Equestrian statue

An equestrian statue is a statue of a rider mounted on a horse, from the Latin ''eques'', meaning ' knight', deriving from ''equus'', meaning 'horse'. A statue of a riderless horse is strictly an equine statue. A full-sized equestrian statue is a difficult and expensive object for any culture to produce, and figures have typically been portraits of rulers or, in the Renaissance and more recently, military commanders.

History

Ancient Greece

Equestrian statuary in the West dates back at least as far as Archaic Greece. Found on the Athenian acropolis, the sixth century BC statue known as the Rampin Rider depicts a '' kouros'' mounted on horseback.

Ancient Middle and Far East

A number of ancient Egyptian, Assyrian and Persian reliefs show mounted figures, usually rulers, though no free standing statues are known. The Chinese Terracotta Army has no mounted riders, though cavalrymen stand beside their mounts, but smaller Tang Dynasty pottery tomb Qua figures often include them, at a relatively small scale. No Chinese portrait equestrian statues were made until modern times; statues of rulers are not part of traditional Chinese art, and indeed even painted portraits were only shown to high officials on special occasions until the 11th century.

Ancient Rome

Such statues frequently commemorated military leaders, and those statesmen who wished to symbolically emphasize the active leadership role undertaken since Roman times by the equestrian class, the '' equites'' (plural of ''eques'') or knights.

There were numerous bronze equestrian portraits (particularly of the emperors) in ancient Rome, but they did not survive because they were melted down for reuse of the alloy as coin, church bells, or other, smaller projects (such as new sculptures for Christian churches); the standing Colossus of Barletta lost parts of his legs and arms to Dominican bells in 1309. Almost the only sole surviving Roman equestrian bronze, the equestrian Statue of Marcus Aurelius in Rome, owes its preservation on the Campidoglio, to the popular misidentification of Marcus Aurelius, the philosopher-emperor, with Constantine the Great, the Christian emperor.
The '' Regisole'' ("Sun king") was a bronze classical or Late Antique equestrian monument of a ruler, highly influential during the Italian Renaissance but destroyed in 1796 in the wake of the French Revolution. It was originally erected at Ravenna, but moved to Pavia in the Middle Ages, where it stood on a column before the cathedral. A fragment of an equestrian portrait sculpture of Augustus has also survived.

Medieval Europe

Equestrian statues were not very frequent in the Middle ages. Nevertheless, there are some examples, like the Bamberg Horseman (German: ''Der Bamberger Reiter''), in Bamberg Cathedral. Another example is the ''Magdeburg Reiter'', in the city of Magdeburg, that depicts Emperor Otto I. There are a few roughly half-size statues of '' Saint George and the Dragon'', including the famous ones in Prague and Stockholm. The Scaliger Tombs in Verona include Gothic statues at less than life-size. A well-known small bronze Equestrian statuette of Charlemagne (or another emperor) in Paris may be a contemporary portrait of Charlemagne, although its date and subject are uncertain.

Bamberger Reiter BW 1.JPG, Bamberg Horseman (1225–1237), Bamberg
Alter Markt (Magdeburg-Altstadt).Magdeburger Reiter.ajb.jpg, Magdeburg Horseman (1240), Magdeburg
Sv. Jiří a drak.jpg, St. George and dragon (1373), Prague
Riemenschneider Hl Georg.jpg, Tilman Riemenschneider: Hl Georg (1490–1495), Bode Museum

Renaissance

After the Romans, no surviving monumental equestrian bronze was cast in Europe until 1415–1450 when Donatello created the heroic bronze Equestrian statue of Gattamelata the condottiere, erected in Padua. In 15th century Italy, this became a form to memorialize successful mercenary generals, as evidenced by the painted equestrian funerary monuments to Sir John Hawkwood and Niccolò da Tolentino in Florence Cathedral, and the Statue of Bartolomeo Colleoni (1478–1488) cast by Verrocchio in Venice.

Leonardo da Vinci had planned a colossal equestrian monument to the Milanese ruler, Francesco Sforza, but was only able to create a clay model. The bronze was reallocated for military use in the First Italian War. Similar sculptures have survived in small scale: The Wax Horse and Rider (c. 1506–1508) is a fragmentary model for an equestrian statue of Charles d'Amboise. The Rearing Horse and Mounted Warrior in bronze was also attributed to Leonardo.

Titian's equestrian portrait of Charles V, Holy Roman Emperor of 1548 applied the form again to a ruler. The Equestrian statue of Cosimo I de' Medici (1598) by Giambologna in the center of Florence was a life size representation of the Grand-Duke, erected by his son Ferdinand I.

Ferdinand himself would be memorialized in 1608 with an equestrian statue in Piazza della Annunziata was completed by Giambologna's assistant, Pietro Tacca. Tacca's studio would produce such models for the rulers in France and Spain. His last public commission was the colossal equestrian bronze of Philip IV, begun in 1634 and shipped to Madrid in 1640. In Tacca's sculpture, atop a fountain composition that forms the centerpiece of the façade of the Royal Palace, the horse rears, and the entire weight of the sculpture balances on the two rear legs, and discreetly, its tail, a novel feat for a statue of this size.

Bartolomeo Colleoni by Andrea del Verrocchio.jpg, Verrocchio: Equestrian statue of Bartolomeo Colleoni (1480–1495)
Saint George and the Dragon 2012.jpg, Bernt Notke: St George and the Dragon (1489), bronze replica of wooden sculpture, Stockholm
Cosimo I (Florence) 2 2013 February.jpg, Giambologna: Equestrian statue of Cosimo I (1598)
Madrid May 2014-33.jpg, Pietro Tacca: Monument to Philip IV of Spain (1634–1640)

Absolutism

During the age of Absolutism, especially in France, equestrian statues were popular with rulers; Louis XIV was typical in having one outside his Palace of Versailles, and the over life-size statue in the Place des Victoires in Paris by François Girardon (1699) is supposed to be the first large modern equestrian statue to be cast in a single piece; it was destroyed in the French Revolution, though there is a small version in the Louvre. The near life-size equestrian statue of Charles I of England by Hubert Le Sueur of 1633 at Charing Cross in London is the earliest large English example, which was followed by many. The equestrian statue of King José I of Portugal, in the Praça do Comércio, was designed by Joaquim Machado de Castro after the 1755 Lisbon earthquake and is a pinnacle of Absolutist age statues in Europe. The '' Bronze Horseman'' (russian: Медный всадник, literally "The Copper Horseman") is an iconic equestrian statue, on a huge base, of Peter the Great of 1782 by Étienne Maurice Falconet in Saint Petersburg, Russia. The use of French artists for both examples demonstrates the slow spread of the skills necessary for creating large works, but by the 19th century most large Western countries could produce them without the need to import skills, and most statues of earlier figures are actually from the 19th or early 20th centuries.

United States

In the colonial era, an equestrian statue of George III by English sculptor Joseph Wilton stood on Bowling Green in New York City. This was the first such statue in the United States, erected in 1770 but destroyed on July 9, 1776, six days after the Declaration of Independence. The gilded lead statue was toppled and cut into pieces, which were made into bullets for use in the American Revolutionary War. Some fragments survived and in 2016 the statue was recreated for a museum.

In the United States, the first three full-scale equestrian sculptures erected were Clark Mills' '' Andrew Jackson'' (1852) in Washington, D.C., Henry Kirke Brown's '' George Washington'' (1856) in New York City, and Thomas Crawford's George Washington in Richmond, Virginia (1858). Mills was the first American sculptor to overcome the challenge of casting a rider on a rearing horse. The resulting sculpture (of Jackson) was so popular he repeated it for New Orleans