Chapter - 02

The Take-Off

Bromley Davenport's words in his Dream of the old Meltonian are very apt at this stage. The quotation, "With your muscular quarters beneath you collected," describes a state of affairs eminently desirable at the take-off. The rider has made arrangements for the horse to commence his jump from the spot best suited for the fence in question, and must now ensure that he does not interfere with the drive from the hind legs into the air, but, in fact, assist by preserving balance. Loss of rhythm and co-ordination now may well adversely affect the parabola it is hoped the horse will describe. So it is important that the rider move his weight forward smoothly without displacement of the lower leg; that his fingers and hands, being supple and separated sufficiently to allow of instantaneous independent action, keep an even feeling on the horse's mouth, following the natural movement of the head and neck; and that he looks forward along his chosen route for the next approach phase, which is not far away.

PLATE 13

The horse's forelegs are being bent up from the knee, and the hocks, having come well under him, are, with great power, propelling him into the air. The rider is comfortable, is looking well forward, and is giving complete freedom to the back and loins. His hands are ideally placed for independent action if required, and are moving slightly back to retain an even feeling on the horse's mouth. There is no interference with the horse's natural movement, and the general impression is one of workmanlike efficiency.

PLATE 14

Restricted effort seems to be the key-note of this picture. The horse has started his jump with great boldness, but the over-all rigidity on the rider's part has already curtailed the freedom of movement of the head and neck. This will result in a dwell at the initial stage of the next phase, "over the fence," and will demand great effort on the horse's part to clear the fence with his hind legs. Were the rider's knee more supple, he would not be so reliant on his hands for balance.

PLATE 13

PLATE 14

PLATE 15

The horse's forehand has left the ground, and his forelegs are just beginning to fold up. His back is well rounded, he is making great use of his hocks and quarters, and his whole demeanor is happy. A picture of confident power. The rider's position is very correct. He is beautifully balanced, and is distributing his weight forward smoothly to assist his horse's effort. His control is assured through a straight and even feeling on his horse's mouth, and no displacement of the lower leg. He is alert but supple, and is looking along his next approach.

PLATE 16

A picture of a different horse and rider taken a fraction of a second later at a similar type of fence. The horse is producing his final thrust into the air, and his forelegs are folding up. The rider has abandoned the saddle, and his body has been thrown forward so that he is lying along the neck, pinning his hands to it. His lower leg, being parallel to the back, has ceased to be operative. His attention is focused only on the take-off element of this fence. Throughout the jump there will be drastic changes in his weight distribution, and his control will not be regained until, certainly, the stride after landing. This will be unbalanced, adversely affecting the next approach.

PLATE 15

PLATE 16

PLATE 17

An interesting type of fence, being easily and gracefully dealt with. The horse's back is nicely rounded, and great propulsive power is thereby evident. The rider is at ease, and in complete rhythm with his horse, whose outlook is one of happy confidence. The maintenance of balance for the getaway is assured. A slightly shorter rein might perhaps be advantageous, in order to make instantaneous obedience to hand indication on landing a certainty.

PLATE 18

There is a school of thought whose contention is that a distinct increase in feeling on the mouth, amounting at times to a definite pull, should be exerted as the hind legs come to the ground for the last time before the take-off, with the object of helping the forehand into the air. For some types of fence, notably those of parallel variety, it is, without doubt, beneficial. There are, however, dangers to it. One, for instance, is that the horse may well take off when it is the rider's intention to shorten stride close to the fence. In this case the pull has acted on the rider, bringing his leg to a standing position with the stirrup-iron as pivot, and drawing his hands back against his ribs, where they cannot act lightly or independently. The jump will be jerky and unharmonious, with a real danger of loss of balance on landing.

PLATE 17

PLATE 18

PLATE 19

The horse is giving final propulsion from the near hind leg. His forelegs are well tucked up, and he is beginning to stretch his head and neck out to gain distance, and to help the hind quarters up. The rider is well with his horse, and is master of the situation. His hands are separated, ready to give all the rein required. If, perhaps, showing a little rigidity at the knee, he is nevertheless nicely balanced, and his position shows ease and fluency. His concentration on things to come is very apparent.

PLATE 20

The horse has taken off very close to the fence and would appear to have lost impulsion. The rider's weight is placed very forward and to the right, resulting in a backward displacement of the lower leg, and making efficient and helpful hand action impossible. In fact, contact with the right side of the horse's mouth is lost, and the left hand is forced up on to the crest. Such a position will interfere with the horse's effort, the landing will be unbalanced, and the whole lacks harmony.

PLATE 19

PLATE 20

PLATE 21

The horse's hocks are well under him, but stride arrangements on the approach have brought his take-off very close for the type of fence in question, making the jump difficult. To obviate this, the rider is bending his forehand slightly to the left so as to jump the fence at an angle, thereby gaining distance. In so doing, he has fixed his knee muscles, which has set the lower leg against the hand. Thus he is standing in his stirrups, and his balance is sustained through his hand to the horse's mouth. He will interfere with the parabola which he desires the horse to describe, and, until relaxed, will not be capable of complete control. Rigidity of the knee communicates itself to the rest of the body.

PLATE 22

The horse has started a good, if somewhat deliberate jump. The rider, however, seems over-anxious to arrive the far side of the fence. He has pivoted, with a straight leg, on his stirrup-irons, and is very much in front of his horse. In consequence, the hands are very high on the neck, undermining control. There can be little rhythm in the ensuing phases.

PLATE 21

PLATE 22

PLATE 23

Final propulsion has been completed, and all but the near hind toe has left the ground. The head and neck are stretching out, and the forelegs are folded up as close as the body allows. The rider's weight distribution is assisting the horse's effort, and the hands conform with the outward and downward movement of the head. Note that, from the horse's mouth to the rider's hip, the rein, arm, and body form practically a straight line. A beautifully controlled and elegant jump.

PLATE 24

The horse's head and neck are restricted, and he seems uncertain of the wisdom of stretching forward. The rider's position may well account for this. He appears to be carrying out the first precept of riding, to remain on board, by grasping his horse firmly round the upper part of the neck, and to have abandoned any pretense of rendering assistance or of retaining control during the jump. As a result of his attitude, the reins no longer control the forehand, the lower leg, being pushed to the rear, can take no constructive action, certainly until after the horse has landed, and, by leaning down to the left, his weight is concentrated through his right shoulder on to the horse's neck.

PLATE 23

PLATE 24

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