Art & Horseyculture: An American Beauty – and her Horse – in Yokohama, 1860

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Here’s your thing of joy for today: the smirk on this rather saucy horse as he carries an American lady sidesaddle through nineteenth-century Japan, as viewed by artist Yoshitori Utagawa in 1860. Japanese women did not ride sidesaddle, so this is an interesting public performance of Western femininity as interpreted by a local. Also, one hell of a bonnet.
It’s from the US Library of Congress, and more information can be found here.

Sidesaddle Across Mongolia: An Adventure in Memory of an Adventurous Woman

In memory of their sister Polly de Blank, Martha Sitwell and Clemmie de Blank will cross Mongolia aside in six weeks next May. A journalist, campaigner and yoga scholar, Polly supported both the mental health charity Mind and Prisoners of Conscience, and her sisters are raising funds for both charities. If you’d like to chip in or read more, click here and see their page on Just Giving.

A (Not So) Short History of Women Riding Astride

IWWH covers I enjoyed talking about the history of sidesaddle on Countryfile – it was my first experience of TV and everyone was incredibly friendly and easygoing. We did a few takes of different parts of the interview and it was hard to know whether to embellish what I’d said each time or to say the same thing again. There’s so much material to use but you only have seconds in which to say it, and the entire segment on sidesaddle was six minutes long. This slot had to include the presenter, Ellie, having a sidesaddle lesson, a display by the Legover Ladies and interviews with saddler Laura Dempsey and Roger Philpot. The result is that you simplify as colourfully as you can and make a mental note to do a blog post which clarifies a thing or two. I haven’t seen the programme yet as I can’t watch it on iPlayer here in Berlin, but I’ve been told that it stressed the fact that women didn’t begin to ride cross-saddle or astride until after the First World War. This isn’t really true.

I’ve written about the role that the women working in WWI remount depots played in making cross-saddle respectable and even patriotic but of course they weren’t the pioneers. The true picture is very different: it’s not that women didn’t ride astride before 1914. In fact, they never gave up the cross-saddle, not least because until the side-saddle made sufficient technological advances in the Renaissance and later in the 1830s, it was very impractical to use. Even princesses and goddesses sometimes rode cross-saddle when they wanted to gallop and jump. It was often rare and considered eccentric or even indecent (as you’ll see from the first-hand accounts below), but it did happen. Here then is my extended and nonexhaustive breakdown of ladies with a leg on each side, some of whom may be familiar from If Wishes Were Horses: A Memoir of Equine Obsession. Feel free to tell me about more rebels and rodeo riders! I may add more as I go along and have time. Giddy up cowgirls!

First up, Amazons! Short-hand for “women from the Eurasian Steppes who rode astride and went into battle.” Depicted throughout Antiquity as trouser-wearing, man-slaying, horse-riding troublemakers.

The Gallo-Roman pony goddess Epona rode both side and astride.

Eighth century AD: Women polo players in Tang Dynasty China.

A hundred years on, Charlemagne’s six daughters hunted astride.

Nicetas Choniates, O City of Byzantium, Annals of Nicetas Choniates, trans.Harry J. Magoulias (c.1150–1213):

“Females were numbered among them, riding horseback in the manner of men, not on coverlets sidesaddle but unashamedly astride, and bearing lances and weapons as men do; dressed in masculine garb, they conveyed a wholly martial appearance, more mannish than the Amazons. One stood out from the rest as another Penthesilea and from the embroidered gold which ran around the hem and fringes of her garment was called Goldfoot.”

Chaucer’s Wife of Bath wears two spurs and must, unlike the Prioress, have been riding with a leg on each side. Most illustrators pick up that cue. End of fourteenth century.

Fynes Moryson, (early 1600s):

“Also I have seen honourable Women, as well married as Virgines, ride by the high way in Princes traines, apparrelled like Men, in a doublet close to the body, and large breeches open at the knees, after the Spanish fashion, both of carnation silk or satten, and likewise riding astride like men upon Horses and Mules, but their heads were attired like Women, with bare haires knotted, or else covered with gold netted cawles, and a hat with a feather.” [Source, Women and Horses by Gillian Newsum]

Merry Passages and Jeasts by Sir Nicholas L’Estrange (1603-1655) of Hunstanton, Norfolk. article 354:

“The Bury Ladyes that usd Hawking and Hunting, were once in a great vaine of wearing Breeches; and some of them being at dinner one day at Sir Edward Lewkenors, there was one Mr Zephory, a very precise and silenc’t Minister … and … he fell upon this and declaimd much against it; Rob: Heighem … undertooke to vindicate the Ladyes, and their fashion, as decent to such as might cover their shame: for sayes he, ‘if an Horse throwes them, or by any mischance they gett a fall, had you not better see them in their Breeches than Naked?’ sayes the over-zealous man, in detestation of Breeches, ‘O no, by no meanes:’ ‘By my Troth Parson,’ sayes Rob: Heighem, ‘and I commend the for’t, for I am of they mind too.’”

A New Method and Extraordinary Invention to dress Horses, And work them according to Nature; As also, to perfect NATURE by the Subtilty of ART; Which was never found out, but by the Thrice Noble, High and puissant PRINCE William Cavendishe (1657):

“I wonder how Men are so Presumptuous to think they can ride as Horse-men, because they can ride forward from Barnet to London, which every Body can do; and I have seen Women ride astride as well as they; They do not think of any Art or Trade, as they do of Horse-manship, where they are all Masters; Which doth not prove so, when they Ride.”

Morning Post, (3rd March 1778):

“a German Lady who dresses, and rides, en cavalier, has for several days past attracted the attenion of the beaux and belles in Hyde-park. She is well mounted, takes her morning rides without any attendant, and leaps over the different bars in the park with all imaginable coolness and resolution.”

Marie Antoinette astride in leopardskin (she switched to a sidesaddle when she became queen of France). Not everyone thought cross-saddle was a dignified pursuit for a lady:

English engraving c. 1800 - 1810 as reproduced in one of the early 20thC Eduard Fuchs Karikatur books. Wikimedia Commons.

English engraving c. 1800 – 1810 as reproduced in one of the early 20thC Eduard Fuchs Karikatur books. Wikimedia Commons.

The Sporting Magazine vol. 18 (April 1801) contains a comment that in 1382 Queen Anne of Bohemia managed “to abolish, even in defiance of France, the safe, commodious, and natural mode of riding hitherto practised by the women of England, and to introduce the sidesaddle.” Lorna Gibb pointed out that adventurer Lady Hesther Stanhope was riding astride on her travels in the first decades of the nineteenth century.

Unprotected Females in Norway (1857) by Emily Lowe:

“Two beautiful little ponies with black stripes on their legs like zebras, and two tall farmers in fur caps, came to the door in the course of the morning… only one lady’s saddle secured for my mother… Now the non-talkaboutable [her loose or ‘Zouave’ trousers] proved their usefulness: bagging all my clothes in their ample folds, I at once mounted à la Zouave and can assure every one that for a long journey this attitude has double comforts; whilst mamma sat twisted sideways on a saddle which would not keep its balance, I was easy and independent, with a foot in each stirrup.”

Letters to Mrs Power O’Donoghue, (1880) From “Hersilie”:

“Oh, no woman would ever be twisted and packed onto a sidesaddle again if she could help it, after once enjoying the ease and freedom, as well as complete control of her horse that a man’s seat gives… when shall we cease to prostrate ourselves before the Juggernaut of fashion?… It is a new existence on horseback, and nothing indelicate about it… leaping is, oh, so easy; in fact your power seems doubled in every way. In case of conflict with your horse, you feel a veritable centaur compared with the side seat… I think I could not be thrown.”

Times, (September 10th 1890), report on a meeting of the British Association:

“Wild cats, bears, and wolves exist in the Carpathians, but there were no other obstacles, said Miss Dowie, to a girl travelling alone from London to the Russian frontier. Miss Dowie met with no inconvenience. She wore an easily-detachable skirt over knickerbockers; she carried a knife and a revolver, and when riding she rode cross-saddle and bareback… Miss Dowie said that she had met with several accidents, such as being nearly drowned while bathing in strange rivers, and dislocating her shoulder by a fall, but she regretted that she had never met a bear face to face.”

Punch (1890):

Ride a cock-horse To Banbury Cross To see a young-lady A-straddle o’course!

(1891)

Isabelle Chinon regularly performed astride in the great Parisian circuses in the 1890s. Here she is in a poster screengrabbed from the Franch national library’s excellent Gallica site:

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The Horsewoman, Mrs Hayes (1893):

“A lady who is well known with the Devon and Somerset Staghounds asked my husband’s advice about a suitable saddle, as she desired to ride astride, and he helped her to procure one with large knee pads, made on the principle of Australian buck-jumping saddles, which appears to have answered her purpose very well; but I do not know how she would get on in Leicestershire…”

Times, (November 3rd 1908):

“Perhaps the greatest change that has come over the hunting field in my time is the enormous increase of lady riders … the number of ladies must have doubled, and some of them are taking to ride astride.”

Times, (March 17th 1914):

“The Kaiser’s order expressing his desire that the wives of German Army officers shall immediately discontinue the practice of riding astride is being very widely and keenly discussed by horsewomen all over the country. The fact that it comes so soon after King George’s refusal to witness any exhibition of riding astride at Olympia is regarded as significant.”

S. R. Church, a Remount depot “somewhere in England”, World War One (thank you to Fran Jurga):

“… The remount depot is not a picnic. Now that we have roused the curiosity of a larger public than the small boys who came tumbling out of the cottages and the grinning motorists in passing cars, to whom our string of horses ridden at exercise by ladies on cross saddles was an object of amusement, we are always seeing ourselves in illustrated papers labelled ‘Smiling Dianas’ or something equally foolish. If we are Dianas, we get far hotter, dirtier, and more tired than would be at all dignified in a goddess. Of course it looks very jolly to see us all going out for a pleasant ride in the country. ‘Those girls are having the time of their lives,’ people probably say when they see us. So we are. I cannot deny it. But I think some of our friends who last saw us, say, in a London ball-room would realise the other side of the picture if they could look in one morning at a time when they are generally in bed and see the erstwhile fine lady in her riding breeches and shirt, with the sleeves rolled up over her elbows, busily engaged in cleaning a dirty old carthorse, or a charger back from the front with filthy coat, or raking refuse out of the stalls.”

Click here for a longer blog piece on women, horses and World War One which is a bit of a “missing chapter” from If Wishes Were Horses.

Times, (August 5th 1919):

“It must be quite twenty years ago that the wife of a well-known R.A. electrified Exmoor by appearing astride at a meet of the Devon and Somerset, an innovation which furnished the illustrated papers with material for many criticisms and witticisms. Other days, other ways, and after five years of war it would take something very startling in the way of feminine costume to arouse comment even on Exmoor … When we remember that riding astride has been made obligatory in all ladies’ remount depôts during the war we may expect to see a very strong cross-saddle contingent with the Devon and Somerset this winter.”

Olga E Lockley, Nannie Power O’Donoghue’s biographer:

“In 1921 the question of side saddle versus cross saddle arose again. Mrs O’Donoghue , no doubt bowing to the inevitability of it, commented grudgingly that riding astride might be alright for the very young with very good figures.”

Riding Astride for Girls (1923) by Ivy Maddison:

“Twenty years ago a girl who rode astride was looked on as a hoydenish creature with a shocking lack of modesty whose only reason for adopting this style must be a desire to ape masculine ways and make herself duly conspicuous.”

Times advertisements (November 30th 1928):

“The Owner of one of the most successful stables for jumpers in Germany requires an English Lady Assistant of good social position, no professional, age between 20 and 24, weight 8-9st., to ride cross-saddle in and help train for the show ring… Apply, with photo, by letter to Graf R. Von Gürtz, Brunkensen, bei Hannover.”

The Young Rider by Golden Gorse (1928):

“I do not propose to discuss side-saddle riding. Girls almost without exception learn to ride astride nowadays.”

Times, Report from Royal International Horse Show at Olympia (June 23rd 1931):

“Yesterday … there were several other competitions, two of them for riding horses, one for ladies’ hunters, and the other for ladies’ riding horses, the ladies in each case to ride side-saddle. How much better it looked, and how much safer, than the astride method which, however it may appeal to some people, can never make a lady on a horse look like a lady on a horse.”

To Whom the Goddess by Lady Diana Shedden and Lady Viola Apsley (1932):

“At present time it is a moot point whether a woman should ride side-saddle or astride.”

Lord Brabazon of Tara, News Review (19th June 1947):

“That the world is out of balance and lop-sided we know without being reminded of it by the side-saddle.”

If Wishes Were Horses: A Memoir of Equine Obsession

If Wishes Were Horses on the TeeVee

Pittern Hill Stables, Warwickshire

If you’re in the UK you can see me on Countryfile on BBC1 at 18.30 today. I’m talking about sidesaddle and the Mrs Power O’Donoghues of the world! Roger Philpot, the don of British sidesaddle, plays host and master saddler Laura Dempsey shows presenter Ellie Harrison around a leaping head.

Who’s That Lady?

The post below is somewhat out of date. My essay on Selika was published by the Paris Review Daily on 9 February 2018, and can be found here.

Here’s a post listing the research undertaken about Selika and giving pointers for further investigation.

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This lady has been Tumblring around the internet lately, and she’d crossed my path a couple of times before Riding Aside asked the obvious question: who is she?

And Marie answered in the comments. Selika Lazevski. She provided a link to a French government website which gave two images of Selika and stated that she’s an écuyère “of haute école” – might this mean that she’s one of the women I’ve blogged about previously who rode high-school dressage in French circuses in the nineteenth century (I was inspired by Hilda Nelson’s recent book)? Selika isn’t mentioned in this Xenophon Press title. Time to Google.

Very few hits other than the photoshoot (by Atelier Nadar, ie Paul Nadar in 1891). She’s not in Baron de Vaux’s history of horsemen and women in the circus. And that’s it… further investigation is required. I think I know where to look, although I’d have to be in the right library.

Sélika is the name of the heroine of Giacomo Meyerbeer’s 1865 opera, L’Africaine, and was adopted as a stage name by the first black woman to sing at the White House, the coloratura soprano Madame Marie Selika Williams. According to this site, the opera was hugely popular among African Americans, and Selika became a fashionable name. Popular among horse owners too: a filly called Selika won the Kentucky Oaks in 1894.

UPDATE: hello all Selika seekers! Earlier this year I used a couple of spare hours in the British Library to search old newspaper/magazine texts and indexes of circus performers, but sadly there was no sign of Selika. I’ll keep on hunting when I have time and resources.

FURTHER UPDATE: here’s a long Guardian piece on Félix Nadar, whose son Paul was probably Sélika’s actual photographer – a fascinating overview of both the man and of Paris in that era. No mention of Selika in the review, but if anyone can get a hold of a copy of the book, perhaps she gets a mention.

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ANOTHER UPDATE: 13/9/2016 still no sign of an equestrienne called Selika, but I have just learned about a Black British circus horseman/écuyer of the nineteenth century called Pablo Fanque – he even comes from my home town of Norwich. I’d love to write something about him when I have more time, but for now here’s a lovingly tended Wikipedia page.

OCTOBER 2016 UPDATE: A Livejournal post claims that The Equestrian filmmaker Sybil H Mair is making a film about Selika starring French actress Karidja Touré called The Adventures of Selika.

FEBRUARY 2017 UPDATE: I’ve started to research the life of the real Selika.

Sidesaddle at the Olympics

I promise I’ll write about something other than sidesaddle soon, but I couldn’t resist these two snippets:

1) The brilliant Italian écuyère Elvira Guerra competed sidesaddle in the “hacks and hunters combined event” (photo of her here) at the 1900 Paris Olympics – a non-Olympic event, to be sure, but it wasn’t until 1952 that women were allowed to ride at the Games proper, and then only in dressage, when Lis Hartel of Denmark took an individual silver at Helsinki. Hartel was also the first paralympic rider. At the time she was paralysed below the knees – the last remnant of a severe polio attack she’d suffered eight years earlier at the age of 23, when, to cap it all, she was pregnant. She also took silver at the next games. Read about Lis and the foundation in her name at this link, and see photos of her at Simply Marvellous.

2) During my sidesaddle lesson, my teacher, Sarah Walker, explained that each sidesaddle was made to fit an individual rider and horse, and that the name and measurements of both were usually written on the saddle tree. Blogger Sidesaddle Girl investigated her own late-nineteenth century saddle and discovered not only where it was made, but also a portrait of its owner, a glamorous socialite. Read all about it here.

3) And via Sidesaddle Girl, here’s a young woman trying eventing aside:

The Difference a Rider Makes

When I got back from my sidesaddle lesson I was rather overexcited about the fact that I had ridden a PUREBRED! CLASSICALLY TRAINED! LUSITANO! and couldn’t wait to show people the photos that my mum took of the lovely Xis. Some people were a little disappointed, and said, “But he just looks like a pony,” and I wondered if perhaps some horses weren’t photogenic, or somehow failed to give their best in the camera lens. The answer is a lot simpler. It’s all about the rider.

Here’s Xis noodling around the school with me as I try to work out how the hell to stay on board the sidesaddle:

Last week Mum went back to Pine Lodge to watch their annual display, and caught this shot of Xis with the German classical rider, Ute Pulvermacher:

See what I mean?