“The Horse Rampant” by Captain James Joseph Pearce (1947) and The Comprehensive Nature of Traditional Horse Training

“The Horse Rampant” by Captain James Joseph Pearce (1947) and The Comprehensive Nature of Traditional Horse Training

(“THE HORSE RAMPANT: How to Learn to Train and Ride, A New and Simple Method for the Education and Training of Horses and Riders” by Captain James J. Pearce, Formerly Equitation Instructor: Cavalry School and Weedon School of Equitation. London, Robert Hale Limited, 1947)

Rampant: rearing upon the hind legs with forelegs extended.

When I first saw the title of this book, immediately my curiosity was engaged. The cover image of the rider raising his horse in levade suggested that the reader would learn advanced training methodology. However, the subtitle (A New and Simple Method for the Education and Training) confused the issue for me, since learning to ride and train a levade is anything but simple.  My curiosity was amply rewarded when the battered old book arrived and I read the author’s Preface. It alone was a real eye opener for me.

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Book Review: “Dressage Principles and Techniques: A Blueprint for the Serious Rider” by Miguel Tavora

Book Review: “Dressage Principles and Techniques: A Blueprint for the Serious Rider” by Miguel Tavora

(© 2020 Kip Mistral. Images and excerpts used with permission of the publisher Xenophon Press.)

“The horse must always feel comfortable in all equestrian activities. This is how we show him our love and respect.” 

I read books about classical training and riding techniques all the time (and have even co-authored one), but I find “Dressage Principles and Techniques” by renowned Portuguese classical dressage trainer Major Miguel Tavora, published by Xenophon Press in 2018, to be extraordinary.

It is extraordinary because this author is able to teach a complete, well-illustrated program of basic classical equitation and training in great detail, and combine high seriousness about the importance of classical method and technique with repeated reminders to treat the horse with understanding, kindness, love and respect…all this written in simple and easy-to-follow language, in only 158 pages. Those 158 pages will take you from terminology and theory to first longeing to work in-hand to canter pirouette, piaffe and passage. Finally, here is the thought-provoking yet very useful book you really can take to the barn.

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Book Review: “Fragments from the Writings of Max Ritter von Weyrother, Austrian Imperial and Royal Oberbereiter” Vienna 1836

Book Review: “Fragments from the Writings of Max Ritter von Weyrother, Austrian Imperial and Royal Oberbereiter” Vienna 1836

(© Kip Mistral 2019. “Fragments from the Writings of Max Ritter von Weyrother, Austrian Imperial and Royal Oberbereiter,” published by Xenophon Press, 2017. Images and quotations from within are used with permission of the publisher. Image detail from Courbette by Ludwig Koch 1866-1934)

Maximillian Ritter von Weyrother (1783–1833) was Chief Rider of the Spanish Riding School in Vienna from 1813, and Director from 1814 to 1833. And why should we care to read a book of his writing fragments, you might ask. Is he just one more riding master in the cavalcade of horses and riders through time who codified his personal embrace of equestrian art? The answer would be no.

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“Dressage for No Country”: Paul Belasik on ‘The Spanish Riding School’

“Dressage for No Country”: Paul Belasik on ‘The Spanish Riding School’

(This excerpt from “Dressage for No Country” by Paul Belasik–available April 15, 2019–has been made available by its publisher, Trafalgar Square Books. The excerpt describes Belasik’s visit to the Spanish Riding School in the 1990’s.)

I would not be late, so I planned to arrive in Vienna early the day before I was to meet with Kottas. The plane connections all went smoothly. Kottas had arranged for a room, as he said, in a pension near the Spanish Riding School, nestled in the heart of the historic city, and after I settled in, I went out to wander. Vienna was beautiful in the fall, already cold enough to warrant a coat. The city looked palatial. I walked over to the school so I would know where to go the next day. It was headed toward evening, and the city glowed in a warm yellow light; the majestic buildings, the shops with perfect pastries, the whole place felt like classical music. It was imposing but somehow not martial. That night I had a hard time sleeping. I thought I was coming down with something: I had cold sweats and chills like a fever. I called my wife, and she calmed me down. By morning I was fine—it was all nerves.

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Book Review: Friedrich Wilhelm Baron Reis von Eisenberg and “The Art of Riding a Horse”

Book Review: Friedrich Wilhelm Baron Reis von Eisenberg and “The Art of Riding a Horse”

(© Kip Mistral 2017. First published in the United States Lipizzan Federation quarterly NEWS publication for Winter 2018. Feature image is Painting #26: Gallop leading with near fore, from “The Classical Riding Master”. Subsequent illustration credits inline.)

The great horsemen of the European baroque and romantic eras were undeniably aristocrats. After all, making a great horseman and a great horse—in those days—was expected to take a lifetime in the first case, and many years in the second case. Only aristocrats and nobility had the time and the money to acquire fine horses and undertake the deep study that in these times made becoming a graceful, elegant rider an important character-building experience. The German-born Friedrich Wilhelm Baron Reis von Eisenberg (1685-1764)1 was such a lucky one.

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