New Method of Horsemanship: Including the Breaking and Training of Horses, with Instructions for Obtaining a Good Seat

In Short

This technical manual outlines a revolutionary approach to classical equitation, focusing on the "suppling" of the horse to achieve perfect harmony. By prioritizing the physical preparation of the animal—specifically the neck, haunches, and loins—the text argues that riders can bypass years of traditional, often brutal training. Through detailed instructions on flexions, the use of the hand, and the judicious application of the spur, the method seeks to render any horse docile, graceful, and obedient. It remains a cornerstone text for understanding the rigorous, analytical side of historical dressage.

The Story

The progression of this work moves from the internal mechanics of the rider to the total physical transformation of the horse. It opens with the assertion that horsemanship is akin to music: just as a musician must exercise their fingers to draw sound from an instrument, a rider must prepare the horse’s body to execute commands. Before the horse is even considered, the rider must undergo a rigorous period of "gymnastics" in the saddle. This includes stationary exercises designed to straighten the chest, align the head, and ensure the thighs maintain the correct contact with the saddle. Only when the rider is balanced and supple can they begin to influence the animal without causing the resistance that stems from poor communication.

Once the rider is prepared, the training of the horse begins with the "first lesson of subjection"—a series of exercises on foot. The goal here is not to break the animal's spirit, but to teach it to recognize the authority of the human hand and voice. By applying firm, consistent pressure with the reins and using the whip as a rhythmic, non-violent signal, the trainer encourages the horse to move forward or backward in response to subtle cues. This phase is crucial for establishing the "ramener," or the perpendicular position of the head, which acts as the key to unlocking the horse's full physical potential.

As the training shifts to the saddle, the focus turns to lateral and direct flexions. These exercises aim to destroy the stiff, instinctive contractions of the horse’s muscles. The narrative argues that what is often perceived as a "hard mouth" or a "stubborn nature" is actually just a physiological inability to move correctly due to poor balance. By methodically suppling the neck and haunches, the rider allows the horse to transfer its weight efficiently, creating a state of "lightness." This lightness is the ultimate goal; it allows the rider to guide the animal with minimal effort, effectively communicating thoughts through the reins and legs.

The final arc of the work deals with advanced maneuvers: the gallop, the pirouette, the piaffer, and leaping. These are not presented as feats of strength but as the natural consequences of previous training. The climax of the method is the "lowering of the hand," a test where the rider releases the reins to see if the horse can maintain its cadence and position independently. If the horse remains balanced, the education is complete. The work concludes with a promise: if these principles are applied consistently, any horse, no matter how "indomitable" it once seemed, can be transformed into a graceful, responsive companion in just two months.

How It Unfolds

The rider’s foundation The method commences with a focus on the human seat, requiring the pupil to undergo intense exercises to correct posture and stiffness. This phase ensures that the rider does not inadvertently impede the horse’s movement or create the very resistances they aim to fix.

Establishing communication The horse is introduced to the trainer through ground work, using a specific, calm, and firm set of movements to establish obedience. The objective is to teach the animal to associate the rider’s cues with the avoidance of discomfort, leading to a state of calm confidence.

The suppling process The heart of the system lies in the flexions of the neck and haunches, which serve to unlock the horse's stiff, instinctive physical patterns. By manipulating the head into a perpendicular position, the rider gains control over the animal’s center of gravity.

Refining the maneuvers Once the horse is supple and "light," the work progresses to complex gaits and movements, such as the gallop and the piaffer. The text emphasizes that these should be achieved without violence or exhaustion, relying instead on the precise distribution of forces.

The final test The book concludes with a Q&A section and a summary of results, proving that the method is a complete, scientific system. It insists that the ultimate proof of success is the horse’s ability to perform with elegance and grace under a rider who has mastered the art of lightness.

The People

The author stands as the central figure, a man of rigid principle and analytical mind. He is driven by the belief that traditional horsemanship is flawed, wasteful, and cruel. His adversary is not the horse, but the "ignorance" and "bad distribution of forces" that plague the average rider. He positions himself as a teacher who has turned "violent adversaries" into "warm partisans" through the sheer success of his results.

The horse, meanwhile, is treated as a sentient, energetic machine. It is not inherently stubborn; rather, it is a creature of "instinctive forces" that must be channeled. The horse begins as a potentially "indomitable" or "stiff" animal, but through the author’s persistent, systematic approach, it ends as an elegant performer.

Finally, there is the "pupil" or "cavalier." This person is initially a victim of their own bad habits and misunderstanding. They are often "disgusted" by the horse’s lack of response, blaming the animal for their own failure to communicate. By the end of the education, the pupil has undergone a transformation as profound as the horse's, moving from a position of "ennui and disgust" to a state of "sincere attachment" and pride in their craft.

In Its Own Voice

"What musician could draw melodious sounds from an instrument without having exercised his fingers in handling it? He would certainly, if he attempted such a thing, produce only false discordant sounds; and the same thing occurs in horsemanship when we undertake to make a horse execute movements for which he has not been prepared."

This reflection opens the argument that the rider must first master the mechanics of horsemanship before expecting performance from the animal.

"It is by the exertion of force that the pupil will become supple, and not by the abandon so much and so uselessly recommended."

The author clarifies the necessity of intentional, rigorous training for the rider to eventually achieve a relaxed, skillful seat.

"The rider, soon disgusted with the impotence of his efforts, will cast back upon the horse the responsibility of his own ignorance; he will brand as a jade an animal possessing the most brilliant resources."

The author warns that a rider’s frustration usually stems from their own inability to properly manage the horse’s physical configuration.

What It's Really About

This work is fundamentally an argument for the scientific control of instinct. It posits that the horse is a collection of physical forces that, when left to themselves, produce stiffness and resistance. The "method" is a systematic deconstruction of these instincts, replacing them with a learned, harmonious cooperation. Beneath the technical instructions lies a deep belief in the power of logic and patience over brute force. It questions the traditional wisdom of the time, suggesting that "hardness" in a horse is never a natural trait but a manufactured defect. Ultimately, it is about the mastery of the self; the rider can only achieve control over the horse once they have exerted total control over their own body.

Why Read It Today

Readers with an interest in the history of classical dressage will find this book an essential, if demanding, primary source. It feels like stepping into a nineteenth-century riding school, where the tone is authoritative, clinical, and unapologetically confident. Those who appreciate the philosophical intersection of anatomy, physics, and art will be rewarded by the author's meticulous logic, which treats the horse as a machine of exquisite complexity.

However, modern readers should be prepared for the book's period-specific attitudes. The writing reflects a time when the horse was primarily a tool for military maneuver and high-level sport, and the author’s frank discussion of using the spur and the "chastisement" of the animal may be jarring to contemporary sensibilities. The prose, translated from the French, occasionally retains a formal, rigid structure that can make the more technical chapters feel dense. Despite these hurdles, there is a compelling, almost hypnotic rhythm to the author’s certainty. You will likely walk away not just with a clearer understanding of the mechanics of riding, but with an appreciation for a man who believed that with enough precision, he could turn any horse into a work of art.