A New System of Horsemanship

In Short

This book serves as a technical manual for the classical training of horses, focusing on the sophisticated coordination between a rider’s aids—the hand, the leg, and the seat—and the animal's physical movement. It outlines a systematic approach to developing a horse’s suppleness, obedience, and grace. By moving through increasingly complex exercises, the author argues that a well-trained horse becomes a partner capable of executing intricate movements with precision. It has remained a cornerstone of equestrian literature for its enduring emphasis on the ethical, balanced treatment of the animal.

The Story

The progression of this work moves from the fundamental philosophy of riding to the highest reaches of the classical manège. It begins with a declaration of purpose: riding is not merely a social accomplishment, but a necessity for safety and control. The reader is introduced to the horse not as a beast to be broken, but as an athlete to be understood. The early chapters establish the "first principles," focusing on the rider’s own posture. A firm, steady, and upright seat is presented as the essential anchor; if the rider is unstable or stiff, the horse will inevitably reflect that tension. The arms, the position of the shoulders, and the subtle shift of the loins are all calibrated to ensure the rider acts in harmony with the horse’s own rhythm.

Once the rider’s seat is established, the focus shifts to the language of control. The author explains the mechanics of the hand, specifically how the tension of the reins acts upon the horse’s mouth. This is not about harsh pulling, but about a delicate "vibration" that creates a mutual sensation. The "apuy"—the contact or connection between hand and mouth—becomes the central focus of the training arc. Through a series of positions, the rider learns to guide the horse, turning the animal’s resistance into cooperation.

The journey continues into specific exercises designed to build physical intelligence. The reader is guided through the trot, the foundation of all movement, and the stop, which the author considers the true test of a horse’s collection and obedience. From there, the training advances to lateral movements like "head to the wall" and working on circles, or "voltes." These exercises are intended to suppress the horse's natural unevenness, ensuring that the animal is equally supple on both sides.

As the horse matures, the text transitions to the more demanding work of the gallop and the advanced "airs" of the high school. Here, the difficulty increases significantly. The author introduces the use of pillars and the switch, tools that can either perfect a horse’s movement or, if handled with incompetence, ruin the animal entirely. The final sections cover complex maneuvers such as the pesade, the curvet, and the capriole. The book concludes with a stern warning: the ultimate goal is not to force a performance, but to bring nature to its highest state of perfection through steady, patient, and measured instruction.

How It Unfolds

The foundation of the seat The book begins by detailing the rider's physical carriage, emphasizing that a stiff or unbalanced body will inevitably transmit discomfort to the horse. It posits that grace and control are derived from the alignment of the shoulders, the placement of the loins, and the steady, quiet support of the elbows resting on the hips.

The language of the reins Detailed instructions follow on how to manipulate the bridle-hand to create a clear line of communication with the horse’s mouth. The author explains how small, subtle movements of the fingers can soften the horse's tension, creating a responsive connection that replaces the need for brute force.

Suppling the mount The narrative progresses to the technical work of the trot and lateral exercises, which serve to make the horse supple and even. These chapters argue that a horse naturally favors one side, and only through repeated, systematic exercise can this imbalance be corrected.

The art of the high school The final movement covers the advanced maneuvers, including the curvet and the capriole, which require significant strength and collection. The author describes the precise use of aids—the spurs, the switch, and the shift of weight—to achieve these high-level movements while cautioning against overworking the horse.

The People

The book is primarily a conversation between the author, Claude Bourgelat, and his intended reader, whom he treats as a student of the craft. Bourgelat acts as a mentor, demanding intellectual rigor and deep observation from his pupils. He is not interested in shortcuts; he values the "illustrious" William Cavendish, Duke of Newcastle, for his foundational contributions to the art.

The horse itself is the silent, central protagonist. The author categorizes horses by temperament, noting that "hot and fretful" horses require a different approach than those of a sluggish nature. The horse’s physical anatomy—the structure of the hocks, the bars of the mouth, and the strength of the shoulders—acts as both the primary tool and the limiting factor. The ideal student is the rider who can set aside their own impatience to listen to the horse. The "bad horseman" is the antagonist of the text, characterized by a lack of reflection and a reliance on bad habits, whose heavy hands and harsh use of the spur serve only to create "entier" (stubborn) animals. Through the author's guidance, both the rider and the horse are transformed: the human becomes a refined artist of movement, and the horse becomes a supple, responsive participant in a shared performance.

In Its Own Voice

It is true, that the Bridle-hand is that which absolutely ought to be steady and immoveable, and one might conclude from hence, that the Left-elbow only ought to rest upon the Hip, but Grace consists in the exact Proportion and Symmetry of all the Parts of the Body.

(Describing the requirement for a balanced and symmetrical seat.)

The Trot is the first Exercise to which a Horse is put; this is a necessary Lesson, but if given unskilfully it loses its End, and even does harm.

(Providing a cautionary note on the importance of the trot as the basis for all further training.)

Indeed one should never ask of a Horse above half of what he can do; for if you work him till he grows languid and tired, and his Strength and Wind fail him, you will be compell'd to give your Aids roughly and openly.

(Explaining the ethical and practical necessity of moderation during training.)

What It's Really About

The central argument of this work is that riding is a form of language. It proposes that the divide between "nature" and "art" is bridged by the discipline of the rider. The book explores the tension between the horse’s natural, often erratic, impulses and the controlled, beautiful geometry of the manège. Underneath the technical instructions lies a philosophical insistence that true authority is never won through pain, but through the synchronization of two living beings. It poses the question: how much control can we exert over another creature without destroying the very spirit that makes the movement beautiful? The answer, according to the text, lies in the absolute self-control and sensory awareness of the human.

Why Read It Today

Readers who appreciate the intersection of classical arts and physical discipline will find a great deal to admire here. It is a text of immense focus, feeling like a quiet, intense masterclass held in a dusty, sunlit stable. Those with an interest in equestrian history or the origins of classical dressage will treasure its clear, uncompromising methodology.

However, the reader must be prepared for the realities of the eighteenth-century perspective. The text is dense with period-specific terminology, and the descriptions of "corrections"—such as the use of leaden balls or the harsh application of the switch—reflect the era's utilitarian approach to animal management, which may feel jarring to contemporary readers. The prose is formal and demanding, requiring the reader to visualize complex, three-dimensional movements from text alone. Yet, if you can navigate the archaic tone, the book offers a profound takeaway: the idea that any pursuit, no matter how physical, is fundamentally a matter of internal discipline. It stays with you not just as a guide to riding, but as a meditation on how we interact with the living world, reminding us that true mastery is always defined by the restraint we show toward those we lead.