may find out a new Art Stephen Skinner To Mr. STOKES Vpon his new and admirable Booke of the Art of Vaulting THis is no age for Apes although it can Shew many a motley frisking Gentleman False capers and soft cringes that betray Who 's a French Courtier are quite laid away Our Gallants are growne sound th'have learn'd a sport For men of backs and may be lik'd at Court He that can mount the woodden Palfrey best And sit him as Knights Errant doe their beast Descend so quick that you would sweare he flies And were himselfe the Pegasus can rise All the Reverses English French Pomado's The Saddle-jumps intricate Strappado's Hover so lightly the Angelica You 'l think a reall spirit were i' th' play Can stretch his sinews so to jump with ease The Stags long leap the Leap of Hercules Has mettle for each Terme and were they more Than Logick has could doe them all thrice o're He he 's the Man He shall applauded be 'Bove the gay sutes and Tinsell-Poetrie Mark how the Ladies drink to Him alone He mans them out He 's talk'd on too at home All this your Book affoords and your large skill Lies not i'th'back alone but in the Quill He writes best that does teach I like the man Will gaine the world his Scholler if he can Thus Art amends weak Nature Tell me one That e're grew strong by demonstration Nimble by rule before What was good parts Is now growne study and makes up our Arts. And you 'll a deed of Benefactour doe To joyne your Schoole to Bodley's Buildings too Richard Godfrey To his friend the Author of this Book and most expert Instructer in this Art NO view of former Tract hereof thy pen Doth guide a vaulter needs no stirrup then Take time from th'ground of this your Art and spring Above a rivals aime or envie bring Thy Pegasus in view and let us see Though many vaunt if any'll vault with thee Thy Art I manhood stile for that its use Is man to 's proper motion to reduce Which upward is by stooping low to rise It makes him know humilitie to prize Celestiall exercise whereby men doe Not in affection but in body too Mount up above this earth and triall make Which way their active soules would them betake If loosed from the body so they doe Now but prove practice in the way thereto Toyes scale away and cannot scale so high Each Passe surpasses let th' ambitious try T'at taine this Art he 'll quickly find and say That Vaulting is the only Rising way Jo. Shearman On the Author and his Book HEark hither Gallants you that set no price On any games but only Cards and Dice And think all exercise is course and poore Except to empt the quart and fill your whore I 'le tell you how if you desire to know Your recreation shall a vertue grow And all those houres you us'd to spend in vaine Shall give you health and bring your Countrey gaine Leave off your Carpet-games they well become The Needle or Distaffe not the Sword or Drum And in their place receive this active sport Hatcht first in Mars his not in Venus Court This to your weak'ned limbs will strength restore Making that Brawne that was but Veale before This to refine your bodies humorous bog 'T will prove the covering of your soule not clog This makes you rise with such an even spring As if each heele were help'd with Hermes wing And on your house sit with as firme a grace As those that first sprang from the Centaures race Thank then his paines who such a care hath took To make you now his Scholler by his book And grutch not though you at some charges bee You 'l quickly save it in the Doctors fee. He could be well content you all should come And practise o're your rules with him at home But since that may not be he thus hath sent As objects use his Species to present His Art aright and if I oft can see They shew 't to life though he at distance bee The Horse which in his schoole ne're knew a life Nor other forme than of the work-mans knife Lives in the picture and would surely goe Did but the Souldier once the reines let flow Who with such nimble joynts seemes o're to come The lookers on can scarce refraine to hum This only blame can on the Graver fall He cut none by to catch him should he fall Since then this work hath reach'd so faire an end That only he that made it can it mend I in my friends behalfe ' gainst such as blame His worthy paines or think his Art but lame Thus far doe pray May they a stirrup lack Trav'lling and got off from their horses back May they walk downe the steepest hils with paine And at their feet want stocks to rise againe S. G. IN the first Figure you are shewne how to prepare your selfe to the Horse which motion is equally necessarie in everie Passe the Figure is speaking and I interpret it thus March forwards to the Harse then lay your left hand on the fore pummell the reines of the bridle under your hand placing your left leg in a direct line answerable to that hand your right leg behind the left in the fashion of a Roman T your body sidewise this done march forwards one pace with your right leg advancing the left then retreat one pace back with your left advancing the right so shall you find your selfe in the same posture this Figure does present and ready for the following Passe The First Figure The first Passe BEing thus prepared the first Passe brings you into the saddle and is thus performed by raising of your right arme and extending your right leg provoke your selfe to the spring then at once sink your body clap both feet to the ground move your right hand back and spring clapping your right hand on the hinder pummell and withall nimbly shifting it from thence to the fore pummell equally poyze your body on the strength of your armes with a straight leg and you shall gracefully sink into the saddle then when you have occasion to alight clap both hands on the fore pummell raising your body to the strength of your armes and reverse your right leg over the hind pummell keeping it straight as before and bowing when you touch the ground the one will make your descent sightly the other easie If you chance to make use of the common riding or hunting saddle holding your left hand as before on the pummell clap your right hand in the middle of the saddle so raising your body remove not your hand till you are in the seat John O-Neale Ouer The head of the Horse The third Passe OVer the head of the Horse you have the example before you and it is thus done march to the head of the Horse as in the fore-going Passe lay your left hand on the fore part of the maine then rise with all your
one lying with a straight body on his right arme without the help of the other a strange sight it is and a thing not to be attained without great paines and much practice neverthelesse he that is willing to learne shall not want a Teacher Advance to the Horse laying your left hand on the fore pummell then your ordinarie actions performed spring up settle your right hand strongly on the hind pummell and raise your body equally in everie part from head to foot your left hand extended like the pole they that dance on the rope use helping to poyze it till it rest quietly and constantly on the right elbow when you please to descend clap downe your left hand againe on the fore pummell and wheele your body off with both legs straight over the head of the Horse to the ground on the farside or if you will you may reverse with the right leg over the fore pummell into the saddle The Poysado Ouer three Horses The thirteenth Passe OVer three Horses at once Let your Horses stand abrest and if there be any one higher than another place the highest first your Horses so ordered march forwards and clapping your left hand on the fore pummell of the first Horse then taking your time making no more motions than two as is before prescribed for in making more you shall over-stand your spring and tire your arme with expectation of its burthen as likewise if you make lesse than two you cannot sufficiently stir up your spirits nor winde up your sinews to their full bent this observed mount your right leg leading the way as well in your rise as in your fall and clapping your right hand to your best advantage on the hinde pummell of the first Horse rise to the strength of your armes and throw your selfe off as high and equally as you can and in your passage clap both your hands on the farthest Horse so deliver your body to the ground The fourteenth Passe called the Pomado at the wall THis Pomado is the top of all the rest and as the most excellent so the most dangerous of any Present your selfe therefore to the wall at such a distance that you may have roome enough to march three paces forwards then without any intermission in the very heat of the motion clap your left hand strongly stretched out against the wall and with all the agility that may bee raise your body with your face towards the wall and the right leg foremost making use of your right hand in your passage to hasten the motion and to force your body the more swiftly round neither taking your left hand from the wall which is as it were the center and supporter in all Pomado's till you feele it discharg'd of its burthen and your selfe on the ground with both legs together and in every respect postured as when you rose The fifteenth Passe THis Passe is of much use for it will enable you to leap over raile gate or any other of the like kind as high as your head or lower according to your strength First then approach to the raile or any of the fore-mentioned then laying your left hand thereon make your motions with right and left leg so often before shewne unto you and exprest in the first preparation to the Horse then rise clapping the right hand not above a foot distant from the other so shall your body be equally poyzed and you have strength enough to command it otherwise it will so overload and oppresse that arme which else would easily carry your weight to the ground that it is impossible you should escape without danger if without hurt Ouer the Raise 〈◊〉 at the wall The Pass into the Sadle ANd these are the chiefe if not all that can be done from the ground either on the Horse or otherwise which I have handled plainly and methodically the one being a degree to the other thorowout that so as the Learner increaseth in strength and agilitie hee may still have difficulties answerable to that strength and like Hercules be still opposed by succeeding monsters the following alwayes more seemingly invincible than the former T is true there are many gracefull passages on the Horse which never take their rise from the ground as manifold in their varietie as in number but I chuse rather to confine my selfe within this compasse as knowing these as they are more principally usefull so they doe far more beseeme a man Neverthelesse if these my first fruits shall be favourably esteemed of and passe the publike without wounds I shall be encouraged at some other fit opportunitie to enlarge it with those though not so substantiall parts yet ornaments of the Art and publish whatsoever can be said or done in this kind FINIS
one qualitie more noble and necessarie than motion and activitie it being that whereby Aire excelleth the Earth and Water and Fire the Aire and the Heavens the Fire and that whereby all these doe preserve themselves and those creatures they containe So neither in the little world Man whether in respect of the Soule as being most neerly allied to the nature thereof it being in it selfe a perpetuall Motion as also the fountaine of all Activitie or in respect of the body as being that only whereby we are knowne to live and which chiefly distinguisheth that Earth wee are made of from the residue we tread on Now although it be impossible for a man to attaine to that height of agility which is found in those greater bodies it will be sufficient never thelesse if Art conspiring with an able Constitution may and hath rendred men equall to the most active of the beasts This no doubt will seeme a paradox to some that are enamoured of the admirable speed of a Hart or Horse or the nimblenesse of a Cat or have seene the Apes but let such consider the wonderfull frame of a mans body how it is the patterne as it were whereby both the world and all other creatures were made how in his thight the Horse in his heart the Lion in his hands the Ape in his back the Elephant are as it were stored up all making one by so much more mightie than they all by how much he is but one and they shall find that Nature is not wanting to man but man to himselfe and that it is not lack of abilitie but lack of use that has shrunk mens sinews and enfeebled them even to the contempt of beasts Is it not a shame then that men shoul so forget that they live and out of a base love of idlenesse suffer their bones to gather rust as it were and the gout lock up their joynts chusing rather a chaire than legs of their owne and the perpetuall trouble and torment of Physick than to need none a man may not unfitly think they practise to lye still all their life time lest their grave being not used to it should be too troublesome Certainly ashame it is in any but especially in a Gentleman as in a Gentleman likewise the contrary love of ingenious exercise is most praise-worthy considering the meaner sort of people are called to it by their necessities when as the Gentleman is or should be stirred up to it by the desire he has to doe his Countrey good and to heap honours on his name by his brave and heroick actions which how can hee when by a degenerous and unactive life his body becomes utterly unserviceable and his soule when she would shew her selfe in action is in fetters and set as they doe Horses in their triall to draw at a tree Well then doe those and worthy are they of their Ancestours as of the hearts and eyes of all men who loathing the lazie and unmanly life doe so accustome themselves by dayly use to exercises of all sorts that they may bee no slower in their actions than their intentions and have bodies like the soules of the other Equally blameable with those sons of idlenesse are those who out of a having and parsimonious disposition will not goe to the price of Art Art that is as it were another creation and gives those helps which Nature never meant nor hop'd which must alwayes sister Vse and be in joynt commission with Industrie or a man can never arrive at that excellencie and height in this kind which he is capable of And this I speake as well in generall in respect of all bodily exercises since there is not one of them though meere strength and Vse may performe things indifferently admirable but must expect their sinishings and perfection from the hand of Art as also more especially in respect of the Art of Vaulting the Subject of this present Treatise as being as excellent and amiable as any of her sisters if not more and partaking in as high a degree of the favours of Art and the advantageous helps of masterie and skill as those that have their title Sub privilegio and happily have gained the more early approbation of the world Not that I doe herein chalenge the Science of Defence or by comparison provoke to the combat since I know she is as sufficiently arm'd as able to defend her selfe but as considering they are sisters and therefore in hope they will without grudging endure each others praises so neither that I would hereby detract from the facultie of Dancing for what were it but for one hand to wound the other since I professe both No rather let the ingenious that desire to be acquainted with this Art suspend their judgements till by some triall they find it though boldly yet deservedly praised in the mean time I shall have my ends if what I have said may provoke men only to the love of it and excite in the gentle brest a desire to see what he has read not doubting then but the successe will warrant my confidence and that the Art will commend it selfe to the shame of words Neverthelesse I must not omit those parts of its praises which are yet behind lest I betray the former and if any thing can raise it to an equall glorie with its fellowes what more authentically than its antiquitie example in any thing being that which most readily procures mens assent to it and the more ancient the example the more assuredly ready the assent There might be much probably alleaged to this purpose but let this one suffice for all it is Homers the ancientest of the Greeke Poets when describing Ajax leaping from the beake of one ship to another he useth this Simile Iliad 15. As when a man well knowing how to use The vaulting Horse of many a Steed doth chuse Foure from the field and to the Citie drives Whilst many a man and woman thronging strives To see he safely and nimbly leaps from one To th' other horse yet they still forward run So Ajax c. Certainly a most ancient and infallible testimony To its antiquitie we may adde its use which daily experience has found to be manifold both in peace and war for need and pleasure In war the nimble avoydance of a mans horse if wounded or killed under him and in like manner the ready ascent into his enemies saddle if it be his hap to unhorse him and much more which the experienced Souldier shall find In peace a thousand graces to horse-manship services to Ladies and other courtly feats depend on it besides infinite that practise will meet with which cannot now be thought on One thing more the generally embraced esteeme and communitie thereof it has been loved even of Princes and now is Doe not thou then gentle Reader distaste or neglect an Art so honoured by its Fautors so anciently worthy and so generally necessarie but give it entertainment and love
force for it will bee needfull and clapping your right hand on the fore pummell advance your body thereon and being thus elevated let goe your right hand which you may safely doe for the spring of your arme in the going off will send you with much ease to the ground Another way there is to vault over the neck of the Horse which is especially in use amongst the French and it is thus Stand as before then taking your time rise and whereas in the former the right led the way now let the left so doing you must needs force off your right arme on the fore pummell but be carefull you quickly clap him in his place againe for you will need the help of both hands to carrie off your body in your descent bearing your back toward the head of the Horse The fourth Passe called the Pomado at the taile STand in the some posture with leg and hand as you did in the former then taking the taile of the Horse in your left hand move according to the precedent directions and in your rise clap your right hand on the buttock of the Horse by that meanes you shall raise your body to the strength of your armes viz. to the elbow which unlesse you doe you shall never be able to carrie your body perfectly round into the same place where you stood at first which is indeed the verie life of the Passe otherwise it is no Pomado nor worth the looking on And this rule is to be observed in all Pomado's The Millers Passe The fifth Passe called the Miller TAke the Horse by the taile as before and your rise at the hind leg on the further side of the Horse then clap your right hand on the hind pummell carrying your right leg beyond your right arme then loose your hold at the taile and at the same instant turning your body and your left leg withall over the fore pummell and you shall easily fall into the saddle with your face towards the head of the Horse The sixth Passe called the Pomado at the hinde leg of the Horse PLace your left hand on the hock of the hinder leg of the Horse on the neere side your arme firmely stretched out at length and your body moderately enclining or relying on that arme it will be convenient likewise that you place both your legs together omitting these motions and time used in the other Passes as preparatives to your spring being in this no way gracefull and of little use Thus prepared spring and clapping your right hand on the buttock of the Horse where it may perpendicularly answer to that hand on the hock so shall the right hand carrie you undoubtedly round whilest the left supports the waight of your body Now this as all other Pomado's the more readily and roundly it is done the danger is so much the lesse and the greater the admiration of the beholders The Pomado at the hind legg The Hercules Leape The seventh Passe called Hercules his Leap THis Passe is verie fitly so named for it does require great strength and is not done by an ordinarie man The way of it is this you shall stand on the further side of the Horse with both your hands on both the pummels your feet both together then bowing your knees with all your might raise your selfe bearing your right leg over your right hand and your left leg over your left arme forcing both your hands off in on motion that your legs may come together before your body descend to the ground otherwise there is no possibilitie of comming off without danger to your selfe The eighth Passe called the Pomado at the hinder Bow of the Saddle PLace your left hand on the hinder pummell on the neere side of the Horse your body compos'd as in the first Passe then in your rise clap your right hand on the buttock of the Horse but the right hand must rebound off with the body in the going else that will prove a hinderance which would be otherwise a furtherance but provided alwayes the right leg lead the way so shall your body fly hollow as it were on the strength of your armes and making a true circumference arrive at the point where the motion first began the Pomado at the hind bow of the Sadle The Mistress Comānd The ninth Passe called The Mistresse Command YOur Horse ready and your Gentle-woman seated leave the raines of the bridle on the neck of the Horse then fixing the left hand on the fore pummell mount clapping the right hand on the hind pummell but be sure the right leg move in the same time with the right hand that so you may readily motion the right thigh towards the Gentle-womans lap and then reverse the same leg over the fore pummell into the saddle without molesting her If you will doe this Passe after another fashion take the bridle in your left hand and putting it over the head of the Horse place your hand on the poll then taking your time spring from the ground clap your right hand on the fore pummell thrust your right leg thorow betwixt both the pummels and you are in the saddle the woman not so much as touched The tenth Passe called the Pegasus TAke your stand on the further side of the Horse and lay hold on the hinder pummell with your left hand then keeping the time in your motion prescribed spring up and withall clap your right hand on the fore pummell but so inverted that the body of your hand may lay hold on the inner side of the pummell otherwise it is utterly impossible you should come round then as you are going shift the left hand nimbly from the hinder pummell to the shoulder of the Horse so shall you keeping your legs straight your right leg leading the way and maintaining your strength fly round in a true compasse till both your feet be brought to the same side againe so downe The times whole Pomado The eleventh Passe called the Times whole Pomado THis Pomado as it surpasses all the fore-named Pomado's so it is verie difficult by reason your hands must be conveyed three times from pummell to pummell before you can bring your body off round but to the purpose Place your selfe on the neere side of the Horse laying your left hand on the fore pummell then spring and fasten on the hind pummell with your right hand carrying your right thigh over that arme that on it the body being equally poyzed may rest till you can remove the left hand to the hinder pummell for the right hand must fly off in the same time that the left hand comes carrying both your legs over the fore pummell the left leading the way and so as soone as your body is come round on the neere side againe clap the right hand behind you on the fore pummell so bearing of your body with your face towards the head of the Horse The twelfth Passe called the Poysado YOu see the Figure presents