THE DUKE OF DEVONSHIRE’S FLYING CHILDERS
One of the most famous racehorses of a generation, this
portrait is an oil on canvas, painted by James Seymour (1702 – 1752) circa 1742
and measures 40” x 50” (101.6 x 127 cm). It is part of the Paul Mellon
Collection and hangs in the Yale Center for British Art.
The Duke of Devonshire's Flying Childers |
“About the year 1721,
Childers ran a trial against Almanzor and the Duke of Rutland's Brown Betty,
carrying 9st. 21b. over the Round Course* at Newmarket in six minutes, and 40
seconds; and it was thought that he moved 82 feet and a half in one second of
time, which is nearly at the rate of one mile in a minute, a degree of velocity,
which no horse has been known to exceed.”
* The Round Course is 3 miles 4 furlongs, and 93 yards in length.
In 2011, the unbeaten Frankel won the 2000 Guineas Classic
over the Rowley Mile at Newmarket in a time more than thirty seconds faster
than the then course record. This was forty seconds slower than Flying Childers.
He is described by James Whyte as a chestnut horse with part white on his nose and four white socks,
although the General Stud Book states
he is a bay with a white blaze. If James Seymour’s portrait is
accurate, he would certainly appear to have a bay coat. Although the Duke of
Devonshire received several offers for the colt, including, it is reputed, one
of the horse’s weight in gold, he remained in the Cavendish ownership until his
death aged twenty-six and stood at his Grace’s stud at Chatsworth.
The painting shows Flying Childers held by a groom, on Newmarket
Heath or a racecourse. The post behind the horse is probably the ‘Rubbing Post’,
so-called because after a race, the horses gathered at this point to be rubbed
down. The horse has his ears back and is showing the whites of his eyes. This
could be taken as a sign of bad temper, but given the surroundings, and the
fact that he appears ‘tucked up’ (the line of his belly rises sharply from
behind the girth to his hind leg), it suggests to me that he is still ‘wound up’
with the excitement of either racing or training.
Flying Childers’ Arabian heritage is clear for the
knowledgeable to see. The painting shows the fine legs, tapered nose, dished
face and, although docked after the custom of the time, his tail is raised,
suggesting the characteristic high carriage of the Arab. Standing 15.2 hands at
the withers, he was tall, not only for a racehorse of the time but also the
Arabian breed in general. Purebreds usually stand between 14 and 14.2 hands. He
did, however match the height of his sire, himself unusually tall for his
breed.
Although the style of painting could be described as naïve,
Seymour has captured the horse’s tension and also a certain wariness on the
part of the groom – shown in the way he is holding the reins and the slightly
defensive stance, as if he is ready for trouble – although his expression is
calm. His charge was a stallion and they can be notoriously difficult to
handle. His sire’s original name was ‘Ras el Fedowi’, which translates as ‘The
Headstrong One’.
Flying Childers was himself successful at stud, but he was
eclipsed (if you will excuse the pun) by his generally-accepted full brother,
Bartlett’s Childers, owned by Mr. Bartlett of Nuttle Court near Masham in
Yorkshire. Young or Bartlett’s Childers did not race, due to his propensity to
bleed from the nose. This gave rise to his other name, Bleeding Childers.
However, he was extremely successful at stud, siring several influential
horses, not least Marske, sire of the mighty Eclipse, whose top speed, it is
claimed, was matched only by Flying Childers.
© Heather King
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