DOI Page / Citation link:
https://doi.org/10.11588/diglit.1399#0116
PLATE 237.
ORNAMENTAL SADDLERY,
BY DORADO GARCIA, VALLADOLID, AND W, MIDDLEMORE, BIRMINGHAM.
"DOTH the exhibitors whose works we have selected for illustration were awarded prize medals
by the International Jury of Class 26 b (Saddlery and Harness). As regards English leather-
work, there was no lack of ornamental saddles, harness, &c.; and several examples of embroidered
and pressed work of good design were to be seen in the cases of Messrs. Gibson & Co., Messrs.
Cuff & Son, Mr. Davis, and others. Nor did Mr. Middlemore confine himself to merely utilitarian
productions, as a glance at our lithograph will prove.
M. Dorado Garcia's saddlery was, however, of far more elaborate a nature than any similar
work to be found in the Exhibition, and was in every way worthy of his position as saddler to
the Queen and Court of Spain. The ornamental designs were produced by pressing and
enamelling, and were not only of first-rate execution, but conceived also in the best manner of
the Spanish Renaissance or " Plateresco" style. Spain, it is evident, has not entirely lost her
ancient cunning in the art of decorative leather-work, which she learnt from the Moors of Cordova;
and besides these magnificent specimens by M. Garcia, were to be remarked some leather slippers
curiously worked with black devices on a white ground, very peculiar and semi-moresque in
character; cigar-cases in the Grolier style; and leggings, " botines," or mocassins, of the well-
known Andalusian type.
During the Middle Ages and the Renaissance period,- horse-armour was frequently of a most
elaborate and ornamental character,— the chanfrein for the head, the cervicale for the neck, the
poitrail for the chest, the crowpiere and flancois for the tail and flanks of the war-horse, were of
rich workmanship ; and the saddle, with high pieces at back and front, to enable the rider to
withstand lance-thrusts, was made to correspond with the rest of the harness. Saddles of leather
are mentioned in the 4th century, and wooden saddles are described in the Theodosian Code about
the year 385. The Emperor Maurice, in the 6th century, ordered that the saddles of his cavalry
should be covered with fur; and about the year 605, Ethelbert, king of Kent, presented a saddle
adorned with gems to St. Augustine's Abbey, Canterbury. The ordinary Norman saddle resem-
bled the modern pack-saddle; the war saddle of Richard Coeur de Lion is described as being
painted with lions; and the good monk Theophilus, in the 12th or 13th century, gives directions,
in his treatise on the various arts, as to the enrichment of saddles by painting. It is stated
that the side-saddle was introduced into this country by Anne, queen of Richard II., A.D. 1388.
In the 15th century the saddle was sometimes made of unusual height, so as to give the rider
more power in using his lance against infantry; a curious instance of which is to be seen in the
equestrian statue of St. George on the facade of Basel cathedral.
The upright pieces in front and at back of the saddle were termed " arcons," and were
frequently of carved ivory, or metal chased and enamelled. In the Royal Armoury at Madrid are
several remarkable saddles, and a fine saddle-covering of the Moorish period, richly coloured and gilt.
The Historical Museum of Dresden also possesses a good series of old saddles; and in the Meyrick
collection, amongst others, is a saddle covered with bone, on which are carved in relief two lovers
in the costume of the 15th century, and inscribed with a dialogue in German of much pathos.
As may be imagined, the business of a saddler was of no slight importance, and mention is made
of several by name, in the papers of the House of Burgundy, as " sellier;" whence, doubtless, our
English name Sellars. Another name, that of Lorimer, is also a corruption of the old French
lormier, harness-maker.
A monograph on saddles would form a very interesting subject, requiring much original
research; and we beg to recommend it to any enthusiastic archasologist who may happen to see
this paper.
ORNAMENTAL SADDLERY,
BY DORADO GARCIA, VALLADOLID, AND W, MIDDLEMORE, BIRMINGHAM.
"DOTH the exhibitors whose works we have selected for illustration were awarded prize medals
by the International Jury of Class 26 b (Saddlery and Harness). As regards English leather-
work, there was no lack of ornamental saddles, harness, &c.; and several examples of embroidered
and pressed work of good design were to be seen in the cases of Messrs. Gibson & Co., Messrs.
Cuff & Son, Mr. Davis, and others. Nor did Mr. Middlemore confine himself to merely utilitarian
productions, as a glance at our lithograph will prove.
M. Dorado Garcia's saddlery was, however, of far more elaborate a nature than any similar
work to be found in the Exhibition, and was in every way worthy of his position as saddler to
the Queen and Court of Spain. The ornamental designs were produced by pressing and
enamelling, and were not only of first-rate execution, but conceived also in the best manner of
the Spanish Renaissance or " Plateresco" style. Spain, it is evident, has not entirely lost her
ancient cunning in the art of decorative leather-work, which she learnt from the Moors of Cordova;
and besides these magnificent specimens by M. Garcia, were to be remarked some leather slippers
curiously worked with black devices on a white ground, very peculiar and semi-moresque in
character; cigar-cases in the Grolier style; and leggings, " botines," or mocassins, of the well-
known Andalusian type.
During the Middle Ages and the Renaissance period,- horse-armour was frequently of a most
elaborate and ornamental character,— the chanfrein for the head, the cervicale for the neck, the
poitrail for the chest, the crowpiere and flancois for the tail and flanks of the war-horse, were of
rich workmanship ; and the saddle, with high pieces at back and front, to enable the rider to
withstand lance-thrusts, was made to correspond with the rest of the harness. Saddles of leather
are mentioned in the 4th century, and wooden saddles are described in the Theodosian Code about
the year 385. The Emperor Maurice, in the 6th century, ordered that the saddles of his cavalry
should be covered with fur; and about the year 605, Ethelbert, king of Kent, presented a saddle
adorned with gems to St. Augustine's Abbey, Canterbury. The ordinary Norman saddle resem-
bled the modern pack-saddle; the war saddle of Richard Coeur de Lion is described as being
painted with lions; and the good monk Theophilus, in the 12th or 13th century, gives directions,
in his treatise on the various arts, as to the enrichment of saddles by painting. It is stated
that the side-saddle was introduced into this country by Anne, queen of Richard II., A.D. 1388.
In the 15th century the saddle was sometimes made of unusual height, so as to give the rider
more power in using his lance against infantry; a curious instance of which is to be seen in the
equestrian statue of St. George on the facade of Basel cathedral.
The upright pieces in front and at back of the saddle were termed " arcons," and were
frequently of carved ivory, or metal chased and enamelled. In the Royal Armoury at Madrid are
several remarkable saddles, and a fine saddle-covering of the Moorish period, richly coloured and gilt.
The Historical Museum of Dresden also possesses a good series of old saddles; and in the Meyrick
collection, amongst others, is a saddle covered with bone, on which are carved in relief two lovers
in the costume of the 15th century, and inscribed with a dialogue in German of much pathos.
As may be imagined, the business of a saddler was of no slight importance, and mention is made
of several by name, in the papers of the House of Burgundy, as " sellier;" whence, doubtless, our
English name Sellars. Another name, that of Lorimer, is also a corruption of the old French
lormier, harness-maker.
A monograph on saddles would form a very interesting subject, requiring much original
research; and we beg to recommend it to any enthusiastic archasologist who may happen to see
this paper.