Horse Riding

A Winner at Epsom by Sir Alfred Munnings.

A Winner at Epsom by Sir Alfred Munnings.

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At the Meet, from the work by Sir Alfred Munnings.

At the Meet, from the work by Sir Alfred Munnings.

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At the Racecourse. From the work of Edgar Degas.

At the Racecourse. From the work of Edgar Degas.

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Cheshire Hunt - A Meet at Oulton by Godfrey Douglas Giles.

Cheshire Hunt - A Meet at Oulton by Godfrey Dougla

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Cheshire Hunt - Halloa, Away from Calveley by Godfrey Douglas Giles.

Cheshire Hunt - Halloa, Away from Calveley by Godf

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Frontispiece. A typical hunting scene. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Frontispiece. A typical hunting scene. From the Mo

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Horse Racing. From the work by Charles Lutetia c.1900.

Horse Racing. From the work by Charles Lutetia c.1

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Jockeys. From the work of Edgar Degas.

Jockeys. From the work of Edgar Degas.

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Plate 1. Plain posts and rails, provided they are unbreakable, will stop nearly the whole field. From the Mount & Man by M F McTaggart, illustrated by

Plate 1. Plain posts and rails, provided they are

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Plate 12. This is a position we all get into sometimes when the horse takes off a little sooner than expected. From the Mount & Man by M F McTaggart,

Plate 12. This is a position we all get into somet

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Plate 14. The result of lack of momentum in the ‘approach’. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 14. The result of lack of momentum in the ‘a

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Plate 15. ‘Good Hands’ are dependent upon balance, confidence and sympathy. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 15. ‘Good Hands’ are dependent upon balance,

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Plate 16. He, the horse, should be willing to jump away from other horses. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 16. He, the horse, should be willing to jump

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Plate 17. A well-trained horse seldom refuses. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 17. A well-trained horse seldom refuses. Fro

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Plate 18. Balance is better than grip. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 18. Balance is better than grip. From the Mo

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Plate 2. Visions of rounded forms. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 2. Visions of rounded forms. From the Mount

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Plate 20. Once a horse understands, he will go anywhere. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 20. Once a horse understands, he will go any

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Plate 22. Strong fences where riders have plenty of room. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 22. Strong fences where riders have plenty o

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Plate 25. The Amateur, too far back. The Professional, too far forward. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 25. The Amateur, too far back. The Professio

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Plate 26. 1 ‘Contact’ good. 2 A good seat but ‘contact’ lost. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 26. 1 ‘Contact’ good. 2 A good seat but ‘con

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Plate 3. This is a very common seat. Here, the weight of the rider’s body is taken on the horse’s loins. It may be comfortable for the rider, but it i

Plate 3. This is a very common seat. Here, the wei

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Plate 5. A good example of length of rein. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 5. A good example of length of rein. From th

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Plate 6. Reins too long. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 6. Reins too long. From the Mount & Man by M

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Plate 8. This is the forward seat. From the Mount & Man by M F McTaggart, illustrated by Lionel Edwards.

Plate 8. This is the forward seat. From the Mount

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