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HORSEMANSHIP

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Originally appearing in Volume V13, Page 726 of the 1911 Encyclopedia Britannica.
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HORSEMANSHIP , the See also:

art of managing the See also:horse from his back and controlling his paces and the direction and See also:speed of his See also:movement. The See also:ordinary See also:procedure is dealt with in the articles on See also:RIDING and cognate subjects (see also HORSE: See also:section Management). A See also:special See also:kind of skill is, however, needed in breaking, training, bitting and schooling horses for a See also:game like See also:polo, or for the evolutions of what is known as the haute ecole. It is with the latter, or " school " riding, that we See also:deal here. The See also:middle ages had seen See also:chivalry See also:developed into a social distinction, and horsemanship into a See also:form of knightly prowess. The See also:Renaissance introduced the cultivation of horsemanship as an art, with See also:regular conditions and rules, instead of merely its skilful practice for utility and exercise. In See also:Italy in the 16th See also:century See also:schools of horsemanship were established at See also:Naples, See also:Rome and other See also:chief cities; thither flocked the See also:nobility of See also:France, See also:Spain and See also:Germany; and See also:Henry VIII. of See also:England and other monarchs of his See also:time had Italians for their masters of the horse. The See also:academy of Pignatelli at Naples was the most famous of the schools in the middle of the 16th century, but a See also:score of other less renowned masters devoted themselves to teaching the riders and training the horses. Trappings of all sorts multiplied; the prescribed tricks, feats and postures involved considerable dexterity; they were fatiguing to both See also:man and beast, and were really useless except for show. This elaborate art, enthusiastically followed among the See also:Romance nations, was the See also:parent of later developments of the haute 'tole, and of the See also:circus-performances of See also:modern days. In England, however, the See also:continental See also:style did not find favour for See also:long. The See also:duke of See also:Newcastle's Methode nouvelle de See also:dresser See also:les chevaux (1648) was the leading See also:text-See also:book of the See also:day, and in 1761 the See also:earl of See also:Pembroke published his See also:Manual of See also:Cavalry Horsemanship.

In France a simplification was introduced in the See also:

early See also:part of the 18th century by La Gueriniere (Ecole de cavalerie) and others. The See also:French military school thus became the See also:model for See also:Europe, though the See also:English style remained in opposition, forming a sort of See also:compromise with the ordinary method of riding across See also:country. In more modern times France again came to the front in regard to the haute 'tole, through the innovations of the vicomte d'Aure (1798-1863) and See also:Francois Baucher (1796-1873). Baucher was a circus-rider who became the greatest See also:master of his art, and who had an elaborate theory of the principles involved in training a horse. His See also:system was carried on, with modifications, by masters and theorists like See also:Captain See also:Raabe, M. Barroil and M. Fillis. In more See also:recent times the style of the haute 'tole has also been cultivated by various masters in the See also:United States, such as H. L. de Bussigny at See also:Boston. See d'Aure, See also:Trade d'equitation (1847); Hundersdorf, Equitation See also:allemande (Bruxelles, 1843); Baucher, Passe-temps equestres (1840), Methode d' equitation (1867 ; Raabe, Methode de haute 'tole d' equitation (1863); Barroil, Art equestre; Fillis, Principes de dressage; See also:Hayes, Riling on the See also:flat, &c. (1882).

End of Article: HORSEMANSHIP

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