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http://www.archive.org/details/cu31924029930769 


THE HORSES 


ANTIQUITY; MIDDLE AGES, AND RENAISSANCE, 
From the Earlieft Monuments down to the XVIth Century. 


NST 
eg, 


if : 


BY 


Pu. CHARLES BERJEAU, 


“ oy ” 
AUTHOR OF THE “" VARIETIES OF DOGS. 
\ 


LONDON: 
DULAU & CO. 37 SOHO SQUARE. 
1864. | 
¥ 


A.\ 26156. 


LONDON: 
Printed by Srranceways & Waxopen, 28 Caftle Street, 
Leicefter Square, 


Sage. : 


TO 


CHARLES GEORGE PHILLIPS, ESQ. 


Chis Wook is Dedicated, 


BY 


THE AUTHOR. 


sNt 


LIST OF THE PLATES. EXPLICATION DES PLANCHES. 


I. 

Egyptian Horfe, Beit Oualley, Nubia. From the Cheval égyptien, Beit Oualley, Nubie. Pris des 
Sculptures at the Entrance of the Small Temple of Beit fculptures 4 l’entrée du petit temple de Beit Oualley, 
Oualley, near Ralabfche, Nubia. prés de Ralabfche, Nubie. 

II. 

Egyptian Frefco-Painting, Thebes. From the Tomb Chevaux égyptiens. Peinture fur frefque de Thebes. 
of a Scribe of the Royal Wardrobe and Granaries, Weftern Tombe d’un feribe de la garde robe et des greniers* 
Hill of Thebes. Britifh Mufeum. royaux. Colline occidentale de Thébes. Mufée bri- 

tannique. 
IIL. 
Affyrian Bas-relief, Nimroud, 7th century, s.c. From Chevaux aflyriens, Bas-relief de Nimrod, 7éme fiécle, 


the North-Weft Palace Nimroud. Ereéted by Afharak- a.c. Du palais nord-oueft de Nimrod. Elevé par Afhar- 
bal or Sardanapalus the Great (1ft). Britifh Mufeum. . akbal ou Sardanapale le grand (ter). Mufée britannique. 


IV., V. 
Affyrian Bas-relief, Afhurbanipal. Monuments of Chevaux affyriens. Bas-reliefsd’ Afhurbanipal. Monu- 
Sardanapalus III. 7th century, B.c. Britifh Mufeum. ments de Sardanapale III. 7éme fiécle, a.c. Mufée 
britannique. 
VI. 
Perfian Bas-relief of Perfepolis. From the Palace of Chevaux perfans. Bas-relief de Perfepolis. Du palais 
the Forty Pillars (Chekel Minar). des 40 colonnes (Chekel Minar). 
VII. 
Perfian Bas-relief of Nakfhi Rouftam. From Sir J. Chevaux perfans. Bas-relief de Nakthi Rouftam. 
Ker Porter’s Travels. Voyages de Sir J. Ker Porter. 
VIII. 
Lycian Frieze of a Tomb. From the Acropolis, Cheval lycien. Frife dun tombeau de l’Acropolis. 


6th century, B.c. 6éme fiécle, a.c. 


6 Lift of the Plates—Explication des Planches. 


IX. 
Lycian Frieze of a Tomb. From the Acropolis. Cheval lycien. Frife d’un tombean de 1’Acropolis. 
6th century, B.c. 6éme fiécle, a.c. 
X., XI. 
Greek Frieze of the Parthenon. 5th century, B.c. Chevaux grecs. De la frife du Parthenon. 5éme fiécle, 
Britifh Mufeum. a.c. Mufée britannique. 
XII. 
Greek Muzzles for Armed Horfes. 5th century, g.c. Mors grecs pour chevaux de guerre. 5éme fiécle, a.c. 


XIII, XIV., XV. 


Etrufcan Painted Vafe. 4th century, B.c. Chevaux étrufques. Wafe peint du 4éme fiécle, a.c. 
XVI. 

Greek Painted Vafe. 3rd century, B.c. Cheval grec. Vafe peint du 3éme fiécle, a.c. 
XVII. 

Sarmatian. From Trajan’s column. 1ft century, B.c. Chevaux farmates. De la colonne trajane. ter 


fiécle, a.c. 


XVIII. 
Roman. From Trajan’s Column. 1ft century, B.c. Cheval romain. De la colonne trajane. ter fiécle, a.c. 
XIX. 
Roman Statue of Marcus Aurelius. znd century. Cheval romain. Statue de Marc Auréle. 2éme fiécle. 
XX. 
Byzantine Column of Theodofius. 5th century. Cheval byzantin. De la colonne de Theodofe. 5éme 
fiécle. 
XXI., XXII. 
Norman. From the Bayeux Tapeftry. th century. Chevaux normands. De la tapifferie de Bayeux. géme 
fiécle, 
XXIII. 
Spanifh MS. of the 11th century. Cheval efpagnol.’ MS. du 11éme fiécle. 
XXIV. 
French, From the Abbey of St. Denis. 12th Chevaux francais. Vitraux de l’abbaye de St.-Denis. 


century. 1zéme fiécle. 


Lift of the Plates—Explication des Planches. 7 


XXV. 


French. 1. Stained Glafs, Cathedral of Chartres. 1. Chevalier francais. WVerriére de la cathédrale de 
12th century. 2 and 3. French MS. 13th century. Chartres. 2 et 3. Chaffeurs tirés d’un MS. francais du 
13éme fiécle. 


: XXVI. 
French MS. of the Apocalypfe. 13th century. Cheval francais. MS. de l’Apocalypfe. 13éme fiécle. 
XXVIL 
Englifh MS. 13th century. Chevaux anglais. MS. du 13éme fiécle. 
XXVIII. 
Italian Frefco-painting. Campo Santo di Pila. 14th Chevaux italiens des frefques du Campo Santo de Pife. 
century. 14éme fiécle. 
XXIX, 
Italian Frefco-Painting of the Campo Santo di Pifa. Cheval italien. Peinture 4 frefque du Campo Santo 
14th century, de Pife. 14éme fiécle. 
XXX. 
French. 1. Lancelot du lac, MS. 2. Roman de Chevaux francais. 1. MS. de Lancelot du lac. 2. MS. 
Triftan MS. 14th century. : du Roman de Triftan. 
XXXI. 
Englifh. Arthur of Little Britain, MS. 14th century. Chevaux anglais. Arthur de la Petite Bretagne. 


MS, du 14€me fiécle. 


XXXII. 


French. Heures d’Anne de Bretagne, MS. 15th Cheval francais. Heures d’Anne de Bretagne. MS. 
century. St. Martin dividing his Cloak with a Beggar. du 15éme fiécle. St. Martin partageant fon manteau 


avec un mendiant. 


XXXII. 
French. Tournois du roi Réné, MS. 15th century. Chevaux frangais. Tournois du roi Réné. 15éme 
fiécle. 
XXXIV. 
1,3. French MSS. 2. Seal of Charles le Téméraire. 1, 3. MSS.-frangais. 2. Sceau de Charles le Témé- 
15th century. raire. 15éme fiécle. 
XXXV. 


Early Italian Mafters. 15th century. Maitres italiens du 15éme fiécle. 


8 Lift of the Plates —Explication des Planches. 


XXXVI. 


Horfe and Attendant. From the Roll of a Tourna- Cheval et fon palefrenier. Tiré de la defcription 
ment, preferved in the College of Arms. This tourna- confervée au “Collége des Armoiries,” d’un tournoi qui 
ment was reprefented in Weftminfter, the 13th of ut lieu A Weftminfter le 13 fevrier, 1510-11. 

February, 1510-11. 


XXXVIL, XXXVIII. 


German. From Lucas Cranach. 1472-1553. Chevaux allemands, de Lucas Cranach. 1472-1553. 
XXXIX. 
German, Albert Diirer. 1505. Allemand. D/aprés Albert Diirer. 1505. 
XL., XLL 
German. From Albert Diirer. 1471-1528. Chevaux allemands. D’aprés Albert Diirer. 1471- 
1528. 


XLII., XLII, XLIV., XLV., XLVI. 


German. H. Burgkmair. 1473-1529. Chevaux allemands. D’aprés H. Burgkmair. 1473- 
1529. 
g 
XLVIL, XLVIII., XLIX. 
German. Hans Schaueflein. 1490-1540. Chevauxallemands. D’aprés Hans Schaueflein. 1490~ 
1540. 
L. 
Englifh. From the Romance of Guy, Earl of War- Anglais. Du roman de Guy, comte de Warwick. 
wick. 16th century. 16éme fiécle. 
LI, LI. 
German, Hans Weigel. 16th century. Allemand, D’aprés Hans Weigel. 168me fiécle. 
AN 
LIII. 
German Saddle and Stirrups. 16th century. Allemand. Selle et étriers du 16éme fiécle. 
opts 
LY, 
Dutch. Lucas van Leyden. 1516. ; Hollandais. Lucas van Leyden. 1516. 
LV. 
German. Joft Amman. 1539-1591. From a print Chevaux allemands, par Joft Amman. Gravure du 
in the Britifh Mufeum. Cabinet des Eftampes au Mufée britannique. 
; LVI. 
Roman horfes. J. Stradanus. 16th century. Chevaux romains, d’aprés Wan der Straat. 16éme 


fiécle. 


8* . Lift of the Plates—Explication des Planches. 


LVIL 
French. Francis I. From a_ painting by Janet. Cheval de Francois 1er. Peinture de Janet. 1515- 
1515-1560. 1560. 
LVIII. 
Theffalonian horfe. J. Van der Straat. 16th century. Cheval theffalonien, d’aprés Van der Straat. 16éme 
fiécle. 
LIX. 
Italian. Drawing by Leonardo da Vinci, in the Print Tétes de chevaux italiens. Deflin de Léonard de 
Room of the Britifh Mufeum. Vinci, au Cabinet des Eftampes du Muf€e britannique. 
LX. 
German horfes by Martin Zeiffinger. From an etch- Chevaux allemands, d’aprés une gravure du Mufée 


ing in the Britifh Mufeum. 1501. britannique, par Martin Zeiffinger. 1501. 


HORSES. 


Tue Horfe, like man, is indigenous to the high table-lands of Afia. From his original 
name, wid, Paras, are derived the names of nations known only as horfemen, fuch as 
Perfians, Parthians, Parfis, and, perhaps, Pruffians; and the onomatopeeia “ Prs/h” is ufed 
in every part of Europe ftill occupied by the Slavonic race to ftop the horfe in his 
movements. The flaming infcription feen at Belfhazzar’s feaft announced to the doomed 
monarch the approach of his enemies, the Perfians, whofe name ‘Hebrew copyifts miftook 
for Phares, when it was ownb, Parafim. The Germanic name of the horfe, Pferd, Perd, 
Paerd, may eafily be traced to the original Paras, and the Slavonic onomatopeeia Prs/h. 
The Ethiopian Fars, the Arabian Feres, the Saxon Hors, have, as near as poffible, the 
fame etymology. 

Through variations of habits, of climates, of temperature, the primary form of the 
horfe has been greatly modified, and a fimilar change, imperceptible but fure, is ftill 
proceeding from the fame caufes. The Egyptian horfe of the Delta in ancient times is 
more like a Dutch horfe of our days than his Affyrian contemporary. The reafon of this 
refemblance is, that the Egyptian horfe of the Delta treading, like the Netherlandifh horfe, 
on elaftic ground, in rich paftures, acquired a greater mufcular development, at the expenfe 
of the nervous fyftem, and became more fit to draw a heavy chariot with meafured ftep 
than to carry a horfeman, with the rapidity of an arrow, upon ftony or uneven ground. 
Such is probably the reafon why, in ancient pictures and monuments, an Egyptian warrior 
is never reprefented on horfeback, but always appears in a light war-chariot, drawn by 
feveral horfes.. Of the Egyptian horfes of modern times, Bruce fays ‘that the figure they 
would make in point of {wiftnefs is very doubtful, their form being entirely different from 
that of the Arabian; but beautiful and fymmetrical parts, great fize and ftrength, the moft 
agile, nervous, and elaftic movements, great endurance of fatigue, docility of temper, 
and, beyond any other animal, feeming attachment to man,” render, perhaps, the Dongola, 
or Nubian horfe, in no way inferior to the Arabian, They have, according to Youatt, 
‘a flender, yet finely fet on neck, a noble creft, the withers elevated, a beautiful action, 
and an admirable bearing.” The kingdom of Dongola, or Modern Nubia, produces a 

B 


Io Horfes. 


breed different from any other of either Africa or Afia. They are ufually of a black 
colour, but there are fome bright bays and forrels. 

“ The Egyptian horfe,” fays Burckhardt, “is ugly, coarfe in fhape, and looking more 
like a cart-horfe than a racer. Thin legs and knees, and fhort and thick necks, are 
common defects among them. The head is fometimes fine, but I never faw good legs 
in an Egyptian horfe. They are not able to bear any great fatigue; but when well fed 
their a@ion is occafionally more brilliant than that of the Arabian. Their impetuofity, 
however, renders them peculiarly defirable for heavy cavalry, and it is upon this quality 
alone that their celebrity has ever been founded.” 

Of courfe this defcription applies to the horfe of Lower Egypt, while that of Bruce 
refers to the Dongola, or Nubian horfe, which may be confidered as reprefented by the 
fculpture at the entrance of the {mall temple of Beit-Oualley (Plate 1). The horfes 
reprefented in the frefco-painting from the tomb of a Scribe (Plate 2) are likewife Nubian 
horfes. 

The Affyrian horfes, from a bas-relief of the north-weft palace Nimroud (Plate 3), 
belong evidently to another variety. The fhortnefs of their fore-legs, if not a fancy of the 
artift, would incline them to rear up; but we muft fuppofe the Affyrian fculptor was not 
here over particular about proportions in the animals which he reprefented. 

This fpecimen of the Aflyrian way of harneffing horfes fhows, like the two preceding - 
Egyptian ones, that thefe ancient people brought the furcingle clofe to the fore-legs of 
the horfe, thus inconveniently interfering with the free movements of the fore-part 
of the animal. The plunging of the fhaft was alfo confiderably increafed by this arrange- 
ment, and it muft have rendered the aim of the warriors in the chariot very unfteady, and 
{carcely therefore very dangerous to the enemy. 

The horfes on the monuments of Sardanapalus HI. (Plates 4, 5) are remarkable 
for their trappings no lefs than for the elegance of bearing of the noble creatures which 
they reprefent. Others, taken from an ancient bas-relief in the Palace of Forty Pillars 
(Chekel Minar), Perfepolis (Plate 6), are of a much heavier fhape, but well proportioned. 
«The two remaining perfons of the group,” fays Sir Robert Ker Porter in his Travels, ‘are 
in charge of a chariot, which is drawn by a pair of magnificent horfes. . . The horfes 
are without trappings, but the details of the bit, and the manner of reining them, are 
executed with the niceft care. . . . The pole of the car is feén pafling between the horfes, 
projecting from the centre of the carriage, which is in a cylindrical fhape, elevated rather 
above the line of the animals’ heads.” In the bas-reliefs of Nakfhi-Rouftan (Plate 7), 
“the part of the bridle of the left horfe which covers the animal's head,” fays the fame 
traveller, “is thickly ftudded with round, plain knobs, and large circular plates adorn the 
ftraps round the cheft and buttock. A muzzle pafles from between the noftrils to the 


Horfes. TI 


place where we attach a curb chain. . . . Two large, acorn-topped taffels, fufpended by 
chains, hang from the back of the horfe. The tail is carefully arranged in a regular 
pointing form, and tied at the top with ribands.” 

In Plates 8 and 9 we come more to the Weft, and to the 17th century B.c., according 
to the hiftorical march of civilization. On the frieze of a tomb in the Necropolis of Lycia, 
one of the north-weft provinces of Afia Minor, inhabited by Greeks and an aboriginal 
race, called Solyni, or Thermife, we find the fpecimen, or rather a precurfor, of Greek 
art, in the form of a very tall and beautiful, but rather maffive horfe, led by a groom, 
which is fhown in Plate 8. In the following Plate two men are fitting in a chariot, drawn 
by two horfes. The reins, which were formerly in the hands of the younger man, are 
wanting, for they were moft probably in gold, or gilded bronze, which attracted the 
cupidity of barbarian devaftators. 

The fplendid horfes of Phidias, from the frieze of the Parthenon (Plate 10), fhow to 
what fupreme excellence art had been brought five centuries before our era under the 
unclouded fky of Greece. The horfes of Phidias are of the pure Arabian race, although, 
compared with the prefent type, their head is more fquare and larger. When the 
horfeman is on foot his breaft is at a level with the head of the horfe ; when on horfeback, 
his feet are lower than its knee. Here the neck of the Greek horfe is ftrong and mufcular ; 
his fhoulders are well fet ; the breaft deep; the joints ftrong, dry, and admirably perpen- 
‘dicular; the back is fhort, and the tail carried with a peculiar elegance. The mane 
is generally cut brufh-wife, while the tail is long, and floats freely in the breeze. The 
horfeman wants neither faddle nor ftirrups; and under his directions the horfe is either 
racing or cantering in a gentle gallop. But no matter what motion the artift may have 
chofen to depict, his marble horfes are almoft really living. Their admirable proportions 
and fine bearing, no doubt, caufed them to find favour in the eyes, and mercy at the 
hands, of the Muffulman devaftators, whofe fanaticifm fo fadly mutilated the heads of the 
horfemen, more particularly perhaps becaufe the reprefentation of men is prohibited by 
the Alcoran. The bas-relief of Caftor and Pollux (Plate 11) reprefents animals and 
horfemen in no way inferior to thofe of the Parthenon. The two Greek muzzles for 
armed horfes (Plate 12) will particularly intereft the antiquarian. 

From Greek we pafs now to Etrufcan art, much inferior of courfe, and bearing an 
almoft perfect analogy with Egyptian. The team of four horfes (Plate 13) to a very 
{mall chariot, intended for one man, is more a fancy of the artift than a true reprefentation 
of contemporary life. The crown worn by thedriver indicates, probably, that fuch a 
four-in-hand was referved only to kings or chieftains of the Etrufcans. The build of 
the horfes is remarkable for its length and refemblance to a modern Mecklenburgh coach- 
horfe. In Plate 14 we find a fine fpecimen of horfe-racing, as practifed four hundred 


12 Horfes. 


years before our era. The jockey, entirely naked, without faddle or ftirrup, is urging 
his horfe with a three rigid-thonged whip. He feems to have left the bridle floating 
on the neck of the horfe, which he is patting with his left hand, as a compenfation. for 
the feverer entreaties conveyed by the whip. In Plate 15 we have a curious example 
of the way in which Etrufcans harneffed their horfes to a car. The movements of the 
animals are as little as poffible impeded by trappings, the collar, confifting of a leather 
thong, tapering on the fhoulder-blades, and broader on the breaft, is the only means 
by which the horfe is connected with the pole. The bit has a véry peculiar form, acting 
very likely on the interior corners of the mouth, by the preflure of the four-pointed 
corners of a metallic plate, painted black. On the Greek painted vafe of the third 
century 3.c. (Plate 16), with a man ftanding, and a horfe ridden by a child, all painted 
white on a black ground, reappears the fhort form of the Arabian horfe. The young 
horfeman is entirely naked, and -has in his right hand a double-thonged whip. The 
ftature of the man ftanding fhows the fhort proportion of the Greek horfe compared 
with the Etrufcan one. 

We come now to the firft fpecimen known of Sarmatian or Coffack horfes, reprefented 
on Trajan’s Column (Plate 17). The extraordinary appearance of the mail-clad horfes 
and riders is explained by Paufanias in his « Defcriptio Gracia,” where, fpeaking of a temple 
dedicated to' Efculapius, he fays, ‘We fee there, among other things, a Sarmatian cuirafs, 
or coat of arms. Thofe who fee it fay at once that barbarians are no lefs clever in the arts 
than the Greeks themfelves. Sarmatians have no iron, as no mines of this mineral are to 
be found in their country ; and, as they have no trade with neighbouring nations, they can 
have none brought from abroad. Inftead of iron, they have plates of bone at the end of 
their pikes. With cornet-tree wood they manufacture bows and arrows, whofe points are 
made with bones, and throw chains upon their enemies, to ftrike them down. The way 
in which they make their cuiraffes is this: Each of thefe barbarians has a great quantity 
of horfes, for their land is not feparated into parts, fo as to be fubfervient to the ufe of 
private perfons, nor does it bear anything, except ruftic wood, as the inhabitants are nothing 
more than nomades. Thefe horfes they not only ufe for the purpofes of war, but they 
facrifice them to their country gods, and even ufe them for food. But, collecting the hoofs 
of thefe animals, and purifying and dividing them, they polifh them fo as to refemble the 
fcales of a dragon. He, indeed, who has not feen a dragon may compare this compofition 
from hoofs to a pine-nut while yet green. This fcale-like compofition they perforate, and 
few it together with the nerves of horfes and oxen, and afterwards ufe them for coats of 
mail, which are not inferior to thofe of the Greeks, either for elegance or ftrength, as they 
will fuftain a blow given either remotely or near at hand.”* : 


* « The Defcription of Greece by Paufanias” (tranflated by T. Taylor). London, 1824. 8vo. Vol. i. pp. 54, 55. 


Horfes. 13 


Thus the extraordinary horfes and horfemen reprefented on Trajan’s Column with what 
feems to be a coat of mail, are covered with fcales made from horfe’s hoofs. The mane 
and the truffed tail of the horfe are even covered with this fingular protedtion again{t the 
» arrows of the enemy. It is not eafy to underftand how fuch could keep on the legs of the 
horfe while galloping as they are reprefented; but very likely the artift did not fee by 
himfelf the. barbarian horfemen, and not a little exaggerated the dimenfions and the form of 
the horn cuiraffes of men and horfes. 

Another barbarian horfeman (Plate 18) appears on Trajan’s Column riding at full gallop 
on a horfe provided with a fringed cloth (the horfeman’s cloak, perhaps), inftead of a faddle, 
and without ftirrups. The bridle is wanting, as in the Greek monuments, but becaufe the 
bronze which formed it has been removed. The coftume of the horfeman is very curious, 
and moft likely that of a Gaul fighting againft the Romans. A loofe garment, with the 
fleeves tucked up above the elbow, covers the upper part of the body of the rider, and 
falls a little below the waift ; a pair of narrow breeches reaches to conceal only the upper 
part of the calf, the lower part of which is bare; the fandals are faftened to the ankle with 
leather ftraps. Some rudiment of faddle muft be concealed under the loofe fchabraque, 
unlefs the two ftraps which are round the breaft of the horfe, and pafs under the tail, are 
intended to faften the {chabraque itfelf. The few Gallic coins which have come down to 
us often reprefent horfes, but fo badly defigned that it is difficult to get from them any 
idea of the true conformation of the Gallic horfe. Some of them, neverthelefs, fhow fine 
fpecimens of ‘the majeftic Armorican horfes, of which the Roman artift has given here but 
a poor idea. ; 

The Roman horfe in all his majefty is exhibited (Plate 1g) in the ftatue of Marcus 
Aurelius, the work of an artift of the fecond century. The model which he prefents has 
been more than once copied by Italian and French fculptors of modern times. 

The Byzantine horfe appears on the column of Theodofius (Plate 20), built in the fifth 
century. The horfe and rider prefent a fine fpecimen of art before its degradation during 
the middle ages. But the head is fo peculiarly fmall that it feéms out of proportion with 
the reft of the body. Such a horfe, if true to nature, muft have been very docile, and more 
fit to be a lady’s palfrey than a warrior’s charger. It is not very eafy to underftand how 
the bit remained in the mouth of the horfe, as there are no faftenings of the bridle round the 
head. 

From the reprefentation of this noble creature we come fuddenly down to the awful 
caricatures of Norman art, as conveyed to us by the rough defigns of the Bayeux tapeftry, 
executed in the ninth century, fuch drawings can neither be commended as models of 
elegance, nor as truthful reprefentations of the horfes and horfemen of William the Con- 
queror. But we are unwilling to let flip the opportunity of drawing the attention of the 


14 | Horfes. 


antiquarian on fo curious a monument, illuftrative as it is at leaft of fome peculiarities of 
coftume worthy to be remembered. The fcales with which the horfemen feem to be covered 
are not made of horn taken from the horfes’ hoofs, as ufed by the Sarmatians, but fimply 
intended as reprefentations of the mefhes of an ordinary coat of mail. The {purs (Plate 21) 
with a fingle arrow-headed point are remarkable, and their ufe muft have been very painful 
to the horfe. In Plate 22 we have the fame horfes, but with fhort legs, long bodies, and 
of immenfe fize, if we compare them with the diminutive, bearded groom who leads them 
by the leafh. The Spanifh horfe and warriors (Plate 23), from a MS. of the eleventh 
century, are not better drawn, but, curioufly enough, their coftume is very much the fame 
as that of the Norman warriors of the Bayeux tapeftry. The helmet and the arrow-headed 
fpurs are very like, but the faddle is more Oriental, and the hanging taffels fhow the particu- 
lar requifites of a more meridional country. The horfe, the dapple grey of whofe fkin is 
indicated by fuch quaint hieroglyphics, belongs evidently to the Arabian breed. 

The vanquifhed Parthians are fhown (Plate 24), as painted on the verriére of the 
Abbey of St. Denis, the burial-place of the French kings, and drawn by a French artift in 
the twelfth century. On the left-hand fide of the drawing is a curious figure of a dif- 
mounted: horfeman, making, it would feem, a gefture familiar to ftreet urchins. The mane 
of a Parthian horfe is cut brufhwife, as the Greek horfes of the Parthenon. 

In Plate 25 we have, from a ftained glafs window in the Cathedral of Chartres, executed 
during the twelfth century, the reprefentation of a Knight Templar in full armour, holding 
in his hand a ftandard bearing a crofs. The fpur of the horfeman is tapering in a fingle 
point; his helmet, of a fingle piece, conceals entirely the face, but a crofs cut in the fteel 
allows him at once to breathe and to fee his way. The compofition is fpirited, and 
evidently the work of a clever artift. 

The hunters in Plate 25 are taken from a MS. of the ‘‘ Livre du Roi Modus,” preferved 
in the National Library in Paris. The two horfemen (No. 2) are boar-hunters, and the 
lady and gentleman (No. 3) are hawking. Imitations of both drawings, but by an inferior 
artift, are to be found in another MS., from which Mr. Elzear Blaze reproduced ‘ Le 
Livre du Roy Modus, et de la Royne Racio,” Paris, 1839, gr. in-8vo, as the earlieft 
French book on hunting. Grace de la Vingne, who wrote his ‘‘Roumant des deduiz,” at 
Heldeford, in England, in 1359, is pofterior to the “Roy Modus.” Gafton Phoebus 
wrote his book only in 1387; and, again, Hardoin de Fontaine Guerin his in 1394. 
Therefore thefe illuftrations of hunting are among the earlieft known from the Middle 
Ages. The horfeman (No. 1 of the fame plate) with the ftandard of the Crufaders, and 
the loofe garment fprinkled with croffes over his coat of mail, is Thibaut VI., Earl of Blois. 

A French MS. of the Apocalypfe, written in the 13th century (Plate 26), fupplies 
us with a very, fine drawing of a horfe and horfeman, the latter receiving a crown from 


Horfes. 15 


heaven. The breaft thong of the horfe is ornamented with precious ftones; the bridle 
is partly formed by a metallic chain. The horfeman has a bow and arrow in his left 
hand, and to his faddle is faftened a richly-ornamented quiver. 

The drawing from an Englifh MS. of the fame century (Plate 27) is by no means 
fo good as the preceding one; but it is, neverthelefs, a curious illuftration of coftume. 
The horfes are covered, as in a tournament. The deep faddles, with backs like an arm- 
chair, would feem very inconvenient to a modern horfeman. The knight whofe horfe 
bears a Saint Andrew’s crofs on his cloth has fent his lance through the fhield and body 
of his adverfary, whofe horfe-cloth is covered with Loraine croffes. Both are rather 
fparingly clad for fo ferious an encounter, and bear their fhields fufpended from the 
neck. 

The horfemen in Plate 28 are taken from the Italian frefco-paintings of the Campo 
Santo di Pifa. They form part of the “ Triumph of Death,” painted by Andrea Orgagna, 
and are to be feen in the more picturefque than artiftic attitude of {topping their nofes, 
which appear rather difagreeably affected by the fmell from three corpfes in various ftages 
of decompofition. 

The horfeman with the hawk on his fift appears to be the portrait, by Orgagna, of 
the celebrated Caftruccio, Signor di Lucca, as may be afcertained from the comparifon with 
the coins and medals of this petty fovereign. In order to imprefs more ftrongly on the 
noblemen of his time the vanity of human greatnefs, Andrea fhows in this compofition 
a party of lords who, while hunting, happen to crofs a valley, where they find the dead 
bodies of three kings. Above this compofition an old anchorite, who could not be 
introduced here, and whom tradition affirms to have been Saint Macarius, fhows the 
corpfes to the hunters. 

The reprefentation, Plate 29, fhows a powerful horfe, ridden by a no lefs powerful 
horfeman. They alfo are taken from an Italian frefco-painting of the 14th century in 
the Campo Santo di Pifa. The neck and the breaft of the animal are rather out of 
proportion with the reft of the body, although fuch horfes can be found to this day in 
Poland. The coftume of the rider is the moft marvellous pa/fiscio of antique Roman 
drefs and medieval accoutrement which can poffibly be imagined. The bit of the horfe 
is alfo quite peculiar, and feems well adapted to check, by the lever it affords, the too 
powerful action of the neck. This curious horfeman is one of the followers of Pilatus, and 
the artift reprefents him as one of the cortége of Chrift, bearing His crofs towards Golgotha. 

The two drawings (Plate 30) are taken from illuftrations of the French romance (No. 1) 
of Lancelot du lac, and No. 2 of the romance of Triftan, both of the 14th century. The 
coftume of the hunter (No. 1), blowing his horn, is very fingular, appearing to confift only 
of a loofe fhirt, open on the fides, after the Grecian cuftom; but he wears under it a pair 


16 Horfes. 


of tight hofe. His helmet is no lefs fingular, evidently not intended for warlike purpofes, 
but well adapted to guard againft the ardour of the fun during a hunting day. The faddle 
is almoft modern in form. The two knights fighting (No. 2) have the common Norman 
faddle, in which the horfeman is feated, as in an arm-chair. This faddle is brought up 
very high on the fhoulders of the horfe, and almoft impedes the free movement of the 
neck. A poor, wandering knight, mounted in fuch a faddle, on a horfe addicted to 
plunging, muft have been almoft fure to tumble over his horfe’s head at the leaft whimfical 
freak of the animal. 

In Plate 31 are various illuftrations of the celebrated romance of Arthur of Little 
Britain, a MS. written in the 14th century. In the tournament the Duke of Brittany is 
to be recognifed by the ermine of his fhield and horfe-cloth. The battle in the middle 
drawing fhows horfemen with fhields, upon which are painted monftrous figures, according 
to the practice of the Chinefe of our own time. The faddles of the horfes in the four 
drawings of this plate are quite of the modern Englifh form. 

The beautiful drawing (Plate 32) borrowed from the Hore of Ann se Brittany, MS. 
of the 15th century, reprefents St. Martin, a foldier of the Emperor Conftancius, fifteen 
years old, dividing his cloak with a poor man, whom he met naked at the gate of Amiens 
on a cold morning of a moft fevere winter. The French National Library in Paris is 
in poffeffion of the fplendid prayer-book from which this drawing is taken. Moft of 
the illuminations of this MS. are reprefentations of country life and agricultural labours. 
All the margins of the book are decorated with reprefentations of plants and infects, drawn 
from life and admirably illuminated. More than three hundred various plants are there 
delineated, and form the moft complete herbal which we poffefs from the early period of 
the 15th century. 

In Plate 33 we have a reprefentation of the Duke of Brittany and the Duke of Bourbon 
fighting in the tournament of King René of Anjou. The Duke of Bourbon is diftinguithed 
by the fleur-de-lis, forming the creft of his helmet, and which are fpread all over his drefs, 
and the bridle and cover of his horfe. The horfe of the Duke of Brittany wears two 
horns on his head, in imitation of the creft of the Duke’s helmet. The drefs of the 
latter horfeman, the bridle and cover of his horfe, are fprinkled with ermine, the diftinéive 
mark of the coat-of-arms of the fovereigns of Brittany. 

The cart-horfe (Plate 34, No. 1) is borrowed from a French MS. of the 15th century. 
It would not be difficult in our days to find, in feveral parts of F rance, the fame horfe, 
with the very fame harnefs. The gentlefolks meeting on horfeback (No. 3 of the fame 
plate) more particularly bear the medieval ftamp of their own time. The pyramidal 
head-drefs of the lady, minus the veil, may ftill be feen in Normandy —worn, however, 
by wet nurfes, and no more by ladies having a right to bear on their horfe-cloth a 


Horfes. 17 


fieur-de-lis, quartered by two leopards. The hat of the polite gentleman, who pays his 
refpects to the lady, refembles very much the never-brufhed beaver of a French country 
{choolmafter. The horfes feem to be as polite as their mafters, and in the very act of 
greeting each other by the fame movement of the head and one of the fore-legs. 

Around the feal of Charles the Bold are to be read the following words, which could 
not find their place in Plate 34, No. 2 :—‘ Caroli. Dei . gracia . Burgundie . Lotharingie . 
Brabancie . Linburgie . et Lucemburgie . ducis . Flandrie . Artefie . Burgundie . Palatini . 
Hollandie . Zelandie . et Namurcie . Comitis . Sacri . imperi . marchionis . dni. Frifie . de 
Salinis . et de . Machlinie.” 

The two horfes copied from early Italian mafters (Plate 35) in the Print-room of the 
Britifh Mufeum are not very creditable to the country which, at a later period, produced 
in fuch aftounding number the moft eminent artifts of the world. The fore-legs of the 
galloping horfe are evidently too fhort; but the other horfe and difmounted horfeman fhow 
neverthelefs a good deal of feeling for the picturefque. 

The horfe and attendant reprefented (Plate 36) are taken from an illuminated roll ftill 
preferved in the College of Arms, and known by the name of the Tournament Roll. 
This tournament was exhibited at Weftminfter, February 12th, 1510-11, in honour of 
Queen Catharine, and on the occafion of the birth‘ of the king’s firft fon, who died but a 
few months afterwards. A coloured copy of this horfe and attendant will be found, Plate 
74, vol. i. of Shaw.* 

From Italy and England, if we pafs to Germany, the contraft is very ftriking between 
the ftyle of horfes reprefented in the preceding plates, and that of the heavy chargers drawn 
by German artifts. In Plate 37, for inftance, Lucas Cranach has portrayed the Margraf 
Albert, in full armour, with a plume of feathers, like a fhrubbery on, and flowing 
behind, his helmet; while he holds, leaning on the pommel of his faddle, a lance of fuch 
tremendous fize that it is no marvel if the horfe appears ftumbling rather than cantering 
under its weight. Englifh brewer horfes can only give an adequate idea of the clumfy 
fteed here granted by Cranach to his patron. 

The horfe (Plate 38) by the fame artift, and with the early date 1508, is much more 
elegant, and fuggefts at once the idea of a very ftrong, but fwift and {pirited animal. 

Three years before the latter date Albert Dtrer engraved the white horfe reproduced 
in Plate 39. This engraving is what iconographifts call the fmall horfe looking towards 
the left; the knight behind is thought to be Perfeus preparing to go and releafe Andro- 
meda. The early date of the engraving fhows that Durer took his model from the 
brewers’ horfes of Nuremberg, his native place, for we very much doubt that he fhould 
have given fuch a heavy nag to a mythological charatter after his return from Italy in 1507. 


* « Dreffes and Decorations of the Middle Ages.” London: W. Pickering, 1848. 


18 Horfes. 


The horfe (Plate 40), from the fame eminent artift, is not -much better drawn than. 
that of Lucas Cranach (Plate 37), although Diirer’s horfe is at leaft galloping, while that 
of the former artift is virtually ftumbling on his fore-legs. 

The white horfe (Plate 41), on the contrary, is an excellent fpecimen of the war-horfe, 
as it was required in Albert Diirer’s time. It is carefully drawn and well proportioned. 
The ears are fo fhort that they muft have been cut, as it was the cuftom then in Germany. 

From Albert Diirer, the moft eminent German artift of his age, we naturally come 
down to his colleague, Burgkmair, who delineated fo many horfes in his engravings. The 
late Mr. W. A. Chatto, in the “ Treatife on Wood Engraving,” London, 1839, 8vo. 
plate 355, fays of Burgkmair :—‘ His horfes are generally ftrong and heavy; and the 
men on their backs of a ftout and mufcular form. The action of the horfes feems natural, 
and the indications of the joints, and the drawing of the hoofs, which are moftly low and 
broad, evidently fhow that the artift had paid fome attention to the ftructure of the animal.” 

Very heavy, indeed, muft have been the horfes in Plate 42 one led by a Hungarian 
magnate, the other by a Trabant. On the leather apron of the firft horfe the artift has 
engraved his monogram, H. B. The heads of the two horfes are protected by a fteel 
vifor, and they are crowned with a garland of leaves, for they form part of the feftive 
cortége of the Emperor Maximilian. 

In Plate 43 the horfes are lighter and of a more homely character. The rider in the 
upper part of the plate has been thrown from his horfe; and, as one of his feet is ftill 
entangled in the ftirrup, the poor horfeman is in a very critical pofition, for he is moft 
likely to be dragged along by the frightened horfe. The horfe and cart below feem almoft 
to belong to our own time; the fpokes of the wheels alone, if not a fancy of the artift, 
prefent an object not to be eafily met now-a-days in Germany. 

The clarionet-player (Plate 44), crowned like his horfe with a garland, is mounted on 
a common palfrey, as behoves a pacific warrior. The cafe of his inftrument is faftened to 
the bow of the faddle. 

The St. George (Plate 45), engraved in chiaro-obfcuro, is one of the moft beautiful 
engravings of Burgkmair. The horfe, befides a fteel vifor, has his neck proteéted by a 
coat-of-mail. The leather covering is fringed around, and highly ornamented with 
arabefques. On the left fide of the croup is painted, or embroidered, the image of a pelican. 
From the helmet of the horfeman, the head, and even the tail of the horfe, a cloud of 
feathers is waving in the breeze. In Plate 46 we fee how the leather apron of the horfe 
is faftened to the bow of the faddle by a ftrap and buckle. The two horfemen (Plate 47) 
are borrowed from the Tewrdannck, fol. 25, of the edition of 1519. Hans Schaueflein, 
pupil of Albert Diirer, who engraved moft of, the plates in this book, reprefents here 
Tewrdannck, the perfonification of the Emperor Maximilian, and his faithful efquire, 


Horfes. I 9 


Ernhold, fallying forth on horfeback in fearch of adventures, rather uniform in character, 
but no lefs wonderful and flattering to the phyfical ftrength of the wandering knight. 
The three horfemen at full gallop (Plate 48) are the work of the fame artift. The horfe in 
advance has his tail cut fhort—a feature rarely met in fuch early pictures. All of thefe 
horfes are truly typical of the German breed. In Plate 49, taken alfo from Schaueflein, we 
have reprefentations of ladies on horfeback—one fitting by herfelf; the other behind her 
hufband, whofe waift fhe embraces to maintain her pofition, The two ladies are not fitting 
aftride, but in the ladylike fafhion univerfal in Europe among well-bred people. 

The knight (Plate 50) with a wild-boar’s head on the point of his fpear, and followed 
by a tame lion, is the famous Guy, Earl of Warwick. That engraving is taken from the 
hiftory of the Englifh Don Quixote, written by Samuel Rowlands, and printed by Edward 
Allde in 1607, 4to. The fame engraving is to be found, on a very fcarce ballad of the 
time, preferved at the Britifh Mufeum, in the Roxburgh collection of {pecimens of popular 
fongs and broadfides. The engraver, in transferring the drawing to the block, did not 
take care to reverfe his transfer, and the refult is that the famous knight carries his fword 
on the right fide, as in former times executioners were bound to do, left they fhould be 
miftaken for honeft warriors. 

A Ruffian on horfeback, by Hans Weigel, is reproduced in Plate 51, from ‘ Habitvs 
precipuorum populorum,” Nuremberg, 1577, in-fol. Plate clxxi. The horfeman is appa- 
rently dreffed in a padded overcoat, which affords protection both againft the cold and the 
arrows of an enemy. ‘The bow is kept in a cafe hanging from the girdle by a ftrap; the 
arrows in a quiver on the right-hand fide. 

In Plate 52, from the fame work (Plate clxv.), H. Weigel reprefented a Hungarian 
nobleman riding a horfe of the fame breed as the preceding one. The bow-cafe is hanging 
by a ftrap on the right fide of the horfeman, while the quiver is faftened between his 
fhoulders by another ftrap. The curb and fpurs are of an almoft modern form. 

A German faddle and ftirrups of the latter half of the 16th century (Plate 52), are copied 
from the “ Kunftwerke und Gerathfchaften des Mittelalters und Renaiffance,” by C. Becker 
and J. von Hefner. Francfort, 1852. 4to. vol. i. p. 52. The ftirrups prefent a fine 
{pecimen of workmanfhip, while the front and raifed back of the faddle are covered with 
exquifite bas-reliefs of antique cavalry fighting, in emboffed iron. 

Lucas Van Leyden has fome beautiful fpecimens of horfes, and among them the noble 
fteed (Plate 54) engraved in 1516. The fpurs of the horfeman are not only tapering 
in a fingle point, but their fhaft is in form of a faw, and their ufe muft have been moft 
cruel for the animal. 

The horfes of Joft Amman (Plate 55) are lefs heavy than thofe of Burgkmair or 
Albert Diirer, but they evidently belong to the German breed. Their leather horfecloth 


20 Hor fes. 


and trappings very much refemble thofe of Burgkmair horfes. 

Jan Van der Straat, or J. Stradanus, in his « Equile Joannis Auftriaci,” in-fol. f. 1. et a., 
but printed at Antwerp by Ph. Galle, and engraved by H. Wiercx, has drawn fome 
{plendid f{pecimens of horfes, from which the two Roman horfes (Plate 56) were taken. 
Their ears are cut fhort, after the antique fafhion; the mane is flowing in all its 
luxuriance ; the tail of the left horfe is truffed up, but the other prefents an abundance 
of curling hair. The joints alone are heavy, and not well fhaped. The right-hand horfe 
is ftyled “ equus matronalis,” and, of courfe, is intended for a lady’s horfe. 

The equeftrian portrait of Francis I., painted by Janet in the fixteenth century, was 
fome years ago in the poffeffion of Mr. Henry Farrer, the eminent collector of works 
of art in Bond Street. We have reproduced it (Plate 57) after the capital engraving 
which is to be found in Shaw’s “ Dreffes and Decorations of the Middle Ages,” vol. i. 
plate 83. 

The three heads of horfes (Plate 58) are drawn after Leonardo da Vinci. 

From Italian art we come back (Plate 59) to another fine fpecimen of Van der Straat’s 
horfes. The noble animal here delineated evidently was at once of great ftrength and 
wonderful {wiftnefs. It is engraved in the “‘ Equile Joannis Auftriaci,” plate 9, and is 
given as a Theffalian horfe. 

The quaint horfes of Martin Zeiffinger, engraved in 1501, could not be paffed over 
in a book like the prefent. They will be found in Plate 60, where three horfes are 
reprefented in three different attitudes,—one ftanding, the other at full gallop, and the 
third backing under the hand of his rider. 

This colleétion of fixty drawings could not be intended as the illuftration to a complete 
hiftory of the horfe, but by the varieties of {fpecimens borrowed from the beft fources we 
hope it will be found acceptable to the artift and antiquarian, as well as to the naturalift 
and fportfman. 


Ped Beraee deh EGYPTIAN _ FRESCO PAINTING, THEBES. 


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XII CENTURY. 


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J. VAN DER STRAAT, XVI CENTURY. 


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