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the egg strikes the coronet, and makes him raise the foot. The man in the saddle uses the spurs, the one who is in rear uses the driving whip, and the operator who holds the caveson, and is in front of the animal's head, prevents him advancing by giving him blows on the nose with the caveson. The horse, thus imprisoned, shows great impatience, and as the egg strikes his coronet, and makes him raise his foot each time he puts it down, he performs a kind of hurried piaffer, which is neither graceful nor regular. Besides, by this method they teach a horse to piaffer in front of the stable door, which no doubt is very ingenious, and does not require much skill. It has, however, the drawback that the moment the horse's head is turned away from the stable, his impatience vanishes, and he stops the piaffer. This is a machine-made horse. I shall not go further in this description, for my intention is only to give a sketch of the system of breaking used by the new school, who use the same means for every kind of work. I do not undertake to describe these means.

The horse which has been taught the piaffer, only by the combination of reins and legs, will do the piaffer anywhere, at the wish of his rider, no matter when or where.

It is no less true that the system of the new school is practised almost everywhere. Horses are broken now without being ridden, and by means analogous to those by which one would break in monkeys and nanny goats. In Vienna this system is sarcastically called "Pudeldressirung" (poodle breaking).[1]

It is easy to understand how the piaffer, which is learned under these conditions, is always bad. At first, progress is


  1. In the same category we should place the recommendation made by certain authors, to hum a tune in two time to a horse which is being taught the piaffer or passage.

    I have never broken a horse with any music. My only orchestra is the spurs. When my horses hear music for the first time it puts them out, but they soon take to it. ↩︎

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