Our Boys

SOME EDUCATED HORSES

One of the most pleasing of modern English authors, Philip Gilbert Hamerton, who is an artist as well as writer, and who loves animals almost as he does art, says that it would be interesting for a man to live permanently in a large hall into which three or four horses, of a race already intelligent, should be allowed to go and come freely from the time they were born, just as dogs do in a family where they are pets, or something to that effect. They should have full liberty to poke their noses in their master's face, or lay their heads on his shoulder at meal-time, receiving their treat of lettuce or sugar or bread, only they must understand that they would be punished if they knocked off the vases or upset furniture, or did other mischief. He would like to see this tried, and see what would come of it; what intelligence a horse would develop, and what love.

The plan looks quixotic, does it not? But one thing you may be sure of; he might have worse associates. There are grades of intellect—we will call it intellect, for it comes very near, so near that we never can know just where the fine shading off begins between a horse's brain and that of a man; and there are warm, loving equine hearts. Many horses are superior to many men; nobler, more honorable, quicker-witted, more loyal, and a thousand times more companionable. Would you not rather, if you had to live on Robinson Crusoe's island, have an intelligent, sympathetic horse and a devoted bright dog than some people you know? One is inclined to favor Hamerton's notion after seeing the Bartholomew Educated Horses, who can do almost anything but speak.

I am writing this for boys and girls who love animals, and for those elderly people who are fond of them too, including the lady whom I overheard saying that she had been nine times to see the remarkable exhibition. The young folks were enthusiastic patrons of that little theatre in Boston, where for more than a hundred afternoons and evenings the "Professor," as he was called, showed off his four-footed pupils. One forenoon he set apart for a free entertainment of as many poor children as the house would hold, who went under the charge of the truant officers and had an overwhelming good time.

There were sixteen of the animals, counting a donkey; grays, bays, chestnut-colored beauties, and one who looked buff in the gaslight. In recalling them, I cannot say that there was a white-footed one. What consequence about white feet, you ask! Perhaps you know that they make that of some account in the horse bazaars of the East. The Turks say "two white fore feet are lucky; one white fore and hind foot are unlucky;" and they have a rhyme that runs—

They were all named. There was a Chevalier, a Prince, and a Pope; a little pet, Miss Nellie, who looked as if she would be ready to drink tea out of your saucer and kiss you after her fashion; Mustang, an irrepressible and rude savage from the Rio Grande region; Brutus, Cæsar, and Draco; a Broncho beauty; a Sprite; a stately stepping Abdallah; Jim, who was a character; and a Bucephalus, after that storied steed who would suffer no one to ride but his master, the Great Alexander, but for him to mount, would kneel and wait.

It is perhaps needless and an insult to their intelligence for me to say that they all know their own names as well as you know yours. They know, too, their numbers when they are acting as soldiers formed in line waiting orders; the Professor passes along and checking them off with his forefinger numbers them, then falling back, calls out for certain ones to form into platoons, and they make no mistake. Their ears are alert, their senses sharp, their memory good. "Number Two," "Number Four," and so on, answer by advancing, as a soldier would respond to the roll-call.

They came around from the stable an hour before the performance and went up the stairs by which the audience went; and a crowd used to gather every afternoon and evening to see that remarkable and free feat.

When the curtain rose there was to be seen a small stage carpeted ankle deep with saw-dust, where Professor Bartholomew purposed to have his horses act; first the part of a school, then of a court room, last a military drill and taking of a fort. They came in one after another, pretending, if that is not too strong a word, that they were on the way to school, and that was the playground; and there they played together, with such soft, graceful action, such caressing ways, and trippings as dainty as in "Pinafore," until at the ringing of a bell they came at once to order from their mixed-up, mazy pastime, and waited the arrival of their teacher, the Professor, who entered with a schoolmaster air, and gave the order.

"Bucephalus, take my hat, and bring me a chair!" as you might tell James or John to do the same, and with more promptness than they would have shown, Bucephalus came forward, took the hat between his teeth, carried it across the stage and placed it on a desk, and brought a chair.

The master, seating himself, began the business of the day, saying, "The school will now form two classes; the large scholars will go to the left, the small ones to the right;" and six magnificent creatures separated themselves from the group huddled together and went as they were bid, while Nellie, the mustang, and other little ones, filed off to the opposite side, and placed themselves in a row, with their heads turned away from the stage. And there they remained, generally minding their business, though sometimes one would get out of position, look around, or give his neighbor a nudge which brought out a reprimand: "Pope, what are you doing?" "Brutus, you need not look around to see what I am about!" "Sprite, you let Mustang alone!" "Mustang, keep in your place!"

He then called for some one to come forward and be monitor, and Prince volunteered, was sent to the desk for some papers, tried to raise the lid, and let it drop, pretending that he couldn't, but after being sharply asked what he was so careless for, did it, and then brought a handkerchief and made a great ado about wanting to have something done with it, which proved to be tying it around his leg. Meanwhile one of the horses behaved badly, whereupon the teacher said, "I see you are booked for a whipping," and the culprit came out in the floor, straightened himself, and received without wincing what seemed to be a severe whipping; but in reality it was all done with a soft cotton snapper, which made more sound than anything else.

Mustang was called upon to ring the bell, a good-sized dinner-bell, for the blackboard exercises by Sprite. He, too, made believe he couldn't, seized it the wrong way, dropped it, picked it up wrong end first, was scolded at, then took it by the handle, gave it a vigorous shake, and after letting it fall several times, set it on the table. Meanwhile a platform was brought in supporting a tall post, at the top of which, higher than a horse could reach, was a blackboard having chalked on it a sum which was not added up correctly. Sprite, being requested to wipe it out, took the sponge from the table, and planting her fore-feet on the platform, stretched her head up, and by desperate passes succeeded in wiping out a part of the figures, and started to leave, but seeing that some remained, went back and erased them.

One day she went through a process which showed conclusively that horses can reason. She dropped the sponge the first thing, and it fell down behind the platform out of her sight. She got down, and looked about in the saw-dust for it, the audience curiously watching to see what she would do next. She was evidently much perplexed. She knew perfectly well that her duty would not be fulfilled until she had rubbed the figures out, and the sponge was not to be found. Mr. Bartholomew said nothing, gave her no look or hint or sign to help her out of her predicament, but sat in his chair and waited. At last she deliberately stepped on the platform again, stretched her head up and wiped the figures out with her mouth, at which the audience applauded as if they would bring the roof down. That was something clearly not in the programme, but a bit of independent reasoning. Yet, having done so much, she knew that something was not right. About that sponge—what had become of it? It was her business to lay it on the table when she was through using it. She hesitated, looked this way and that, started to go, came back, dreadfully puzzled and uncertain, suddenly spied it, set her teeth in it, put it on the table, and went to her place, with a clear conscience, no doubt, and the people cheered more wildly than before.

This was to me one of the most interesting things I witnessed; and connecting it with some facts Mr. Bartholomew communicated, it was doubly so.

He said that it was his practice not to interfere or help; the horse knew just what she was to do, and he preferred to wait and let her think it out for herself. The other horses all knew too if there was any failure or mistake, and the offender was closely watched by them, and in some way reproved by them if they could get the opportunity, and at times this little by-play became very amusing.

After this was most exquisite dancing by Bucephalus, and by Cæsar, whose steppings were in perfect rhythm to the music. Then the latter turned in a circle to the right or the left and walked around defining the figure eight, just as any one in the audience chose to request; and Abdallah came in with a string of bells around her, and paced, cantered, galloped, trotted, marched or walked as the word was given. The horses were generally expected to come to the footlights and bow to the audience at the close of any feat; occasionally one would forget to do this, and then some of his comrades would shoulder or buffet him, or Mr. Bartholomew would give a reminder, "That is not all, is it?" and back would come the delinquent, and bow and bow twenty times as fast as he could, as if there could not be enough of it. At the close of one scene all the horses came up to the front in a line, and leaning over the rope which was stretched there to keep them from coming down on the people's heads, would bow, and bow again, and it was a wonderfully pretty sight to see.

A game of leap frog was announced. "There are four of the horses that jump," said Mr. Bartholomew. They like this least of any of their feats, and those who can do it best are most timid. At first one horse is jumped over, then two, three, are packed closely together, and little Sprite clears them all at one flying leap, broad-backed and much taller than herself though they are. Those who do not want to try it beg off by a pretty pantomime, and Sprite is encouraged by her master, who pats her first and seems to be saying something in her ear. They like to get approval in the way of a caress, but beyond that they are in no way rewarded.

Next Nellie rolled a barrel over a "teter plank" with her fore-feet, and Prince and Pope performed the difficult feat, and one which required mutual understanding and confidence, of see-sawing away up in air on the plank; first face to face, carefully balancing, and then the latter slowly turned on the space less than twenty inches wide, without disturbing the delicate poise. This he considers one of the most remarkable, because each horse must act with reference to the other, and the understanding between them must be so perfect that no fatal false movement can be made.

One of the grand tableaux represents a court scene with the donkey set up in a high place for judge, the jury passing around from mouth to mouth a placard labelled "Not Guilty," and the releasing of the prisoner from his chain. But the military drill exceeds all else by the brilliance of the display and the inspiring movements and martial air. Mr. Bartholomew in military uniform advancing like a general, disciplined twelve horses who came in at bugle call, with a crimson band about their bodies and other decorations, and went through evolutions, marchings, counter-marchings, in single file, by twos, in platoons, forming a hollow square with the precision of old soldiers. They liked it too, and were proud of themselves as they stepped to the music. The final act was a furious charge on a fort, the horses firing cannon, till in smoke and flame, to the sound of patriotic strains, the structure was demolished, the country's flag was saved, caught up by one horse, seized by another, waved, passed around, and amidst the excitement and confusion of a great victory, triumphant horses rushing about, the curtain fell.

It was from first to last a wonderful exhibition of horse intelligence.

Trained horses, that is, trained for circus feats at given signals, are no novelty. Away back in the reign of one of the Stuarts, a horse named Morocco was exhibited in England, though his tricks were only as the alphabet to what is done now. And long before Rarey's day, there was here and there a man who had a sort of magnetic influence, and could tame a vicious horse whom nobody else dared go near. When George the Fourth was Prince of Wales, he had a valuable Egyptian horse who would throw, they said, the best rider in the world. Even if a man could succeed in getting on his back, it was not an instant he could stay there. But there came to England on a visit a distinguished Eastern bey, with his mamelukes, who, hearing of the matter which was the talk of the town, declared that the animal should be ridden. Accordingly many royal personages and noblemen met the Orientals at the riding house of the Prince, in Pall Mall, a mameluke's saddle was put on the vicious creature, who was led in, looking in a white heat of fury, wicked, with danger in his eyes, when, behold, the bey's chief officer sprung on his back and rode for half an hour as easily as a lady would amble on the most spiritless pony that ever was bridled.

Some men have a tact, a way with animals, and can do anything with them. It is a born gift, a rare one, and a precious one. There was a certain tamer of lions and tigers, Henri Marten by name, who lately died at the age of ninety, who tamed by his personal influence alone. It was said of him in France, that at the head of an army he "might have been a Bonaparte. Chance has made a man of genius a director of a menagerie."

Professor Bartholomew was ready to talk about his way, but a part of it is the man himself. He could not make known to another what is the most essential requisite. He, too, brought genius to his work; besides that, a certain indefinable mastership which animals recognize, love for them, and a vast amount of perseverance and patient waiting. It is a thing that is not done in a day.

He was fond of horses from a boy, and began early to educate one, having a remarkable faculty for handling them; so that now, after thirty years of it, there is not much about the equine nature that he does not understand. He trained a company of Bronchos, which were afterwards sold; and since then he has gradually got together the fifteen he now exhibits, and he has others in process of training. He took these when they were young, two or three years old; and not one of them, except Jim, who has a bit of outside history, has ever been used in any other way. They know nothing about carriages or carts, harness or saddle; they have escaped the cruel curb-bits, the check reins and blinders of our civilization. Fortunate in that respect. And they never have had a shoe on their feet. Their feet are perfect, firm and sound, strong and healthy and elastic; natural, like those of the Indians, who run barefoot, who go over the rough places of the wilds as easily as these horses can run up the stairs or over the cobble stones of the pavement if they were turned loose in the street.

It was a pleasure to know of their life-long exemption from all such restraints. That accounted in great measure for their beautiful freedom of motion, for that wondrous grace and charm. Did you ever think what a complexity of muscles, bones, joints, tendons and other arrangements, enter into the formation of the knees, hoofs, legs of a horse; what a piece of mechanism the strong, supple creature is?

These have never had their spirits broken; have never been scolded at or struck except when a whip was necessary as a rod sometimes is for a child. The hostlers who take care of them are not allowed to speak roughly. "Be low-spoken to them," the master says. In the years when he was educating them he groomed and cared for them himself, with no other help except that of his two little sons. No one else was allowed to meddle with them; and, necessarily, they were kept separate from other horses. Now, wherever they are exhibiting, he always goes out the first thing in the morning to see them. He passes from one to another, and they are all expecting the little love pats and slaps on their glossy sides, the caressings and fondlings and pleasant greetings of "Chevalier, how are you, old fellow?" "Abdallah, my beauty," and, "Nellie, my pet!" Some are jealous, Abdallah tremendously so, and if he does not at once notice her, she lays her ears back, shows temper, and crowds up to him, determined that no other shall have precedence.

They are not "thorough-breds." Those, he said, were for racers or travellers; yet of fine breeds, some choice blood horses, some mixed, one a mustang, who at first did not know anything that was wanted of him.

"Why," said he, "at first some of them would go up like pop corn, higher than my head. But I never once have been injured by one of them except perhaps an accidental stepping on my foot. They never kick; they don't know how to kick. You can go behind them as well as before, and anywhere."

In buying he chose only those whose looks showed that they were intelligent. "But how did he know, by what signs?" queried an all-absorbed "Dumb Animals" woman.

"Oh, dear," he said, "why, every way; the eyes, the ears, the whole face, the expression, everything. No two horses' faces look alike. Just as it is with a flock of sheep. A stranger would say, 'Why, they are all sheep, and all alike, and that is all there is to it;' but the owner knows better; he knows every face in the flock. He says, 'this is Jenny, and that is Dolly, there is Jim, and here's Nancy.' Oh, land, yes! they are no more alike than human beings are, disposition or anything. Some have to be ordered, and some coaxed and flattered. Yes, flattered. Now if two men come and want to work for me, I can tell as soon as I cast my eyes on them. I say to one, 'Go and do such a thing;' but if I said it to the other, he'd answer 'I won't; I'm not going to be ordered about by any man.' Horses are just like that. A horse can read you. If you get mad, he will. If you abuse him, he will do the same by you, or try to. You must control yourself, if you would control a horse."

They must be of superior grade, "for it's of no use to spend one's time on a dull one. It does not pay to teach idiots where you want brilliant results, though all well enough for a certain purpose."

Some of these he had been five years in educating to do what we saw. Some he had taught to do their special part in one year, some in two. The first thing he did was to give the horse opportunity and time to get well acquainted with him; in his words, "to become friends. Let him see that you are his friend, that you are not going to whip him. You meet him cordially. You are glad to see him and be with him, and pretty soon he knows it and likes to be with you. And so you establish comradeship, you understand each other. Caress him softly. Don't make a dash at him. Say pleasant things to him. Be gentle; but at the same time you must be master." That is a good basis. And then he teaches one thing at a time, a simple thing, and waits a good while before he brings forward another; does not perplex or puzzle the pupil by anything else till that is learned, and some of the first words are "come," "stand," "remain."

What a horse has once learned he never or seldom forgets. Mr. Bartholomew thinks it is not as has sometimes been said, because a horse has a memory stronger than a man, "but because he has fewer things to learn. A man sees a million things. A horse's mind cannot accommodate what a man's can, so those things he knows have a better chance. Those few things he fixes. His memory fastens on them. I once had a pony I had trained, which was afterwards gone from me three years. At the end of that time I was in California exhibiting, and saw a boy on the pony. I tried to buy him, but the boy who had owned him all that time, refused to part with him; however, I offered such a price that I got him, and that same evening I took him into the tent and thought I would see what he remembered. He went through all his old tricks (besides a few I had myself forgotten) except one. He could not manage walking on his hind feet the distance he used to. Another time I had a trained horse stolen from me by the Indians, and he was off in the wilds with them a year and a half. One day, in a little village—that was in California too—I saw him and knew him, and the horse knew me. I went up to the Indian who had him and said, 'That is my horse, and I can prove it.' Out there a stolen horse, no matter how many times he has changed hands, is given up, if the owner can prove it. The Indian said, 'If you can, you shall have him, but you won't do it.' I said, 'I will try him in four things; I will ask him to trot three times around a circle, to lie down, to sit up, and to bring me my handkerchief. If he is my horse, he will do it.' The Indian said, 'You shall have him if he does, but he won't!' By this time a crowd had got together. We put the horse in an enclosure, he did as he was told, and I had him back."

Mr. Bartholomew said, "My motto in educating them is, 'Make haste slowly;' I never require too much, and I never ask a horse to do what he can't do. That is of no use. A horse can't learn what horses are not capable of learning; and he can't do a thing until he understands what you mean, and how you want it done. What good would it do for me to ask a man a question in French if he did not know a word of the language? I get him used to the word, and show him what I want. If it is to climb up somewhere, I gently put his foot up and have him keep it there until I am ready to have it come down, and then I take it down myself. I never let the horse do it. The same with other things, showing him how, and by words. They know a great number of words. My horses are not influenced by signs or motions when they are on the stage. They use their intelligence and memory, and they associate ideas and are required to obey. They learn a great deal by observing one another. One watches and learns by seeing the others. I taught one horse to kneel, by first bending his knee myself, and putting him into position. After he had learned, I took another in who kept watch all the time, and learned partly by imitation. They are social creatures; they love each other's company."

Most of these horses have been together now for several years, and are fond of one another. They appear to keep the run of the whole performance, and listen and notice like children in a school when one or more of their number goes out to recite. It was extremely interesting to observe them when the leap-frog game was going on. Owing to the smallness of the stage, it was difficult for the horse who was to make the jump to get under headway, and several times poor Sprite, or whichever it was, would turn abruptly to make another start, upon which every horse on her side would dart out for a chance at giving her a nip as she went by. They all seemed throughout the entire exhibition to feel a sort of responsibility, or at least a pride in it, as if "this is our school. See how well Bucephalus minds, or how badly Brutus behaves! This is our regiment. Don't we march well? How fine and grand, how gallant and gay we are!" And the wonder of it all is, not so much what any one horse can do, or the sense of humor they show, or the great number of words they understand, but the mental processes and nice calculation they show in the feats where they are associated in complex ways, which require that each must act his part independently and mind nothing about it if another happens to make a mistake.

To obtain any adequate representation of these horses while performing, it was necessary that it be done by process called instantaneous photographing. You are aware that birds and insects are taken by means of an instrument named the "photographic revolver," which is aimed at them. Recently an American, Mr. Muybridge, has been able to photograph horses while galloping or trotting, by his "battery of cameras," and a book on "the Horse in Motion" has for its subject this instantaneous catching a likeness as applied to animals. But how could any process, however swift, or ingenious, or admirable, do full justice to the grace and spirit, the all-alive attitudes and varieties of posture, the dalliance and charm, the freedom in action?