Academic Art of Riding
in 2004 I found the book by Bent Branderup, it, or more it's subtitle
"For the ambitious leisure rider", totally changed my
approach to riding: suddenly it was thinkable even for me, an
ordinary spare-time rider, to actually get near the lessons of the
high school of riding!
there was not solely the way over the traditional academies Jerez, Vienna or Lisbon, but from now on I could hope to learn some
pieces like the best did for centuries myself . Beside my work and
all the other duties, in my own limited speed, with the simple means
I only had at my disposal! Thus it became for me the most valuable
book of my lifetime!
most important lessons I learned during the last years:
don't show any pain if it is not sheer overwhelming! It would mean
sure death for a flight animal to openly show the predators any
we must search consciously everyday for the slightest signs of
discomfort, as every time we notice s.th., there will be considerable
horse doesn't understand a softly given aid, it absolutely won't help
to give it harder!
lessons are there for the horse and not the horse for the lessons!
They shall make the horse fit in every aspect (psychic and bodily)
and so enable it's use in the highest degree.
very nice saying: Until the age of 6 he is the friend of your foe,
after that he is your friend and from the age of 12 he will a horse
means to endow an action with a seemingly reasonable explanation.
in the art of riding with its multiple and varying challenges a
rationalizing often appears, and because the explanation seems to him
sufficient enough, the rider perhaps gets so used to this mistake,
that he performs it for decades, without any arising of doubt, not to
speak of correcting it. And if every rider around him acts in the
same wrong way, he will even get encouraged, and change for the
better will become virtually impossible for him.
the question, why he is nearly permanently looking downward, the
rider will answer astonished, how someone might pose such a dumb
question: “ I must look down to watch how my horse is moving!”
the subsequent question invariably will produce anger: “What
exactly can you see when looking downwards? You cannot see how the
horse’s legs are moving, or how the hooves are setting, because the
horse’s shoulders block your view completely. Watching the
movements of the shoulders brings only very seldom a useful
information (sole exemption: when a beginner wants to test, if the
shoulders are getting more free, he might give a touchée, to produce
a pronounced twitch of the horse's shoulder, which would be nearly
impossible, if it is “lying on the shoulders”; whereas a more
experienced rider naturally can sense this twitching without having
to look down).
the bending of the horse’s neck the rider can judge sufficiently
without lowering head and gaze and even control its path better,
which the horse shall go, when he orientates himself at markers
farther away, for example circle markers, and checks posture or
straightness of the horse at horizontal lines like riding arenas
walls. Has the rider but succeeded in permanently holding his head
upright, he will notice astonishedly after some time, that in reality
he had already always felt every movement of his horse rather than
seen it (and that the only occasion, in which looking down had been
delivering a useful information, had been when as a beginner he
hadn’t been able to feel if the horse was in right- or lefthand
true reason, why riders are always looking down, is the forward
inwards rotation of their shoulders due to a wrong holding of their
hands (pronated instead of correctly slightly supinated hands).
to insecurity or little confidence in their horse many riders can
find it hard to correct this stance: as rolled-in shoulders lead to a
sitting on the horse's forehand, they feel this impedes the horse's
abilty to race forward suddenly (which some horses with a high
percentage of hot-blood might be prone to). But this permanent
"brake" also prevents the horse's shoulder to become free!
word “actually” indicates a rationalization fairly precisely, as
it means, that one had acted against better knowledge, unreasonably:
the rider knows, that he should hold his head upright and his gaze
straight forwards in the direction he goes, but….
also "Research" here
I use the Full Potential of My Knabstrupper Horse?
my account of the potential the Knabstrupper owns, one might be
astonished that this horse is suitable for nearly everything
(naturally only for home-use as a recreational horse as it is
naturally not capable for high-end disciplines: he would never win a
high-jumping show or a trotting race championship!).
one owns such a diversely suitable horse, it naturally is very
tempting to use it in every direction: one time as carriage puller,
another time as show jumping horse, the next for a fox hunt with not
to big barriers, next as dressage horse and again as a distance horse
(so as a real multipurpose horse).
in spite of all these theoretically possible kinds of usage, you
should always keep in mind, that some of them might bring (sometimes
nearly unrepairable!) disadvantages for the others with it.
somewhere along the road I might decide the ultimate aim for me will
be dressage or even the academic art of riding, I might have to
change my horse severely and might regret producing some mistakes
hard to correct.
biggest mistake is a hard hand or bit: any usage with relies on
producing great push evocates a massive force of the hand on the
Horse's mouth: I don't know of any show jumping or hunting rider who
in his way of riding can direct his horse with his seat alone and
without significant force in the mouth! Carriage driving creates
massive forces on the mouth, too!
soft and unmolested mouth will enable the rider to reach the desired
lightness and comfort in dressage much more easy and earlier!
of Riding for Cross-Country
special bonus for the recreational rider is the substantial rise of
quality while riding cross-country in form of security-gain, comfort
and calmness. A horse which doesn't react on the rider only from fear
but is begged softly by his rider to cooperate as the academic art of
riding teaches us, will in a case of emergency turn to it's rider
trustfully for help and guidance and not give in to the possibly
greater fear of other things than the the rider's violence and run
turnable, schooled horse allows the closing of gates from the saddle,
is very comfortable to sit, and its “durability” is far higher
due to the enormous safety in footing as result of putting more and
more weight on the hind legs.
in an emergency the necessity arise to overcome a barrier, a high
schooled horse has got much more power and precision in the hind legs
to perform a jump providedit is not to high or wide for its shape and
of thr Art of riding
v.Chr. "Über die Reitkunst", Xenophon (*430 v. Chr. - †355
v. Chr.) (griech.)
"Ordini di cavalcare", Grisone (*1507-†1570) (ital.)
dell’imbrigliare, atteggiare e ferrare cavalli", Cesare
Fiaschi ( † 1571)
Cavallerizzo", Claudio Corte (ital.)
Gloria del cavallo", Pasquale Caraciollo (ital.)
Art of Riding According to Claudio Corte", Thomas Beddingfield,
"The Art of Riding: A Discourse of Horssemanship", John
"Le cavalerice francois", La Broue (*1530- †1610?) , La
"Della Cavalleria", Löhneysen (*1552-†1622) ,
"La Maneige Royale", Pluvinel (posthum) (frz.)
"L'instruction du Roy....", Pluvinel (posthum) (frz.)
"Il cavallo del maneggio",Giovan Battista di Galiberto
Methode General...", William Cavendish/Newcastle (*1593 - †1676)
"A New Method...", William Cavebdish/Newcastle (engl.) :
stark abgeänderte Übersetzung ins Franz. 1677 von Solleysel;
"Methode nouvelle ", Jaques Solleysel, stark veränderte
Überstzg des engl. Newcastle von1657; Paris, (frz.)
1696 "L'Arte del Cavallo", Nicola und Luiggi di Santapaulina; Padua (ital.)
"Neu eröffnete Reitbahn", Übersetzung des Solleysels von
1677, Nürnberg (dt.)
"Neue Reit-Kunst", Johann Elias Ridinger (dt.)
"Manege moderne..", Friedrich Wilhelm von Eisenberg
"Ecole de Cavallerie", Francois Robichon de la Gueriniere,
"Dictionnaire des Termes du manége Moderne", Eisenberg
"Wohleingerichtete Reitschule...", Eisenberg, Übersetzung
der Manege Moderne, Zürich (dt.)
"L'Art de Cavalerie", Gaspard de Saunier (posthum) (*1663
-†1748), Paris, (frz.)
"Vorstellung und Beschreibung...", Ridinger (*1698 -†1767)
, Augsburg, (dt.)
"Der Bereiter", Johann Gottfried Prizelius, Braunschweig,
"Vollständige Pferdewissenschaft", Johann Gottfried
"Arte da Cavalleria", Andrade (*1755-†1817) (port,)
"Die Reitkunst", Daniel Knölls Gueriniere Übersetzung ,