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I found myself on the side of the Baucherists and on a road to perdition until I discovered Maitre Oliveira. Nonetheless, I still continued to consider the equitation as practiced by the Ecole Versailles as one that went back to the Middle Ages. La Gueriniere "accompanied" Oliveira when he proclaimed the necessity of the trot and the immediate preoccupation on the part of the rider to push the young horse forward into this gait, work at a slow and shortened walk, lower the haunches by means of halts and half-halts, the sumptuous shoulder-in, the haunches-in, the constant search for a cadence which leads to outstanding passages, and, finally, this obsession with lightness and brilliance, maintaining a free and unrestricted position. He succeeded in suppling his horse without the use of pillars, even though he was well familiar with this technique. Baucher came to Oliveira's aid when he "resolved force and movement" (interruption of the movement in order to make contractions yield), with the concept of "hand without legs, legs without hands" (the use of a single force at a time), with work in hand, supplings and flexions wherein he excelled, descentes de mains et de jambes (momentary yielding of hand and leg aids without altering the horse's equilibrium), the subtle contact of the spur, and the effets d'ensemble (coordinated effects).
This "in vivo" synthesis of two techniques and two philosophies, which had so divided the equestrian world, was achieved by Nuno Oliveira with such prodigious results in the course of the past 50 years. These results, know to all, make him the first innovator and the greatest equestrian intelligence of this century.
Indeed, Oliveira appreciated Baucher considerably and made use of a number of his precepts. I have already mentioned those he chose and those he rejected. Oliveira's poetic ideal (one need only read his works to be convinced of this) belonged much more to the universe of La Gueriniere than that of Baucher, who stated that "the horse, as soon as he is ridden, must only function in accordance with a transmitted strength… a struggle will necessarily occur between the horse and the rider," or further still, "form the very beginning it is important to give the horse this first lesson in subjugation and make him understand the power of man." I do not want to hear about the first and second manner. It is obvious that Baucher was definitely handicapped after the terrible accident and that he could never again be what he had been before. Indeed, one looks in vain for the name of the a horse trained in accordance with the second manner who has achieved the reputation of a Partisan or a Capitaine. The drama of Baucherism is Baucher's own drama, this quasi-characterial imperative to deny everything that had occurred before him, this jealous sensitivity that made him refuse to apply the method, even to evoke the very name of this golden key to equestrian art, namely, the shoulder-in. According to him, nothing existed before him. Not satisfied with being a great innovator, he wanted to be a creator. One should not try to look elsewhere for the cause of the failure of the diffusion of his method, the serious deviationism of his disciples, and the violent rejection of Baucherism on the part of the ecuyers in the rest of Europe. Indeed, the horses utilized at the time had very little if no aptitude for the rassembler which the horses of the School of Versailles possessed; only the coercive methods of the first manner, often verging on violence, could make these poorly endowed horses execute the required movements. As far as I am concerned, Baucher could have risen to the level of the universal equestrian greats had he been satisfied in accepting a part of the heritage of the ancients and simply adding his own considerable discoveries. Instead, he carried along with him and after him a cohort of riders who got lost in their attempt to apply his precepts rigorously and who never succeeded in training their horses. Less naïve undoubtedly, those close to him did not hesitate to use the heritage of Versailles: General Faverot de Kerbrech in Dressage du Cheval de Dehors describes in detail, yet without mentioning the term, the shoulder-in, and refers to it, instead, as "lateral effects." General L'Hotte, Baucher's most faithful discipline, in Questions Equestres, Chapter V, gives the following description: "when we practice the lesson of the shoulder-in;" further on, in Chapter VIII, L'Hotte criticizes "the error into which riders fall when they insist on giving their horses, who have a naturally disposed low neck, a marked elevation of the neck… whereby their loins, their over-charged hocks are impeded in their free play, and the harmony of movements is destroyed." Eventually, Henri Baucher, the master's son, will recommend the shoulder-in in his Training of the Horse in Thirty Lessons (1881). I conclude by saying that if from the XIXth Century on to the present, the exhaustive virtues of Baucher have been extolled by some of the theoreticians of Baucherism, we have yet to see a single horse, from his early breaking-in period, on to all the airs rassembles trained by Baucherism alone. On the other hand, it is known that there exist one or two ecuyers of the Vienna School and some other horsemen who have created works of art, inherited from the Ecole de Versailles. Reprinted with Permission from the Publishers of Dressage & CT
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It was only little by little that I became aware that what the Master was doing was actually attempting an authentic fusion of the two schools in order to create a French equitation purified of all exclusive and personal antagonisms, of systems that were too rough, and of false innovations. Thus, out of what were unquestionably historical roots, he fashioned a uniform doctrine.
This twofold inspiration gave Oliveira the possibility of always placing horses in an ideal rassembler, a dream-like rassembler, be it with Iberian horses, which he rode daily a la Gueriniere, or with quasi-thoroughbreds, horses that were often worse than the ones Baucher rode.
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