A Summary review of the Classical Masters,

their Methods, its origin and Transformation

From Year MMXIV

French Dressage

Brad Gosnell

As a Dressage rider and student at McCrae Farm in Grayslake Illinois. I have learned a lot under the guidance of Jill McCrae a Master Horse trainer whom has a lifetime of Equitation experience that she graciously shares with her students everyday.

While watching and learning from Jill, past classical trainers and methods occasionally are discussed. I began to want to understand the history of French Dressage in more detail.

After reading several books, I began to make notes and collect bits of information from various authors and started to piece together the connections and how the history of French training has been linked through time.

I started creating this presentation to put some of the information in chronological order and to organize some of the details that were influential in my learning of Classic French Dressage history.

Introduction

French Dressage as we practice it today was largely developed as an Art form in the late 1500’s thru 1700’s; This presentation summarizes some of the people involved the development of “French Dressage” as an Art form.

The presentation extends into more current Masters who continue to carry on the French Tradition of horse training.

For the purposes of this presentation, some of the well known and influential Masters (Ecuyer) of the time, will be reviewed for their unique contributions to the art form.

For centuries horsemanship knowledge was transferred verbally and training was primarily for military purposes or transportation.

The earliest record of the writings in which modern dressage is based on comes from the Greek author Xenophon, a military man and a student of Socrates who lived during the 3rd century BC. He wrote "anything forced cannot be beautiful." Xenophon is considered one of the first of the classical masters who influenced the art form we now practice.

History and Overview

After Xenophon, for nearly 2000 years there is little written about equitation, very few people were literate, so there was little call for written work. There are some early manuscripts from Italian masters of the 13th century written for tips on riding and training for the nobleman.

The Calvary of Charles VIII from medieval time, using heavy draft and European horse type reined for years with its power and overwelming force. But was defeated by Ferdinand of Aragon with roots in back country riding and bullfighting with agile and speedy Iberian horses. After this defeat the Iberian horse inspired equestrian revolution in horsemanship.

During the Italian renaissance, all things of Platonic beauty and ideals became part of what interested educators, at this time Xenophon's text was dusted of and went back in circulation, bringing about the birth of Dressage training as an art form.

Starting in Italy during the middle 1500’s and continuing into Spain and England and then on to France where it reached its fullest potential.

History - Beyond Xenophon

Frederico Grisone, founder of the Naples Riding Academy in Italy is considered to have rediscovered and promoted the art of Classical riding along with Giovanni Pignatelli ( who establish Mise en Main “on the bit” without restriction and Caesar Fiaschi bring classical riding into fashion for Europe.

Nobleman from all over Europe came to Italy to study how to become a well trained member of the royal court. The Italian academies taught horsemanship, writing, poetry, dance, military strategy, courtly manners, mathematics, astronomy, Latin, and at the heart was equitation.

The school headed by Grisone combined the riding styles of Military as well as influences from middle eastern riders who’s horses were ridden very much on the haunches allowing to establish a balance much different than what was needed by Military and hunting purposes. These unique methods coupled with Iberian horses were revolutionary and turning Dressage into an Art form.

History – Italian Renaissance

Grisone wrote a book on horsemanship 1550 which was published in every European language, making his methods well know across the continent very quickly.

Trained by Pignatelli, Antoine Pluvinel born 1555 in France was one of the first to bring classical riding to France with skills learned in Italy. Pluvinel set up a riding school for the French Court. Pluvinel was influential to many Masters including Duke of Newcastle from England.

Many years later the French monarchy, while appreciating the better manners of their educated nobility, setup a school headed by François Robichon de la Guérinière who approached riding more technically, with scientific foundation and simple comprehensive exercises. His book is still considered the "bible" of classical work.

For two hundred years riding developed in France as the center of aristocratic culture. The period during 1600-1700 is considered the Golden Age of Equitation in France.

History – The French Connection

Several schools in France focused on the art of riding teaching of the nobility. However after the Napolenic war Military Equitation reinvent the school in Saumur to focus more on Military style, while the school in Versailles focused largely on the art of Equitation.

The end of the 18th century saw the French revolution and most of the practitioners of the Dressage as an art form were lost for various reasons. Although the Cadre Noir was reopened in 1972 as national horse training school, it is primarily for military formals and not specifically dressage as an art form.

Fortunately in 1729 the Spanish Riding School (SRS) in Vienna had been founded largely as a replica of Versailles and adhered to teachings of Francois Robichon de la Guérinière based on his book “School of Horsemanship”. Today, after 4 centuries the SRS is still active and teaching just as they have for more than 400 years.

History – Schools of Dressage

After the revolution during the 19th century, two trainers came into prominence in France. Comte d'Aure, who learned from trainers of the original school at Versailles and Baucher whom was not of royalty but became well known by performing publicly demonstrating exceptional control on his horses.

Comte d'Aure developed a method of riding based on the idea that the horse is a machine. A mechanical approach promoting the notion to drive forward with the leg, and coil it up against the opposing hand like a spring. This was a very quick method to teach inexperienced young military recruits to control young horses. A Style most suited for Military cross country forward riding and jumping.

D’Aure’s methods were very attractive to the German trainers of the day, and they adapted many of his ideas into a very precise, controlled, physical riding methodology. This is likely where the break between the French and German styles began to take root.

History – The Divergence

Baucher promoted a very light style of riding which separated the use of the hand and the leg, giving the horse as much autonomy as possible.

Although no one questioned Baucher's mastery of the horse, d'Aure and his followers criticized Baucher’s work as unnatural and wrong, fit only for the circus. Baucher was more of a artist and inventor wanting to explore the value of trying new methods to be unique.

Baucher's supporters found that the interesting point was not what odd things you could request of your horse, but rather the absolute clarity of the communication possible between horse and rider using absolute lightness and lack of resistances.

Baucher's had some early success with the elite riders of the French military. The following men became very influential in their own right and published books on training; L'Hotte, Kerbrech and Raabe. The Baucher methods were adapted for use in military training. Although these men did train their personal horses for the art of riding their main focus was that of military purposes and carried on some of Baucher’s techniques.

History – Baucher

1552-1620 Studied horsemanship under

Giovanni Pignatelli in Italy as a

teenager.

1594 founded the "Academie

d'Equitation" There, the French

nobility were trained not only in

horsemanship, but also in all

the accomplishments (dancing,

fashionable dressing, etc.)

Tutor to King Louis XIII

Well known for his kind,

humane training methods, use

of the pillars and two-track

movements were his primary

contributions to the art.

His two books were published

after his death.Antoine de Pluvinel

1592 - 1676

William Cavendish comes from a

long line of family members who

served the Royal English

Monarchy. Trained in Italy under

Pluvinel.

Aristocrat, poet, equestrian,

playwright, swordsman, politician,

architect, diplomat and soldier.

Prominent Commander in

England’s Civil War.

Contributions include NO use of

draw reins as to not force to create

self carriage. Shoulder-in on a

circle. Typically on single pillar for

development of Lateral suppleness

and freedom of shoulder and legs.

Duke of Newcastle

Bolsover Castle

As a English youth, Newcastle trained with Monsieur St. Antoine a graduate of Italian academy of riding.

Newcastle received his knighthood at the age of 16 in 1610. While he did end up leading one of Englands army’s, Newcastle

largely focused his entire life on high-school horsemanship not military style riding.

Newcastle published his books starting in 1658, subsequent revisions were published in many languages including French.

Met and trained with Antoine Pluvinel at an early age and In part Newcastles personal efforts as a publisher were to further promote training without force in an attempt to continue this model for the future.

The Duke’s notoriety and influence was imparted on many French Horseman for years to come.

You will find a couple of old prints of the Duke in McCrae Farm Kitchen.

Duke of Newcastle

1688–1751

Director of an equestrian

academy Paris

Grand écuyer de France, Louis

XIV

His Methods still practiced at

Spanish Riding School Vienna

Invention of the flying change and

the counter-canter.

Perfected the Shoulder-in without

use of pillars, establishing it as

the "alpha and omega of all

exercises“as we know it today.

Followed those early master

whom did not use force.

François Robichon de La Guérinière

Published the Book (School of Horsemanship) 1733 Unquestionably one of the worlds greatest books on horsemanship.

In order to have good hands, the seat, leg and hands need to work in perfect harmony to create perfection of the aids.

The most important qualities of suppleness and obedience is gained by developing the trot, which, is the most natural gait and the basis for all lessons.

The second most important is the Walk, both natural and school walk (slow collected) is the best gait to begin to develop the horse, mouth, memory and collection.

The Halt is the best place to render the horse light and to establish the expectation of lightness.

François Robichon de La Guérinière

While the trot is the most important gait the Shoulder-in is the “Alpha and Omega of all exercises”

Without the shoulder-in, all trot movements are straight and do not impart agility and obedience to the leg.

Duke of New Castle was a considerable influence on Guérinière and reference in his book. The Duke originated the shoulder-in on a circle however this causes the horse to be more on the forehand, where Guérinière contribution was to use a square, which causes the haunches to lower and in the corners agility and obedience and balance is tested at its best.

François Robichon de La Guérinière

François Robichon de La Guérinière (The Alpha-Omega Exercises)

Shoulder-in angle controversy

Shoulder In Traver

30

15 30

Photos from Das Dressurpferd – Harry Boldt

The shoulder in today’s FEI competition is considered a 3 track movement and Traver a 4 track movement. Guérinière and most Boroque trainers practice the shoulder-in On 4 tracks to improve suppleness-Gymnasticizing as depicted on previous page. The process of education is the same for the horse regardless of 3 or 4 tracks. The neck bend can be done at any angle but typical 15degree more than the spine. Altering the neck angle during the work improves suppleness. While 3 Track may help more with collection, suppleing is improved with 4 track movement. Since the Piaffe is the ultimate collection exercise, the 3 track is used less by French.

The Picadero is a preferred training

pen by many Spanish trainers.

Proceeded the use of Round pens. The

benefits of corners are substantial and

improve the quality of work over a

round pen.

Corners can be used to establish

voltes, position the horse for

dominance and or straight walls are

useful in ground and saddle work.

In a round pen the horse will use the

walls for support and not really learn a

good circle, a picadero provides only

intermittent wall support on a circle

causing the horse to learn a circle

much better.

Picadero vs. Round Pen

36 Ft Square

1796–1873

His methods diverge from those

of many earlier masters.

Contracted by French Army to

teach his methods for breaking

horses in 15 days vs. 6 months

with previous methods. Paid

500 Francs per month

Received gifts and credit from

the King of Prussia for his

methods

Baucher's key innovation was

the "flexion" and relaxation of

the horse's jaw to light rein

pressure.

Baucher was highly criticized

for many of his techniques.

François Baucher

Baucher’s Methods were very precise: broken down to the number of days and number of lessons for each segment of the Method for both horse and rider.

Baucher believed that the main issue with all previous training methods were they did not explain in detail how to deal with each resistance of the horse and how to address it within the method. It was this gap he set out to address.

Baucher believed the most important thing to achieve was ultimate lightness through balance and his method goes in to great detail about how to create Ressembler to obtain balance and to annul all resistances.

To Baucher while working to achieve balance one must supple the head, neck and haunches through flexion's to make the them pliable, soft, light and graceful while removing all resistance.

He was not as obsessed with shoulder-in to develop engagement and suppleness, he believed that it came from head and neck positions to remove resistances. Although he wrote about the method of working on two tracks, he never used the term Shoulder-in, he always wanted to promote his Ideas as unique and largely they were very different.

Baucher primary downfall was artificially raising the neck to get the horse on the haunches. While his technique worked for this purpose, the horse was ridged and not supple in the back and tended to lacked impulsion as his critics claimed.

François Baucher

1834 - 1913

English born moved to France

at an early age.

Spent many years working for

Baucher and learning his

method.

Opened his own school in Le

Havre before moving to Paris to

work for some of the most

Prominent.

In 1870 work for the Army

Corps has lead horse trainer.

Modified many of Bauchers

Methods to improve impulsion

and forward moving extension.

First book published in 1890.

James Fillis

James Fillis was educated by Baucher’s, but found fault in Baucher’s methods, particularly the lack of impulsion and extension. After Starting his own school he modified Baucher’s Methods to develop better moving horse in extended gaits to improve upon the methods for Military, Racing, Hunters, Jumpers and Polo requirements.

Preferred Thoroughbred as they were plentiful, inexpensive and had better stamina than most other horse types. All of his personal horses were Thoroughbreds.

James spent a few years traveling and working as Ecuyer en Chief for the German and Russian Militaries.

James Fillis became widely known and acknowledged as the Greatest High School rider of all times.

Unlike Baucher, Fillis utilized the lateral movements of Guérinière to improve suppleness and collection.

Much Like Nuno Fillis combined the ideas of many masters to develop his style, although Fillis was mostly influenced by Baucher.

Surprisingly in Fillis Book, he openly criticizes or questions Baucher throughout most Chapters.

James Fillis

1565 to Present

Emperor Charles the VI built

this indoor riding hall in 1735.

Arena size 18x56 and 72 Stalls

in an adjacent building. This is

generally when the Spanish

Riding School was officially

formed.

Earliest Mention of training

School in Vienna was in 1565.

Horses were imported annually

from Southern Spain, but the

trek was difficult on the horses.

158o Archduke Charles II

brother of the Roman Emperor

founded the Lipizza Court Stud

farm.Spanish Riding School - Vienna

Spanish Riding School - Vienna

Spanish Riding School - Vienna

During the time period between the 1st and 2nd World War the FEI was gaining notoriety and the rivalry between the French and the German played out. Germany largely took the lead in defining the criteria for the competitive dressage tests.

This further impacted the Art of Dressage as the competitive nature took precedence over the beauty and natural art defined during the Golden Age.

The French were fragmented between Baucherist, d'Aure and Guérinière and lost out in controlling FEI definition.

Few really practiced the Art of Dressage for some time, although Joachim De Miranda (1870-1940) became prominent in Lisbon and influenced a new wave in the Artist including Nuno Oliveira who grew up in Lisbon and trained shortly with Miranda.

There is still fragement in French style of dressage today, many following Nuno and many following Baucher methods.

The FEI – what happened to “Art”

1925 - 1989

Undisputed Master and Artist

of Dressage who fused styles of

the French, SRS and Germans

taking the best of all

Techniques. Namely Baucher

and Guérinière, albeit inclusive

of all including Gustav

Steinbrecht’s book (Gymnasium

of the Horse)

Nuno educated himself on all of

the past Masters works and

often debated and challenged

his top students the merits of

the writing, exercises and

photos of the preceding

Ecuyer’s.

This fusion of technique created

what is likely the most pure

Ressembler transforming the

French Style

Nuno Oliveria - Fusion of the “Artist”

School purchased from The

Duke of Abrantes, and an

arena built by the architect

José Luís Picardo, could

seat up to 1,600 spectators

and had stable facilities for

60 horses.

The show "How the

Andalusian Horses Dance"

is considered the main

attraction but also Driving

and other education work is

done here.

Baroque style training with

Andalusian’s and Lusitano

Horse’s

The Royal Andalusian School of Equestrian Art

1973 to Present

Portugal

The Royal Andalusian School of Equestrian Art

You can’t have balance without lightness. The rider can not impart balance, he can only establish a correct position and allow the horse to be in balance. The use of strong rein aid or rider position is what disrupts the balance.

Lightness is something that must be developed over time, you must be diligent about always asking for less while giving more and allowing something to happen while guiding more from mental connection and visualization.

Once absolute lightness is achieved the horse can be best influenced by the riders weight and position of body equally or more so than the hands, allowing lightness to prevail.

Flexion's of the neck help with flexibility, leading to increased suppleness, lightness and release of tension in jaw, poll and back. The release of the jaw (swallowing) is key (not chewing although may look like chewing). Chewing is tension and must be elimiated. The release of jaw should be taught to the horse, as part of the Flexion exercises.

Lateral suppleness and responsiveness is key to absolute body control over the horse, its not the thing, its everything developed from 4 track shoulder in and Traver. Collection may be improved by piaffe. 3 track should-in really has no value for a confirmed horse.

Impulsion and the desire to go forward is an absolute must and should be established as soon as possible and maintained at all times. Impulsion is destroyed by rider induced resistance either by leg or hands. The hands and legs need to work in harmony with the least affect.

A fixed hand or playing with fingers is most helpful in gaining desired head position do not pull.

In Hand Long Lining and Liberty work is equally important as the saddle work in developing the horses skills, obedience and relationship with the rider. The ground work is where you establish your self as the leader.

Brads Key lessons from Past and Current Masters

Ego is used to cope with ourselves while struggling with who we are or who we are not. It's a habit we have to cope when we have a need to change, rearrange or to improve things to suit our personal view and perception of what we need within our ourselves.

Horses have no Ego, they live in the present with a soul that does not oppose anything except fear.

When learning dressage we must not loose sight of the fact that knowledge rises from ignorance and is a never ending journey.

To be one with the horse you must arrive with presence to meet the horse presence, then opening your heart and soul to be with the horse at that moment. Moving beyond the limitation of who we are, to be part of the energy and soul of the horse and allowing our ego-bound conscious to fade into our unconscious energy (not to exclusion of technique) and allow one with Unity.

Unity - Oneness - Connection

The School of Horsemanship (François de La Guérinière)

Workbooks from the Spanish Riding School (Charles Harris)

Reflections on Equestrian Art (Nuno Oliveria) The Legacy of Master Nuno Oliveria

(Stephanie Grant Millham) The Balanced Horse (Sylvia Loch) 30 Years with Mast Nuno Olivera (Michel

Henriquet) Henriquet on Dressage (Michael Hebriquet) The Athletic Development of the Dressage

Horse (Charles de Kunffy) New Method of Horsemanship (Francois

Baucher) The Principals of Horsemanship and Training

(Francois Baucher) Monsieur Baucher and his Art a Serious Word

with German Riders (Louis Seeger) Academic Equitation (General Decarpentry) Piaffer and Passage (General Decarpentry) Baucher and his School (General

Decarpentry) Methodical Dressage of the Riding Horse

(Feverot de Kerbrech)

Recommended Reading The Art of Horsemanship (Xenophon) Racient Explains Baucher (Jean-Claude

Racinet) To Amaze the People with Pleasure and

Delight; the Horsemanship Manuals of the Duke of NewCastle (Elaine Walker)

James Fillis Breaking and Riding (JA Allen&Co) The Gymnasium of the Horse (Gustav

Steinbrecht) The Complete Training of the Horse and Rider

(Alois Podhajsky) Masters of Equitation (Martin Diggle) The Alchemy of Lightness (Dominique Barbier

Maria Katsamanis) The Masters of Horsemanship (Walter Zettl) Twisted Truths of Modern Dressage (Philippe

Karl) +DVD Training of Horse in Hand (Alfons J Dietz)

+DVD The Dressage Horse (Harry Boldt) The Mind of the Horse Equine Cognition

(Michel-Antoine Leblanc) Feed Your Horse Like a Horse (Juliet Getty)