The present graceful, secure, and appropriate style of female equestrianism is, however, materially different from that of the olden time. In by-gone days, the dame or damosel rode precisely as the knight or page. Of this, several illustrations occur in an illuminated manuscript of the fourteenth century, preserved in the Royal Library. In one of these, a lady of that period is depicted on horseback, enjoying the pastime of the chase. In another, are represented two gentlewomen of the same period, on horseback, with an individual of the other sex, engaged (as is shewn by some parts of the design, which it would be needless, for our present purpose, to copy) in the once much-favoured diversion of Hawking.
Queen Elizabeth, says a writer in the Encyclopædia Londinensis, “seems to have been the first who set the ladies the more modest fashion of riding sideways. Considerable opposition was, at first, made to it, as inconvenient and dangerous: but, practice, in time, brought it into general use; particularly when ladies found they could ride a-hunting, take flying leaps, and gallop over cross roads and ploughed fields, without meeting with more accidents than the men: besides, it was not only allowed to be more decorous, but, in many respects, more congenial to the ease and comfort of a female rider.”
Our author is, however, wrong in ascribing the fashion of riding sideways, by women in this country, to Elizabeth; by whom it could only have been confirmed, or, at the most, revived;—the honour of its introduction being clearly attributable to another Queen of England, who lived at a much more early period of our history.
Ann of Bohemia, consort of Richard the Second, is the illustrious personage to whom we allude. She, it was, according to Stow (whom Beckman follows on this point), that originally shewed the women of this country how gracefully and conveniently they might ride on horseback sideways. Another old historian, enumerating the new fashions of Richard the Second’s reign, observes, “Likewise, noble ladies then used high heads and cornets, and robes with long trains, and seats, or side-saddles, on their horses, by the example of the respectable Queen, Ann, daughter of the King of Bohemia; who first introduced the custom into this kingdom: for, before, women of every rank rode as men do” (T. Rossii, Hist. Re. Ang. p. 205). In his beautiful illustrative picture of Chaucer’s Canterbury Pilgrims, Stothard appears to have committed an anachronism, in placing the most conspicuous female character of his fine composition sideways on her steed. That the lady should have been depicted riding in the male fashion, might, it strikes us, have been inferred, without any historical research on the subject, from the poet’s describing her as having, on her feet,
“a paire of spurrés sharpe.”
Neither the original example of Ann of Bohemia, nor that, in later days, of Elizabeth, as female equestrians, however extensively followed, had sufficient force, entirely to abolish, among our countrywomen, the mode of riding like the other sex. In the time of Charles the Second, it appears, from a passage in the Duke of Newcastle’s great work on Horsemanship, to have still, at least partially, subsisted. Another writer of the seventeenth century, whose manuscripts are preserved in the Harleian collection, speaks of it, as having been practised, in his time, by the ladies of Bury, in Suffolk, when hunting or hawking; and our venerable contemporary, Lawrence (a voluminous writer on the horse), it is worthy of remark, states, that at an early period of his own life, two young ladies of good family, then residing near Ipswich, in the same county, “were in the constant habit of riding about the country, in their smart doe-skins, great coats, and flapped beaver hats.”
Although entirely relinquished, at present, perhaps in this country, the mode of female equestrianism under notice continues to prevail in various other localities. In the following sketch, taken from Charles Audry’s magnificent “Ecole d’ Equitation,” a Persian lady is delineated as just about to start on a journey, in the saddle; and, in the next, which is engraved from an original drawing, “done from the life,” a lady and gentleman of Lima are represented on horseback. “I have endeavoured,” the artist says, in manuscript, on the reverse of his sketch, “to depict the horses ‘pacing;’ as they are almost universally taught to do, in Peru: that is, to move both the legs, of one side, forward together. It resembles an English butcher’s trot in appearance; but, it is so easy, that one might go to sleep on the horse: and, after riding ‘a pacer,’ it is difficult to sit a trotter at first. It is, also, excessively rapid;—good pacers beating other horses at a gallop. The ladies of Lima do not always ride with the face covered: but, only, when the sun is powerful. They, sometimes, ride in ponchos, like the men: in fact, it is excessively difficult, at first sight, to determine whether a person on horseback be male or female.”