In reference to this circumstance Justin (lib. xviii. 5) remarks, that “in laying the foundations of the city the head of an ox was found, which was regarded as an emblem of a fruitful land, but of the necessity of labour and of dependence; on which account the city was transferred to another place. Then the head of a horse was found, and this was regarded as a happy omen that the city would be warlike and prosperous.” Comp. Creuzer, Symbolik, vol. ii. p. 456. (c) The horse was an emblem of fleetness, and, consequently, of the rapidity of conquest. Comp. Joel ii. 4: “The appearance of them is as the appearance of horses; and as horsemen, so shall they run.” Je. iv. 13: “Behold, he shall come up as clouds, and his chariots shall be as the whirlwind; his horses are swifter than eagles.” Compare Job xxxix. 18. (d) The horse is an emblem of strength, and consequently of safety. Ps. cxlvii. 10: “He delighteth not in the strength of the horse.” In general, then, the horse would properly symbolize war, conquest, or the rapidity with which a message is conveyed. The particular character or complexion of the event—as peaceful or warlike, prosperous or adverse—is denoted by the colour of the horse, and by the character of the rider.
(2) The colour of the horse: a white horse. It is evident that this is designed to be significant, because it is distinguished from the red, the black, and the pale horse, referred to in the following verses. In general, it may be observed that white is the emblem of innocence, purity, prosperity—as the opposite is of sickness, sin, calamity. If the significance of the emblem turned alone on the colour, we should look to something cheerful, prosperous, happy as the thing that was symbolized. But the significance in the case is to be found not only in the colour—white—but in the horse that was white; and the inquiry is, what would a horse of that colour properly denote; that is, on what occasions, and with reference to what ends, was such a horse used? Now, the general notion attached to the mention of a white horse, according to ancient usage, would be that of state and triumph, derived from the fact that white horses were rode by conquerors on the days of their triumph; that they were used in the marriage cavalcade; that they were employed on coronation occasions, &c. In the triumphs granted by the Romans to their victorious generals, after a procession composed of musicians, captured princes, spoils of battle, &c., came the conqueror himself, seated on a high chariot drawn by four white horses, robed in purple, and wearing a wreath of laurel (Eschenburg, Man. of Class. Literature, p. 283. Comp. Ovid de Arte Amandi, lib. v. 214). The name of λεύκιππος—leucippos—was given to Proserpine, because she was borne from Hades to Olympus in a chariot drawn by white horses (Scol. Pind. Ol. vi. 161. See Creuzer’s Symbol. iv. 253). White horses are supposed, also, to excel others in fleetness. So Horace, Sat. lib. i. vii. 8:
“Sisennas, Barrosque ut equis præcurreret albis.”
So Plaut. Asin. ii. 2, 12. So Homer, Il. K. 437:
Λευκότεροι χιόνος, θείειν δʹ ἀνέμοισιν ὁμοῖοι.
—“Whiter than the snow, and swifter than the winds.” And in the Æneid, where Turnus was about to contend with Æneas, he demanded horses:
“Qui candore nives anteirent cursibus auras.”
—“Which would surpass the snow in whiteness, and the wind in fleetness” (Æn. xii. 84). So the poets everywhere describe the chariot of the sun as drawn by white horses (Bochart, ut supra). So conquerors and princes are everywhere represented as borne on white horses. Thus Propertius, lib. iv. eleg. i.:
“Quatuor huic albos Romulus egit equos.”
So Claudian, lib. ii., de Laudibus Stilichonis: