(© 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.
(Peter Paul Rubens – Detail from Equestrian Portrait of the Duke of Lerma – The Collection – Museo Nacional del Prado)
“Now for your Cherishings, they are those which I formerly spake of;
Only they must be used at no time but when your Horse doth well,
If you read about Washington Square Park in New York City today, you certainly won’t see images like this which was painted in 1897. Still the days of horse-drawn conveyances, we see dusk settling in on a day that has seen fresh snowfall. The Washington Square Arch looms in the background. The streets and the park are still clean and white and fresh, and people are busy setting out for their evening excursion. I imagine it is a Saturday night…the gentlemen are in top hats and the ladies dressed in refinement. Is that group of three young women giggling as they pass the carriage? The horse is certainly watching something. The couple with their backs to us are waiting for their cab. The scene looks cold but strangely cozy. What do you see?
(© Text by Don Juan Gómez-Cuétara. Detail of painting by Diego Rodríguez de Silva y Velázquez Felipe III, King of Spain 1634-35)
Like a magic crucible, wherein history and art are fused, the Spanish horse, our partner in love and grief, slave to our glory, is a horse at once fiery and docile, whose proud neigh proclaims to the world the beauty of his race, pride of men who are not prepared to abandon chivalry, dream of young men who refuse to accept a way of life which holds no place for him.
(“Horsemanship in the Riding School,” by Florence Baillie-Grohman. Country Life, Vol. XIII.-No. 336, Saturday, June 13, 1903. Pages 780-783. Engravings by Johann Elias Ridinger (2-16-1698 to 4-10-1767) from his books “The New Art of Riding” and “The New Riding School”.)
The term art would not have been applied by the horseman of the old school to that kind of riding which enables a man to stick on in some fashion or other, while his horse carries him across country after, or too often on to, the hounds; nor to certain monkey-like performances on the neck of the horse by which some modern jockeys bring their mounts first past the winning-post. Towards the end of the eighteenth century, when Johann Elias Ridinger limned the pictures here given of a riding school, the art of riding meant that knowledge which enabled both horse and rider to show themselves off to best advantage, in all the dignity and ceremony befitting the position of a courtly cavalier and a stately steed.