The History of the Academic Art of Riding

Academic Art of Riding is the most original way of riding, and dates back to the time of Xenophon.

In those days, horses were trained in dressage for war. It was very important that the horses were well trained because they were a very valuable asset. Consequently, a great deal of time and energy was invested in the proper and long-term training of the horse.

Xenophon (430 – 354 BC)

Xenophon was the son of a wealthy Greek from Athens and a student of the philosopher Socrates. He fought on horseback with the Greek Cavalry in many battles. Among other works, he wrote the book “Peri Hippikes” (“On the Art of Horsemanship”). His work is considered the world’s first complete treatise on horsemanship. He is regarded as the first ancient grandmaster.

Xenophon’s most important discovery was: “Only with an agile horse can one go into battle and fight.” Only if the horse was obedient, supple, and fast could the rider emerge from the battle alive.

Xenophon recommended gymnastics for every horse in the form of lateral movements and pirouettes. At that time, these exercises were not as different as they are now (shoulder-in, travers, renvers, etc.). Under him, all horses had to bring their hindquarters far under their bodies to carry their armored rider toward the opponent. He was the first to demand that the horse be rewarded frequently: “Never lose your self-control when dealing with horses.” What is achieved by coercion is achieved without understanding and is just as ugly as whipping and spurring a dancer.”

He stated: “Those who understand how to handle horses look magnificent.”

Middle Ages (400-1400)

In the Middle Ages, the horse was used to engage in battle alongside the knight. Before the horse was ready for this battle, it had usually already been trained for about 8 years. The better the horse was trained, the greater the chance that the knight would survive the fight. This meant that the horse had to be fast and agile. In fact, the horse had to possess a number of jumps, such as the capriole, terre à terre, or courbette, in order to be able to surprise the opponent.

A good knight’s horse had to respond 100% to the slightest aids in the heat of battle. to react, move quickly, nimbly, and precisely forward, backward, and sideways, while at the same time being strong enough to carry the rider and his weapon and armor.

Pluvinel

Renaissance – Antoine De Pluvinel (1555 – 1620)

The training of horse and rider had a practical character during this period: battles were fought in wars, princes and kings rode at the front themselves, and it was a matter of life and death. The horse’s obedience and agility were of vital importance.
And during this time, the first Riding Academy was founded in 1532 by Frederico Grisone in Nepal. Grisone wrote a rather violent book on the art of horsemanship, “Rordine die Cavalcare” (1550). Lightness was a noble aspiration, but if it failed, a burning torch or a scratching cat was the last resort.

These riding academies often grew into universities.

Kings led their armies during this time and allowed themselves to be trained by the great masters of horsemanship, including Antoine de Pluvinel, a former pupil of Grisone. Pluvinel specifically avoids violent methods and embodies the horsemanship of the Renaissance.

Pluvinel already recognized that time and systematic training are necessary in the education of the horse in order to harm the horse neither psychologically nor physically:

“The gracefulness of the young horse can be compared to the scent of blossoms: once it has vanished, it never returns.”

 

De la Guérinière

Baroque Era – Francois Robichon De La Guérinière (1688 – 1751)

During this time, monarchs no longer fought on the front lines, and consequently, the art of warfare gradually lost its importance, giving rise to recreational riding and “L’Art pour L’Art.” Riding for the sake of riding. The ultimate goal was no longer a warhorse, but a luxury horse that had to be primarily beautiful and capable of elegant movement. The art of riding led to well-trained, agile, collected horses capable of performing the most difficult exercises with elegance.

The art of riding experienced its peak during this period; although it was freed from its goal, it was not alienated!

It was the era of Françoise de La Guérinière, the greatest master of riding of that time and perhaps of all time. In his book “Ecole de Cavalerie” (1733), he employs a complete description and classification of all gaits and exercises. His most important discovery was the half-halts used to slow down the horses.

He also developed the shoulder-in on the straight line instead of just on the circle. The shoulder-in is the key to the art of riding.

His training principles were: looseness, obedience, suppleness, and collection. For him, it was clear: “A horse that does not allow itself to be bent lengthwise is not supple and therefore cannot learn difficult exercises.”

Classicism

The increasing use of gunpowder led to a different way of competing. Speed ​​became more important than high-school jumps, and modern cavalry emerged. As a result, riding as an art was largely lost. After all, perfectly trained riders and horses were just as easily shot dead with a cannon.

The classical riding horse, with its gift for flexion in the hind legs and thus carrying capacity in the hindquarters, was displaced. A desire arose for forward-moving horses. Spanish horses made way for English Thoroughbreds and Arabian horses. The driving force was born.

However, a conflict arose among the officers, because they rode at the front as always and also wanted to ride in a collected manner to survive fights. In doing so, the officers became the heirs of European riding culture.

During this time, a number of grandmasters lived who continued classical dressage:

Francois Baucher (1796 – 1873)

Baucher came from the Cadre Noir and entered the circus as an equestrian performer, riding mainly English Thoroughbreds. Therefore, his training method was more about breaking and dressaging the horses than gymnastic training. He trained horses so that they could gallop backwards and perform the Spanish walk in the trot. Baucher also discovered the flying change.

When a chandelier fell from the ceiling during a circus performance, he sustained serious injuries. He wanted to present his horses to the circus as quickly as possible. His training was more mechanical compared to the slow, systematic work of Guérinière. For this reason, Baucher was and is criticized.

Steinbrecht (1808 – 1885)

Steinbrecht contributed much to the cavalry and trained his (circus) horses according to the method of La Gueriniere, but he developed a training method for the Prussian cavalry. The training method was intended to allow recruits to continue training during their remounts and to keep their horses in condition during the long marches to the next battlefield.

In 1886, “Das Gymnasium des Pferdes” (The Horse Gymnasium) was published. As the troops rode forward, he discovered that soldiers could straighten their horses through positioning, bending, and lateral movements, and that the horses were prepared for collection by achieving engagement of the hindquarters. From this arose his famous phrase: “Straighten your horse and ride him forward.” Steinbrecht’s teachings remain a guideline for modern dressage to this day.

 

Nuno Oliveira (1924 – 1987)

“Let love and a sense of responsibility towards the horse determine all your actions” is a famous phrase by Oliveira. Oliviera was the son of a banker and learned to ride under the famous Portuguese Mestre Miranda, riding according to the principles of Baucher.

For a long time, he earned his living training cavalry horses. Later, he trained many Lusitanos, eventually establishing his own riding school and frequently going on world tours with his horses. Oliviera had an incredibly fine feel for horses and rode them with minimal aids.

Egon Von Neindorff (1923 – 2004)

Egon von Neindorff guarded Steinbrecht’s legacy at his Academy in Karlsruhe. He was the last grandmaster in Germany. “Classical riding is natural riding, without coercion, with great feeling and patience.” Egon von Neindorff is often called the guardian of the Holy Grail of classical horsemanship. He stands for training horse and rider as it should be done, with great patience and love for the horse.

In the 1950s, he made a name for himself as a rider and was guided by classical horsemanship.

Shortly before his death, he wrote the book “Die reine Lehre der klassischen Reitkunst” (The Pure Teaching of Classical Horsemanship).

Bent Branderup – Academic Horsemanship (1964)

One of Egon von Neindorff’s most gifted students was Bent Branderup. Today, he is the grandmaster of Academic Horsemanship and has mastered all equestrian exercises up to and including High School.

From a young age, Bent Branderup was captivated by the horse and everything related to it. He traveled throughout Europe in search of equestrian cultural heritage. He studied the classical works of the old masters (including Antoine de Pluvinel, Francois Robichon de la Gueriniere, and Steinbrecht) and came into contact with people who continue the old traditions.

Branderup rode among the best in the world: at the Real Escuela Andaluza del Arte Ecuestre in Spain, with Nuno Oliveira in Portugal, and with Egon von Neindorff in Germany.

Bent Branderup wrote many books on the art of horsemanship, including translations of the works of Pluvinel and de la Gueriniere, and made videos/DVDs. It is his mission to restore the original art of horsemanship to its former glory and revive it among riders.