*Raseyn had the unusual trait, for an Arab, of having a born-in natural amble (which he passed on sparingly to some of his get). Later it was therefore a relatively simple task for trainer Charles A. Smith to teach him to convert this amble into two different artificial gaits - the slow-gait and the much faster rack. *Raseyn was shown for some years, then, by Mr. Smith, in the famous Kellogg Sunday afternoon exhibitions, as a five-gaited saddle horse. His presentations were very creditable and correct; as a result many people came to believe that *Raseyn had particularly good action. The truth is that he normally had only average action, although his trot was very correct, and the extra action was gained by the use of moderately long toes and whatever inspiration *Raseyn may have gotten from wearing protective racking boots. (No other aids to action were ever used and *Raseyn was definitely never gimmicked as our modern “park” Arabs are; he was never made to do all the unidentifiable grotesque gyrations they do today. Rather, *Raseyn did an old fashioned, honest, and pure five-gaited routine - flat footed walk, square trot, classic slow-gait, and classic rack.) Mr. Smith, who came to the Kellogg Ranch in 1929 and stayed 30 years, until his death in 1959, trained, drove, and rode all the famous Kellogg horses shown in formal or pleasure English style. He always said *Raseyn was the laziest horse he ever rode, and the hardest from which to get a good work *Raseyn always preferred the easiest, most energy conserving way to do a task.

Other facets of *Raseyn’s personality and temperament were interesting too. He was a cool, level-headed horse, not easily upset. He took most things in stride and never shied. However, he was much addicted to the habit of nipping. He knew better, and always controlled this impulse when being handled or worked (to the point where he was unfailingly safe and reliable with even novices handling or riding him), but sometimes, in other circumstances, he could not resist. This horse, who never had a mean thought in his head, simply could not grasp the fact that nips, which probably served him well when playing with his peers as a youngster, are too rough for people and can hurt them. However it was, *Raseyn did injure a ranch night watchman who was checking him in his stall; *Raseyn got his ear. It was a terrible accident. This nipping trait was passed on by *Raseyn to a few of his sons, but other sons did not inherit it at all. For instance, the sober minded and amiable Courier never once in his life ever dreamed of doing such a thing.

Besides the vocations already mentioned, *Raseyn was entered in many horse shows where he did well in both halter and ridden classes. In 1929 artist Annette St. Gaudens came to Kellogg’s and used *Raseyn as her model for a very fine and true-to-life sculpture. For at least 30 years a copy of this work was on display in the Kellogg Ranch office. Movie stars and other celebrities posed for publicity photos with *Raseyn, he participated in the famed Pasadena, California, Tournament of Roses Parade, and he appeared in two Hollywood movies. The first was Beau Ideal, filmed in Yuma, Arizona, in 1930, and the second, in 1934, was The Scarlet Empress, a story about Catherine the Great.

When he arrived in the United States the young *Raseyn was such a dark gray as to be almost black - he had only begun to gray on his face, which was marked with a small star (his only marking). Later he developed especially beautiful dappling. In his old age he became fleabitten. He had an unusual natural lustrous sheen to his coat his whole life; as he turned lighter with age this became a silvery shimmer.

As an individual, *Raseyn did not have the elegance or reachiness of the oldest stallion in this importation, *Nasik, nor did he have the mature bloom of the only other mature stallion *Raswan. That did come later, however, and *Raseyn’s quality was immediately apparent. He was a very beautiful and classic horse. He had a short, clean, wedge shaped head, very broad between the eyes, and with a small muzzle. His forehead was flat (no jibbah) but his profile was not straight because he had a slight dish and a very delicate, fine shape to the nasal bone. He had large, dark eyes and well placed, finely shaped, sharp ears that he used quite smartly. His neck was not quite as long as one might wish, but it was well shaped - dry, arched, and clean in the throat. He used his neck beautifully. His shoulders have been criticized as having been rather straight, but they measure a correct 45° in all his many conformation photos; rather than being straight, they seem to have been a little short (not deep enough, nor laid back enough), and this impression is increased due to the flatness of his withers. *Raseyn was a trifle long in the back; in his old age this became more apparent, especially as he then also got a little low in the back. He had an especially good strong hindquarter with a correct square pelvic structure and a well set and gaily carried tail. He had good width in the chest. In the leg department, *Raseyn had broad, flat bone, lovely large joints, and from the side view his legs were admirably straight and correct, front and rear. He had long forearms and gaskins, short cannons, and especially good hocks. From the front view he was just slightly off-set in the cannons. He was well muscled throughout, including in the legs. He had an absolutely correct, square way of going. At full maturity *Raseyn stood 14-1/2 hands. Overall, he was a horse of rare merit, and he stamped his get strongly with his quality and type.

During his life *Raseyn got 55 sons and 80 daughters (41% colts and 59% fillies). His youngsters could always be easily identified when in pasture with other sucklings because *Raseyn’s were consistently the most wooly and fluffy in their original baby hair. Four of *Raseyn’s get were exported; daughters Donazetta (to the Dominican Republic) and Nareyna (to the Philippines) and sons Raadeyn (to Mexico) and Raideyn (to India). *Raseyn’s lovely, sweet tempered daughter Moneyna became famous and widely beloved for her lifelong use as a saddle horse - without ever a bridle or any other sort of headgear, and not even anything on her neck. Not only did Moneyna do ring work, including figure 8s, quite well, but she also did just as well on the trail, in parades, and etc. All this was done entirely with voice commands and messages through her mane. Her lifelong owner, Harvey Ellis, bought her from Kellogg’s when she was about six months old. Mr. Ellis, who was her rider and trainer, had one artificial leg. Moneyna could also be let out of her stall at horse shows, free, told to go to her trailer and get in, and she would do so. I rode, for some years, *Raseyn’s daughter Sheeyn sidesaddle in the Kellogg Sunday afternoon exhibitions. Years before that *Raseyn’s son Ralet was a star attraction in these same shows where he gave a fine exhibition of liberty jumping. An outstanding sculpture of him in this role was done by Gladys Brown (later Mrs. Edwards). For several years the beautiful Ralet was also the favorite saddle horse of my father, Dudley Woodbridge. Ralet inherited his sire’s natural ability to amble and would either trot or amble on direction of his rider. He was a sensible, unflappable horse of great dependability; it is interesting to mention that he did not inherit his sire’s nipping tendencies. Some of *Raseyn’s sons were crack winning or working stock horses, such as, for instance, Raslet, Shereyn, Serifh, and Courier; the latter was also a fine three-gaited horse, having inherited outstanding action from his dam.