iMinfiriHiwuw 
 
 iiiiii I w iinmm 
 
 
 THE HORS 
 
 OF 
 
 j ANTiqUITY, MIDDLE AGES, AND RKNAISSANCE^ 
 
 From the Earlieji Monuments doivn to the XFIth Century. 
 
 Ph. CHARI,ES BERJEALT, 
 
 AUTHOIl OF THE "VaBUTJES OF COGS." 
 
 LONDON : 
 DULAU & CO. 37 SOHO SQUARE. 
 
runcajLSHi) rsoar the axxuaz, city 
 ArpRomi.iTioif. 
 
Tufts iJi 
 
 200 Wssiuuiu i-toau 
 
 . y iViSuicine at 
 
 F^ra r-;53g 
 
i^/i^,aO, 
 
 THE HORSES ^^■^■^' 
 
 OF 
 
 ANTIQUITY, MIDDLE AGES, AND RENAISSANCE, 
 
 From the Earlieji Monuments down to the XVIth Century. /) 
 
 BY 
 
 Ph. CHARLES BERJEAU, 
 
 AUTHOR OF THI " VARIETIES OF DOGS. " 
 
 LONDON : 
 
 DULAU & CO. 37 SOHO SQUARE. 
 
 1864. 
 
r 
 
 
 LONDON: 
 
 Printed by Stkakgeways & Walden, 28 Caftle Street, 
 Leicefter Square. 
 
TO 
 
 CHARLES GEORGE PHILLIPS, ESQ. 
 
 ^\}is T5oofe IS DcDicateD, 
 
 THE AUTHOR. 
 
LIST OF THE PLATES. EXPLICATION DES PLANCHES. 
 
 I. 
 
 Egyptian Horfe, Beit Oualley, Nubia. From the Cheval egyptien, Beit Oualley, Nubie. Pris des 
 
 Sculptures at the Entrance of the Small Temple of Beit fculptures a I'entree du petit temple de Beit Oualley, 
 Oualley, near Ralabfche, Nubia. pres de Ralabfche, Nubie. 
 
 11. 
 
 Egyptian Frefco-Painting, Thebes. From the Tomb Chevaux egyptiens. Peinture fur frefque de Thebes, 
 
 of a Scribe of the Royal Wardrobe and Granaries, Weftern Tombe d'un fcribe de la garde robe et des greniers 
 Hill of Thebes. Britifti Mufeum. royaux. Colline occidentale de Thebes. Mufee bri- 
 
 tannique. 
 
 III. 
 
 Aflyrian Bas-relief, Nimroud, 7th century, B.C. From Chevaux aflyriens. Bas-relief de Nimrod, yeme fiecle, 
 
 the North- Weft Palace Nimroud. Erefted by Alharak- a.c. Du palais nord-oueft de Nimrod. Eleve par Aftiar- 
 bal or Sardanapalus the Great (ift). Britifh Mufeum. akbal ou Sardanapale le grand (ler). Mufee britannique. 
 
 IV., V. 
 
 Aflyrian Bas-relief, Afhurbanipal. Monuments of Chevaux aflyriens. Bas-reliefs d'Afliurbanipal. Monu- 
 
 Sardanapalus III. 7th century, b.c. Britifti Mufeum. ments de Sardanapale III. 7eme fiecle, a.c. Mufee 
 
 britannique. 
 
 VI. 
 
 Perfian Bas-relief of Perfepolis. From the Palace of Chevaux perfans. Bas-relief de Pcrfepolis. Du palais 
 
 the Forty Pillars (Chekel Minar). des 40 colonnes (Chekel Minar). 
 
 VII. 
 
 Perfian Bas-rehef of Nakftii Rouftam. From Sir J. Chevaux perfans. Bas-relief de Nakftii Rouftam. 
 
 Ker Porter's Travels. Voyages de Sir J. Ker Porter. 
 
 VIII. 
 
 Lycian Frieze of a Tomb. From the Acropolis. Cheval lycien. Frife d'un tombeau de I'Acropolis. 
 
 6th century, B.C. 6eme fiecle, a.c. 
 
6 Lijl of the Plates — -Explication des Planches. 
 
 IX. 
 
 Lycian Frieze of a Tomb. From the Acropolis. Cheval lycien. Frife d'un tombeau de I'AcropoIis. 
 
 6th century, b.c. 6eme fiecle, a.c. 
 
 X., XI. 
 
 Greek Frieze of the Parthenon. 5th century, b.c. Chevaux grecs. De la frife du Parthenon. 5eme fiecle, 
 
 Britifti Mufeum. a.c. Mufee britannique. 
 
 XII. 
 
 Greek Muzzles for Armed Horfes. 5th century, b c. Mors grecs pour chevaux de guerre. 5eme fiecle, a.c. 
 
 XIII., XIV., XV. 
 Etrufcan Painted Vafe. 4th century, b.c. Chevaux e'trufques. Vafe peint du 4eme fiecle, a.c. 
 
 XVI. 
 
 Greek Painted Vafe. 3rd century, b.c. Cheval grec. Vafe peint du 3eme fiecle, a.c. 
 
 XVII. 
 
 Sarmatian. From Trajan's column, i ft century, b.c. Chevaux farmates. De la colonne trajane. ler 
 
 fiecle, A.c. 
 
 XVIII. 
 Roman. From Trajan's Column, i ft century, b.c. Cheval romain. De la colonne trajane. ler fiecle, a.c. 
 
 XIX. 
 Roman Statue of Marcus Aurelius. 2nd century. Cheval romain. Statue de Marc Aurele. zeme fiecle. 
 
 XX. 
 
 Byzantine Column of Theodofius. 5th century. Cheval byzantin. De la colonne de Theodofe. 5cme 
 
 fiecle. 
 
 XXI., XXII. 
 
 Norman. From the Bayeux Tapeftry. 9th century. Chevaux normands. Dc la tapiflerie de Bayeux. geme 
 
 fiecle. 
 
 XXIII. 
 
 Spanifli MS. of the nth century. Cheval efpagnol. MS. du iicme fiecle. 
 
 XXIV. 
 
 French. From the Abbey of St. Denis. 12th Chevaux francais. Vitraux de I'abbaye dc St. -Denis, 
 
 century. 1 zeme fiecle. 
 
Liji of the Plates — Explication des Planches. 7 
 
 XXV. 
 
 French, i. Stained Glafs, Cathedral of Chartres. i. Chevalier francais. Verriere de la cathedrale de 
 
 1 2th century. 2 and 3. French MS. 13th century. Chartres. 2 et 3. ChalTeurs tires d'un MS. francais du 
 
 1 5 erne fiecle. 
 
 XXVI. 
 
 French MS. of the Apocalypfe. 13th century. Cheval francais. MS. de I'Apocalypfe. 1 3eme fiecle. 
 
 XXVII. 
 
 Englilh MS. 13th century. Chevaux anglais. MS. du i3eme fiecle. 
 
 XXVIII. 
 
 Italian Frefco-painting. Campo Santo di Pila. 14th Chevaux italiens des frefques du Campo Santo de Fife, 
 
 century. I4.eme fiecle. 
 
 XXIX. 
 
 Italian Frefco-Painting of the Campo Santo di Pifa. Cheval italien. Pcinture a frefque du Campo Santo 
 
 14th century. dc Pife. I4eme fiecle. 
 
 XXX. 
 
 French, i. Lancelot du lac, MS. 2. Roman de Chevaux francais. i. MS. de Lancelot du lac. 2. MS. 
 
 Triftan MS. 14th century. du Roman de Triftan. 
 
 XXXI. 
 
 Engiifh. Arthur of Little Britain, MS. 14th century. Chevaux anglais. Arthur de la Petite Bretagne. 
 
 MS. du I4eme fiecle. 
 
 XXXII. 
 
 French. Heures d'Anne de Bretagne, MS. 15th Cheval fran9ais. Heures d'Anne de Bretagne. MS. 
 
 century. St. Martin dividing his Cloak with a Beggar. du I5eme fiecle. St. Martin partageant_ fon manteau 
 
 avec un mendiant. 
 
 XXXIII. 
 
 French. Tournois du roi Rene, MS. 15th century. Chevaux frangais. Tournois du roi Rene. 1 5eme 
 
 fiecle. 
 
 XXXIV. 
 
 I, 3. French MSS. 2. Seal of Charles le Temeraire. I, 3. MSS. francais. 2. Sceau de Charles le Teme- 
 
 15th century. „ire. i5eme fiecle. 
 
 XXXV. 
 
 Early Italian Mailers. 15 th century. Maitres italiens du I5eme fiecle. 
 
8 Lijl of the Plates — Explication des Planches. 
 
 XXXVI. 
 
 Horfe and Attendant. From the Roll of a Tourna- Cheval et fon palefrenier. Tire de la defcription 
 
 ment, preferved in the College of Arms. This tourna- confervee au " College des Armoiries," d'un tournoi qui 
 
 ment was reprefented in Weftminfter, the 13th of eut lieu a Weftminfter le 13 fevrier, 1510-1 1. 
 February, 1510-11. 
 
 XXXVII., XXXVIII. 
 
 German. From Lucas Cranach. 1472-1553. Chevaux allemands, de Lucas Cranach. 1472-1553. 
 
 XXXIX. 
 
 German. Albert Diirer. 1505. Allemand. D'apres Albert Durer. 1505. 
 
 XL., XLI. 
 
 German. From Albert Diirer. 1471-1528. Chevaux allemands. D'apres Albert Diirer. 1471- 
 
 1528. 
 
 XLII., XLIII., XLIV., XLV., XLVI. 
 
 German. H. Burgkmair. 1473-1529. Chevaux allemands. D'apres H. Burgkmair. 1473- 
 
 1529. 
 
 XLVIL, XLVIII., XLIX. 
 
 German. Hans Schaueflein. 1490-1540. Chevaux allemands. D'apres Hans Schaueflcin. 1490- 
 
 1540. 
 
 L. 
 
 Englifli. From the Romance of Guy, Earl of War- Anglais. Du roman de Guy, comtc de Warwick. 
 
 wick. 1 6th century. i6eme fiecle. 
 
 LI., LII. 
 German, Hans Weigel. 1 6th century. Allemand. D'apres Hans Weigel. i6enie fiecle. 
 
 LIII. 
 German Saddle and Stirrups. 1 6th century. Allemand. Selle et etriers du 1 6emc fiecle. 
 
 LIV. 
 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 Britifli Mufeum. Cabinet des Eftampes au Mufee britannique. 
 
 LVI. 
 
 Roman horfes. J. Stradanus. 1 6th century. Chevaux romains, d'apres Van dcr Straat. i6enie 
 
 fiecle. 
 
8* 
 
 Lift of the Plates — Explication des Planches. 
 
 LVII. 
 
 French. Francis I. From a painting by Janet. Cheval de Fran9ois i er. Peinture de Janet. 1515- 
 
 1515-1560. 1560. 
 
 LVIII. 
 
 Theflalonian horfe. J. Van der Straat. i6th century. Cheval theflalonien, d'apres Van der Straat. i6eme 
 
 fiecle. 
 
 LIX. 
 
 Italian. Drawing by Leonardo da Vinci, in the Print Tetes de chevaux italiens. Deflin de Leonard de 
 
 Room of the Britifh Mufeum. Vinci, au Cabinet des Eftampes du IMufee britannique. 
 
 LX. 
 
 German horfes by Martin Zeiffinger. From an etch- Chevaux allemands, d'apres une gravure du Mufee 
 
 ing in the Britifh Mufeum. 1501. britannique, par Martin Zeiflinger. 1501. 
 
HORSES. 
 
 The Horfe, like man, is indigenous to the high table-lands of Afia. From his original 
 name, in3, Paras, are derived the names of nations known only as horfemen, fuch as 
 Perfians, Parthians, Parfis, and, perhaps, Pruffians ; and the onomatopoeia " Prs/li" is ufed 
 in every part of Europe ftill occupied by the Slavonic race to flop 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 D'uns, Parajim. The Germanic name of the horfe, Pferd, Perd, 
 Paerd, may eafily be. traced to the original Paras, and the Slavonic onomatopoeia Prsfh. 
 The Ethiopian Pars, 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 Aflyrian contemporary. The reafon of this 
 refemblance is, that the Egyptian horfe of the Delta treading, like the Netherlandifh horfe, 
 on elafliic ground, in rich pafiiures, acquired a greater mufcular development, at the expenfe 
 of the nervous fyflem, 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 pidtures 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 fwiftnefs is very doubtful, their form being entirely different from 
 that of the Arabian ; but beautiful and fymmetrical parts, great fize and flirength, 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 adion, 
 and an admirable bearing." The kingdom of Dongola, or Modern Nubia, produces a 
 
 B 
 
lo 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 defedhs 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 adion 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 Uongola, or Nubian horfe, v/hich may be confidered as reprefented by the 
 fculpture at the entrance of the fmall temple of Beit-Oualley (Plate i). The horfes 
 reprefented in the frefco-painting from the tomb of a Scribe (Plate 2) are likewife Nubian 
 horfes. 
 
 The Aflyrian horfes, from a bas-relief of the north-weft palace Nimroud (Plate 3), 
 belong evidently to another variety. The ftiortnefs of their fore-legs, if not a fancy of the 
 artift, would incline them to rear up ; but we muft fuppofe the Aflyrian fculptor was not 
 here over particular about proportions in the animals which he reprefented. 
 
 This fpecimen of the Aflyrian way of harneffmg 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 
 fcarcely therefore very dangerous to the enemy. 
 
 The horfes on the monuments of Sardanapalus III. (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 fliape, 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 feen pafling between the horfes, 
 projefting from the centre of the carriage, which is in a cylindrical fliape, elevated rather 
 above the line of the animals' heads." In the bas-reliefs of Nakfl^I-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 paffes from between the noftrils to the 
 
Horfes. 1 1 
 
 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 Thermifas, we find the fpecimen, or rather a precurfor, of Greek 
 art, in the form of a very tall and beautiful, but rather maftive 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 attrafted the 
 cupidity of barbarian devaftators. 
 
 The fplendid horfes of Phidias, from the frieze of the Parthenon (Plate 10), fliow 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 flioulders are well fet ; the breaft deep ; the joints ftrong, dry, and admirably perpen- 
 dicular; the back is ftiort, and the tail carried with a peculiar elegance. The mane 
 is generally cut brufti-wife, while the tail is long, and floats freely in the breeze. The 
 horfeman wants neither faddle nor ftirrups ; and under his diredlions the horfe is either 
 racing or cantering in a gentle gallop. But no matter what motion the artift may have 
 chofen to depid:, 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 Muflulman 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 perfed analogy with Egyptian. The team of four horfes (Plate 13) to a very 
 fmall chariot, intended for one man, is more a fancy of the artift than a true reprefentation 
 of contemporary life. The crown worn by the driver 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 pradifed four hundred 
 
1 2 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 harnefled their horfes to a car. The movements of the 
 animals are as little as pofllble 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 very peculiar form, afting 
 very likely on the interior corners of the mouth, by the preffure of the four-pointed 
 corners of a metallic plate, painted black. On the Greek painted vafe of the third 
 century b.c. (Plate 16), with a man {landing, 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 fliows the fhort proportion of the Greek horfe compared 
 with the Etrufcan one. 
 
 We come now to the firft fpeclmen known of Sarmatian or Coflack horfes, reprefented 
 on Trajan's Column (Plate 17). The extraordinary appearance of the mail-clad horfes 
 and riders is explained by Paufanias In his " Defcrlptio Grascias," where, fpeaking of a temple 
 dedicated to Efculapius, he fays, " We fee there, among other things, a Sarmatian culrafs, 
 or coat of arms. Thofe who fee it fay at once that barbarians are no lefs clever in the arts 
 than the Greeks themfelves. Sarmatlans 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 {Irlke them down. The way 
 in which they make their cuirafles 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 rufl:ic wood, as the inhabitants are nothing 
 more than nomades. Thefe horfes they not only ufe for the purpofes of war, but they 
 facrlfice them to their country gods, and even ufe them for food. But, colleding the hoofs 
 of thefe animals, and purifying and dividing them, they pollfh them fo as to refemble the 
 fcales of a dragon. He, indeed, who has not (ttn a dragon may compare this compofitlon 
 from hoofs to a pine-nut while yet green. This fcale-like compofitlon they perforate, and 
 few it together with the nerves of horfes and oxen, and afterwards ufe them for coats of 
 mall, 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" (trandated by T. Taylor). London, 1824. 8vo. Vol. i. pp. 54, 55. 
 
Horfes. 1 3 
 
 Thus the extraordinary horfes and horfemen reprefented on Trajan's Cohimn with what 
 feems to be a coat of mail, are covered with fcales made from horfe's hoofs. The mane 
 and the trufled tail of the horfe are even covered with this fingular protedtion againft 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 cuirafles 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 moil 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 fattened 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 fchabraque 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, fliow 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 19) 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 feems 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 fpurs (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 fliow 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 jjreed. 
 
 The vanquifhed Parthians are fhown (Plate 24), as painted on the verriere 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. j) 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, ^^ pofterior to the "Roy Modus." Gafton Phcebus 
 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. i of the fame plate) with the ftandard of the Crufaders, and 
 the loofe garment fprinkled with crofi"es 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. ■ 1$ 
 
 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 fattened 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 crofles. 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 pidturefque than artiftic attitude of flopping their nofes, 
 which appear rather difagreeably affefted 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 paftkcio of antique Roman 
 drefs and mediasval 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 adtion of the neck. This curious horfeman is one of the followers of Pilatus, and 
 the artift reprefents him as one of the cortege of Chrift, bearing His crofs towards Golgotha. 
 
 The two drawings (Plate 30) are taken from illuftrations of the French romance (No. i) 
 of Lancelot du lac, and No. 2 of the romance of Triftan, both of the 14th century. The 
 coftume of the hunter (No. i), blowing his horn, is very fingular, appearing to confift only 
 of a loofe fliirt, open on the fides, after the Grecian cuftom ; but he wears under it a pair 
 
1 6 ' Horfes. 
 
 of tight hofe. His helmet is no lefs Angular, evidently not intended for warHke 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 addifted 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 Englifli form. 
 
 The beautiful drawing (Plate 32) borrowed from the Horo' of Ann of 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 pofteffion 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 infedls, drawn 
 from life and admirably illuminated. More than three hundred various plants are there 
 delineated, and form the moft complete herbal which we poflefs from the early period of 
 the 15th century. 
 
 In Plate 23 we have a reprefentation of the Duke of Brittany and the Duke of Bourbon 
 fighting in the tournament of King Rene of Anjou. The Duke of Bourbon is diftinguiftied 
 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 diftindtive 
 mark of the coat-of-arms of the fovereigns of Brittany. 
 
 The cart-horfe (Plate 34, No. i) is borrowed from a French MS. of the 15th century. 
 It would not be difficult in our days to find, in feveral parts of France, the fame horfe, 
 with the very fame harnefs. The gentlefolks meeting on horfeback (No. 3 of the fame 
 plate) more particularly bear the mediasval 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. 1 7 
 
 fleur-de-lis, quartered by two leopards. The hat of the polite gentleman, who pays his 
 refpeds to the lady, refembles very much the never-brufhed beaver of a French country 
 fchoolmafter. The horfes feem to be as polite as their mafters, and in the very adt 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 . duels . Flandrie . Artefie . Burgundie . Palatini . 
 HoUandie . 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 pifturefque. 
 
 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. ii. 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. Englifli 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 fpirited animal. 
 
 Three years before the latter date Albert Diirer engraved the white horfe reproduced 
 in Plate 29- 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 Diirer took his model from the 
 brewers' horfes of Nuremberg, his native place, for we very much doubt that he ftiould 
 have given fuch a heavy nag to a mythological charadter after his return from Italy in 1507. 
 
 * "Drefles and Decorations of the Middle Ages." London : W, Pickering, 1848. 
 
 C 
 
1 8 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 adlion of the horfes feems natural, 
 and the indications of the joints, and the drawing of the hoofs, which are moftly low and 
 broad, evidently ftiow that the artift had paid fome attention to the ftrufture 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 protedled by a fteel 
 vifor, and they are crowned with a garland of leaves, for they form part of the feftive 
 cortege of the Emperor Maximilian. 
 
 In Plate 43 the horfes are lighter and of a more homely chara6ter. 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 objeft 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 proteded 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 15 19. 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. 1 9 
 
 Ernhold, Tallying forth on horfeback In fearch of adventures, rather uniform In charadler, 
 but no lefs wonderful and flattering to the phyfical flrength 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 pidtures. All of thefe 
 horfes are truly typical of the German breed. In Plate 49, taken alfo from Schaueflein, we 
 have reprefentatlons 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 unlverfal 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 Britlfh Mufeum, in the Roxburgh colledion of fpeclmens 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 Welgel, Is reproduced In Plate 51, from " Habitvs 
 prEcIpuorum populorum," Nuremberg, 1577, in-fol. Plate clxxi. The horfeman is appa- 
 rently drefl"ed In a padded overcoat, which affords protedllon 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. Welgel 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 fattened 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 i6th 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 
 fpeclmen of workmanftilp, while the front and raifed back of the faddle are covered with 
 exquifite bas-reliefs of antique cavalry fighting, in embofled Iron. 
 
 Lucas Van Leyden has fome beautiful fpeclmens of horfes, and among them the noble 
 fteed (Plate 54) engraved in 15 16. The fpurs of the horfeman are not only tapering 
 In a fingle point, but their ftiaft 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 Horfe 
 
 es. 
 
 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 
 fplendid fpeclmens 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 trufled up, but the other prefents an abundance 
 of curling hair. The joints alone are heavy, and not well fhaped. The right-hand horfe 
 is flyled " equus matronalis," and, of courfe, is intended for a lady's horfe. 
 
 The equeflrian portrait of Francis I,, painted by Janet in the fixteenth century, was 
 fome years ago in the pofTefTion of Mr. Henry Farrer, the eminent colledtor 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 " DrefTes 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 flrength and 
 wonderful fwiftnefs. It is engraved in the " Equile Joannis Aufl:riaci," plate 9, and is 
 given as a Theflalian horfe. 
 
 The quaint horfes of Martin Zeiffinger, engraved in 1501, could not be pafled 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 colledtion 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. 
 
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