 46 PLATE 32 PLATE 33 PLATES 34 & 35 There is no gainsaying that "it is results that count," or that "the proof of the pudding is in the eating." The general public expects something exciting and spectacular in sport, something that looks difficult and hazardous. For the less knowledgeable, acrobatics by the rider over the fence fulfill all these requirements. In addition to this, the practice of acrobatics has, does, and always will bring results over certain types of courses. It is a method of riding, and, as such, need not be condemned out of hand as an evil practice. Like anything out of the ordinary, it is anathema to some and a joy to others. If analyzed, the following facts emerge. The rider starts to leave the saddle at or before the take-off. He has no contact with any part of the horse, except the mouth, whilst over the fence. There is no weight, except again through the hands, on the horse during this phase. His seat, speaking anatomically, cannot touch the saddle again until, at earliest, the ultimate stage of the land ing. Leaving the question of assistance to the horse as too controversial a subject, it can be seen that, from just before the take-off to after the start of the getaway, the rider's control ceases, except to a very slight degree with the hands. This must result in the rider's incapacity to produce impulsion or to maintain accurate balance. Therefore, when fences are sited at difficult distances from each other, the rider is not in a position, au moment critique, to render assistance or to exert control. On an international level this method demands too much of the horse's courage, and cannot be successful. 48 PLATE 34 PLATE 35 PLATE 36 A picture of live-wire, elegant efficiency. The tactical plan for riding the course has been worked out, and is being put into practice. A quick change of direction to the right after jumping the fence has been decided upon. The rider is looking along the chosen route, and is commencing the change of direction before actually landing by bending the horse's head and neck, and distributing weight, slightly to the right. A marvelous technique, with the will to win clearly demonstrated, which will pay untold dividends in speed events. PLATE 37 The horse is nearly at the summit of a fine leap over a fence of some magnitude. This must indicate that the approach and take-off phases have been balanced and full of impulsion, which, in its turn, does more than suggest that the rider must have been in a position to produce or maintain these two essentials. It is surprising then to find him adopting a somewhat monkey-like attitude at this stage, and remarkable that, with no contact at all with the saddle, he is able to keep an even feeling on the horse's mouth. It is as well for him that this fence does not constitute the first jump of a difficult treble. 50 PLATE 36 PLATE 37 PLATE 38 This is probably a fence in a speed event course. The rider's intention is to change direction quickly to the left on landing, and, to save precious seconds, he is trying to commence the change in the air. The plan is excellent, but the execution of it is not meeting with success. This is due to the fact that, in attempting to obtain the necessary bend to the left, he has turned his left elbow, forearm, and hand up and out, so neutralizing the direct rein action, and having no effect on the horse's forehand, which remains straight. This arm movement has pushed his seat down, and the consequent undue weight on the loins will probably cause a knock down behind. PLATE 39 The whip is an artificial aid for use as a second-line reinforcement, the spur being the first. If carried, it can, obviously, be legitimately used. When negotiating a water jump, which demands pace in the approach, and a quick take-off to get distance, it may at times be necessary to bring it into action. Care must, however, be taken that it is used at the right time, and that the rider's proper position is not changed because of it. Here it would appear to have been employed a little late. The effect of the arm and whip being left behind the rider's body is to encourage his lower leg to move forward. In order to retain his balance, he is sensibly making use of the martingale neck-strap. Nevertheless, he will not have full control on landing, and it must be remembered that it is perfectly in order to site another fence as near as three strides from a water jump. 52 PLATE 38 PLATE 39 THE LANDING A over the fence is nearly finished, and control has started. By giving a little more rein, preferably with the fingers, the horse can be encouraged to make very full use of his head and neck, thereby helping the hind legs to keep well folded to clear the fence. At the same time care must be taken that the weight is forward to allow freedom of the loins until the hind legs are, in fact, out of danger. Control has started, to the extent that a change of direction can be commenced, by slightly bending the head the required way before the forefeet touch the ground. As landing materializes, so the degree of necessary control increases. Balance and impulsion must be maintained, a quick change of direction catered for, and, with the next fence in the offing, the approach to it is about to commence. It is self-evident that any peculiarities in the rider's position over the fence will directly and adversely affect his control on landing. SSISTANCE PLATE 40 The horse has jumped big, with great boldness, and is very much on the alert. The rider clearly shows his concentration and determination. Although his knee might, to advantage, be a little more bent, so bringing the lower leg back, he is positioned to take any action he may deem necessary for the negotiation of the next fence. He appears, above all, to be "one with his horse." PLATE 41 The horse is landing short with a stiff back, having no doubt lacked impulsion at the take-off. The rider is not in harmony, and his attitude is rigid. The position of his lower leg will have to be altered before it can be usefully employed. He will have difficulty in regaining fluency, and the approach to the next fence will be seriously affected. 54 PLATE 40 PLATE 41 PLATE 42 A particularly good example of suitable placing of the hands on landing. They can, from such a position, be used instantaneously, independently, and in any direction. Horse and rider are prepared for a balanced getaway, and the horse will be in his stride. PLATE 43 Neither horse nor rider seem entirely comfortable. A tendency to pitch has brought the head up, and the hind legs are dropping close to the fence. The rider's generally stiff attitude has accentuated this. The body has come back too soon, bringing the hands up with it. The whole lacks elasticity, and the subsequent strides will be labored. 56 PLATE 42 PLATE 43 PLATE 44 A great effort has been made by the horse behind the saddle, and the fence is successfully cleared. He seems happy, full of confidence, and ready for any eventuality. The rider has an easy but firm feeling on the mouth, and is in a position to make immediate stride arrangements during the getaway phase. A nice blending of dash and poise. PLATE 45 The fence is safely dealt with, but, looking to the future, the situation seems to have deteriorated, and neither horse nor rider is comfortable. This seems due to the fact that the rider has stiffened his back, which has brought his hands up. His toe is pointing down, disengaging the muscles in the thigh, and making the position in general loose. The horse will dwell at the start of the getaway and lose impulsion. Although straight, the rider's back should be relaxed and supple on landing. 58 PLATE 44 PLATE 45 PLATE 46 A vigorous and effective display, showing purpose and keen enjoyment. The rider has given able assistance, and is ready to take control. Good use is being made of the fingers of the left hand, but the right has perhaps moved across a little too much, and is in danger of losing independence. PLATE 47 Although well over the fence, the horse seems to be jumping away from the rider, and the getaway after landing may well be out of hand. The rider has been a little left, causing the seat to come too far back in the saddle. To counteract this, and in an attempt to get the weight more forward, the back has been rounded, and the lower leg pushed back. This has constricted the whole position, and will prevent constructive action later. The hands have, however, kept an even feeling on the mouth. 60 PLATE 46 PLATE 47 PLATE 48 The horse has given the fence plenty of room behind, and is landing steeply. The rider seems a little awkwardly placed. He is pitching on his knees, hi s lower leg is saving his seat and will not be immediately available upon fully landing for maintaining balance. He is using his fingers nicely to give the requisite amount of rein, but is looking down at his horse's head, and so will waste a stride or so before considering his arrangements for the next approach. PLATE 49 A full stride will be taken on the flat before the rider has regained his seat in the saddle. During this period he will have no control, and will not be in a position to make any arrangements for the approach to the next fence. At the moment his whole weight is centered through his hands on the horse's neck, thus rendering them entirely ineffectual. If the fence now being negotiated were a double, and if the distance between the jumps did not suit the stride, the loss of impulsion inevitably arising from the rider's attitude on landing would result in serious difficulties. 62 PLATE 48 PLATE 49 PLATE 50 A very smooth, light, and rhythmical landing. The horse is nicely balanced. He shows very clearly his appreciation of a job well done, and his readiness for future endeavor. The rider is most suitably placed, and, apart from a slight tendency to lean on the neck, is ready to deal with any eventuality. A thor oughly competent and graceful performance. PLATE 51 The horse is about to make his getaway after landing. The rider has main tained balance and fluency. His workmanlike attitude will enable him to produce the degree of impulsion required, and so to lengthen or shorten stride to suit the occasion. He is master of the situation, and confidence between horse and rider is very evident. 64 PLATE 50 PLATE 51 THE GETAWAY AFTER LANDING T is often a certain feeling of relief when a fence, particularly a difficult one, has been left safely behind. Such a feeling endangers concentration, and for a few very important strides the rider may forget his preconceived plan and a very momentous phase in the round may be indifferently ridden. In practice, the getaway after landing merges directly into the approach to the next fence, which follows the route chosen when the course was inspected on foot. The fundamental necessity, therefore, is maintenance of balance and impulsion, without which no fence can be adequately crossed. The ideal is to land in a state of balance identical to that at the take-off, which will mean that the horse gets away in his stride and on the bit. A pause or dwell at this stage will result in loss of impulsion, which will have to be re-created, thereby disturbing the rhythm and fluency of the whole performance. If this occurs when the fence is a double or treble, the rider will, very obviously, at once be in difficulties, particularly if the distances between the jumps do not exactly suit his horse's normal stride. If the course builder has decided on a test of impulsion, the distance will be wide, and if of activity and obedience to hand and leg, short. Again it may be necessary to change direction very soon after landing, to render the line of approach to the next fence favorable. There is, indeed, a diversity of problems that may have to be solved and the answer to each one of them lies in obedience, balance, and impulsion. It is very apparent, therefore, that the rider must be so placed that he is capable of taking complete control, and small details in his position can have far-reaching results upon his actions. If his lower leg is in its natural position behind the girth, if his seat, having been in the saddle immediately upon landing, is just out of it to give freedom to the loins, if his hands are light and separated for independent maneuver, and if he is looking along his approach, the result should be smooth and workmanlike. Finally, there can be no question but that acrobatic attitudes over the fence effectively undermine control during the first, and even the second, stride after landing, and it is true to say that unless the horse knows where the rider's hand is he will never trust it. HERE 66 PLATE 52 PLATE 52 Obedience, balance, and impulsion are the ingredients. Blended together they produce the horse in his stride, and on the bit. Depicted here is the first stride of the getaway after landing. It ably fulfills the essential conditions. These conditions derive from the rider's position. 67 PLATE 53 The first stride of the getaway again, and the ingredients are nicely blended. There would be more certain impulsion, and the horse would be more firmly on the bit, if the rider's seat were giving the loins more freedom, and if his toe had not dropped, so pushing the knee up. PLATE 54 The horse seems lacking in lightness and elasticity and to be dwelling a little. The position of the rider's lower leg, with the toe down, makes the creation of impulsion doubtful, and certainly not immediate. The right hand, being off the rein, seems however to indicate that the next fence, on which attention is rightly focused, is some way ahead, giving him time to take remedial action. 68 PLATE 53 PLATE 54 PLATE 55 The horse is getting away on a long stride, having jumped well out covering a lot of ground. He is well on the bit and his head and neck are nicely placed. The rider is sitting easily, in harmony with the horse and in a position to start at once any alteration of stride necessary for the next approach. The body may perhaps be inclined a little too far forward, minimizing strength of leg pres sure. A fine action study, full of life and freedom. PLATE 56 Although the rider is well with the horse, a shorter stirrup would materially assist her balance. This would have the effect of more use being made of the knee as a buffer, obviating any tendency of the body to swing more than intended either forward or backward. This in its turn would help the arms and hands to be entirely independent—an essential item in a rider's equipment. 70 PLATE 55 PLATE 56 PLATE 57 The impression is one of heaviness and effort. The stirrup seems unduly long, making the rider's leg practically straight. He is turning his body toward his line of vision, with the result that the right knee has come away from the saddle. A shorter stirrup would undoubtedly assist lightness, and help in the maintenance of a more active balance. PLATE 58 Here readers are invited to form their own opinions on the author's style. 72 PLATE 57 PLATE 58 PLATES 59 & 60 The commencement of the first stride of the getaway in sequence. Readers are again invited to form their own opinions! 74 PLATE 59 PLATE 60 M ORE can be learned in ten minutes of practical demonstration than in hours of theoretical eloquence. When young, one almost certainly has an idol who is copied and dreamt of, one who can do no wrong, and who exemplifies perfection at the sport most favored at the time. Being primarily receptive, children will copy to the last detail, and without difficulty, their hero's actions and mannerisms, and, not having the experience or knowledge to differentiate between the really good and the not so good, they can unwittingly develop bad habits which in later years are extremely hard to eradicate. Jumping careers can, indeed, be made or marred by example at this stage. It is, therefore, eminently desirable that children should be taught Show Jumping on sound and orthodox lines, resulting in a style that is pleasing to the eye in addition to being effective. It must be remembered that the sport of Show Jumping depends for its existence upon the support of the general public. Without such support, Horse Shows could not be staged and jumping events would not take place. It is, then, up to competitors to ensure that they do, in fact, provide their audience with a harmonious spectacle, coupled with an exhibition of skill. Juvenile classes can do a great deal to popularize jumping, and it is, of course, from them that it is hoped to find international stars of the future. With this in view, it is well to bear in mind that good style makes for efficiency. The emulation of a recognized artist should be encouraged but any riding peculiarity which may hinder progress, and so success, should be rectified before it develops into a permanent habit. 78 THE APPROACH AND TAKE-OFF PLATE 61 The last complete stride before the take-off has started. The rider is very nicely placed, and looking well forward. The seat-bones are in contact with the saddle, which will enable a strong leg to be used if required. The body is inclined forward sufficiently to allow freedom of the loins, and the hands are well separated, giving scope for independent action. In order to be able to make full use of the fingers, and so have a lighter touch with the hand, it would be advisable for the rein to pass between the third and fourth or fourth and little fingers. PLATE 62 The pony does not appear very willing to cooperate, and is paying little attention to the rider's admirable efforts to produce impulsion and keep up momentum. This may be a matter of temperament, but nevertheless shows clearly the very great importance of free forward movement as the bed-rock of all training. PLATE 63 The rider has to all intents and purposes become a passenger through leaning too far forward. The pony seems, however, to be quite happy, and perfectly ready to deal with the situation. This position makes strong use of the leg impossible and tends to push the hands too far up the neck, rendering them ineffectual for constructive action. 80 PLATE 62 PLATE 63 PLATE 64 The pony is enjoying it all, and shows calm confidence. The near foreleg seems a little late in folding up, but the process should be completed in time. The rider is well with her pony, but tends to pivot round the knee, due to dropping the toe. This makes her general position a little loose. The hands are correct and sympathetic and her attention is directed on the next approach. A pleasing and competent achievement. PLATE 65 The pony is saying so clearly: "I am doing my very best, why can't you give me some freedom?" A picture of acute discomfort! Courage is an essential attribute in a show jumper, but it can easily seep away from constant, somewhat painful restraint. 82 PLATE 64 PLATE 65 PLATE 66 The commencement of a good jump, which will be progressively restricted due to the rider's attitude. He is using his knee-joint as a stiff pivot, and putting the weight of the upper part of the body through the hands on to the pony's neck. This will prevent the hands from moving forward smoothly to give rein, and so freedom, to the head and neck later in the jump. The result will almost certainly be loss of impulsion and momentum on landing. The knee-joint must be supple to ensure independent activity of the lower leg, whilst the importance of looking up along the chosen route cannot be over-emphasized. PLATE 67 The general impression is pleasing and the pony is jumping freely and well. Minor changes in details of the rider's position would lead to greater efficiency. The toe has been turned out, and a little down, with the result that the knee has come away from the saddle, making the seat loose. The back of the calf is pressed against the pony's side, preventing proper use of the lower leg. Also it is inadvisable to carry the whip in this way, as, by so doing, the whip hand cannot operate correctly on the rein. 84 PLATE 66 PLATE 61 OVER THE FENCE PLATE 68 A very nice picture of confident efficiency. The pony is jumping well within himself, and is enjoying the whole performance. The rider, whose seat is perhaps a shade too much in the saddle for this stage of the jump, is in an excel lent state of balance, and, owing to her position, will have complete control on landing. It is very refreshing to see fingers being used in the proper way. PLATE 69 The subject of the acrobatic method of riding over fences has already been mentioned. It is a pity for it to be allowed to creep in early in life, for it is hoped to discover future international riders from the juvenile classes, and at that level acrobatics cannot succeed. 86 PLATE 68 PLATE 69 PLATE 70 Throughout this section of the book the subject of proper use of the hands crops up again and again. It cannot be emphasized too much that the hands must be free and independent over the fence, in order to allow the horse's head and neck to stretch out and down, so helping the hind quarters up. In this photograph a very competent and elegant position would be improved, and the pony have more useful freedom of head and neck, if the hands were lower and more widely separated. PLATE 71 The pony is making a bold jump and the rider is showing dash, determination, and the will to win. She should take care that her lower leg does not move out and back too much and that the length of rein at the take-off is suitable for the next phases of the jump. At the moment the reins are on the short side, which will probably necessitate slipping them before landing to give effectual freedom to the pony in front of the saddle. Although slipping is sometimes a necessity, and never wrong, it does give the rider just one more thing among many to think about on landing, and, when circumstances do not demand it, should be dispensed with. 88 PLATE 70 PLATE 71 PLATE 72 A certain amount of work without stirrups will make the seat firm and independent. The hands can then be used through the reins to the horse's mouth as means of control and guidance and not for purposes of personal balance. In this picture the rhythm is there, but the performance is spoiled by misuse of the hands and by looking down. PLATE 73 The true exponents of the acrobatic method of jumping fences always look up, realizing that it is an essential for any form of riding. This photograph suggests that the acrobatic method is the rider's aim. He has thrown his weight forward, but due to looking down and pushing his hands out, there is no upward weight displacement. He has by now dispensed with control. It is a method to be deplored in children, for it cannot lead to the top. Any tendency toward it can easily be stopped if spotted in time. A suggested cure is to allow practice at only double- or treble-type fences, siting the jumps at different distances from each other. 90 PLATE 72 PLATE 73 PLATE 74 A young competitor performing very creditably. She should concentrate on keeping the toe up and heel down, and practice looking up and forward at all times. This would help her to get with the pony, giving it assistance over the fence. PLATE 75 The future is always important, if at times somewhat of an unknown quantity. Looking down to the left has brought the right hand up, marring an otherwise competent position. "Always look up in order to be prepared" should be this rider's motto. 92 PLATE 74 PLATE 75 LANDING AND GETAWAY PLATE 76 Nearing the end of the landing phase, and all goes well. The pair are alert, and should get away on a good stride. The rider is looking forward and summing up the arrangements to be made for the next approach. He is sitting nicely but is putting a little weight on the pony's neck through the right hand. This is a habit that should be quickly eradicated, as constructive action with the right rein cannot be attempted until the hand has returned to its proper position. PLATE 77 A very different state of affairs. The pony has made a very free and bold jump and no doubt has moved quickly through the air. The rider, in his efforts to go with him and get his weight forward, has pushed his arms out, at the same time throwing his head and body down. This has pulled his knee up and off the saddle, with consequent displacement of the lower leg. He will not, therefore, have control at the beginning of the getaway. The picture suggests that the reins were too short at the take-off. 94 PLATE 76 PLATE 77 PLATE 78 There is a regrettable tendency among the younger generation to use the hands as a buffer against the pony's neck to stop the forward swing of the body when landing and to help balance. The result, of course, is that control disappears. Not only are the hands themselves inoperative until moved to their proper place but the body and legs are also adversely affected. A possible cause of this habit is the use of the mane and not the neck-strap as a safeguard against loss of balance over the fence. The hand is often to be seen sliding up the pony's neck on the approach preparatory to holding the mane at the take-off. Here the left hand is being used very far up the neck to prevent the rider from pitching further forward, and, as can readily be seen, control will not recommence until after the next stride, at the earliest. PLATE 79 An otherwise satisfactory landing spoiled by the right hand being used high up the neck to take up weight and retain balance. The result of this —lack of control at the getaway—will not, of course, materially affect the issue if the jumps are sited some distance apart. But difficulties will at once arise in the case of double or treble fences. 96 PLATE 78 PLATE 79 PLATE 80 Rhythm, poise, and elegance, combined with a thoroughly sound position, will always bring results. A very nice picture of workmanlike efficiency. PLATE 81 What is done is done! The unforgivable sin! Never look round. 98 PLATE 80 PLATE 81 CONCLUSION T somethings here and the little somethings there are, after the event, plainly discernible. I£ they can be embodied in the normal everyday technique, the will to win emerges as a driving force, always present, and reaching its peak when the corner is tightest or the occasion the most momentous. Such little things are not entirely acquired by application to books and learning. Individuality, in all spheres of life, fosters progress and great deeds. In Show Jumping it can tip the scale to triumph. It may take the form of some mannerism or idiosyncrasy not in itself complying exactly with the technical detail demanded by theory. But, so long as it does not act in opposition to the precepts of a basic principle of jumping, it can be the cornerstone upon which success is built. Artists, those who excel at a particular craft, are not of necessity the victors when their métier lies in the field of sport. The little something extra, call it what you will, peculiar to the individual, backed by determination, highly developed concentration, and nerves which are taut but nevertheless serene, will transform the purely scientific artist into one of strength and practical magnitude. Humility is the most admirable of the virtues, and the searcher for perfection needs it in abundance. Constructive criticism, founded on sound and well-tried principles, has been the intended theme of this book. Explanation, through the medium of photography, has been used to illustrate the major and the finer points of jumping. Photographs have been chosen with the sole purpose of making clear specific faults and virtues, the horse and rider in each case being purely incidental to the context, having no bearing on personal issues. Show-ring Jumping is, indeed, a fascinating and tantalizing game. It is one in which all of us, from the gifted to the uninitiated, can find pleasure and an opportunity for individual prowess. It is a partnership worth promoting—one that can be happy and confident, based on the mutual respect and sympathy between horse and rider. 100 HE little