50°47′17″N0°08′31″E / 50.788106°N 0.142031°E /50.788106; 0.142031
 Second Litlington White Horse | |
  Shown within East Sussex | |
| Alternative name | White Horse on Hindover Hill;Alfriston White Horse;Sussex White Horse;Charleston White Horse;Jevington White Horse |
|---|---|
| Location | Hindover Hill,Litlington |
| Region | East Sussex,England |
| Coordinates | 50°47′17″N0°08′31″E / 50.788106°N 0.142031°E /50.788106; 0.142031 |
| Type | Hill figure monument |
| Length | 28m (93ft) |
| Width | 20m (65ft) |
| History | |
| Material | Chalk |
| Founded | First Horse 1838; Second Horse 1924 |
| Associated with | Long Man of Wilmington |
| Events | Coronation of Queen Victoria |
| Site notes | |
| Ownership | National Trust |
| Public access | Yes |
| Website | [1] |
TheLitlington White Horse is achalkhill figure depicting ahorse, located on Hindover Hill (locally known as High-and-Over) in theSouth Downs. It overlooks theRiver Cuckmere, to the west of the village ofLitlington and north ofEast Blatchington inEast Sussex,England.
The current horse was cut in 1924 by John T. Ade, Eric Hobbis, and Stephen Bovis in a single night. It measures approximately 93 ft (28 m) in length and 65 ft (20 m) in height. An earlier horse figure had been cut slightly to the north-west of the present site in 1838.[1] Since 1991, the figure has been owned by theNational Trust, which, together with local volunteers, undertakes its regular cleaning and maintenance.[2]
Until the late 20th century, the Litlington White Horse was known by several different names reflecting its location and nearby landmarks. These included the "White Horse on Hindover Hill", the "Alfriston White Horse", the "Sussex White Horse", the "Charleston White Horse", the "Exceat White Horse", and the "Jevington White Horse".[3][4] Today, the name "Litlington White Horse" is the most widely used and recognised.
The Litlington White Horse is one of two hill figures in East Sussex, the other being theLong Man of Wilmington, situated about 3 miles to the north-east. It is also one of only eleven horse hill figures inEngland located outsideWiltshire.
The First Litlington White Horse formed part of a wider trend in the 19th and early 20th centuries, during which several communities across southern England created or restored chalk figures as enduring symbols of local identity, pride, and heritage.[5]
The most widely accepted account dates the origin of the first White Horse to 1838, when it was cut by James Pagden, the son of a tenant farmer at Frog Firle Farm, together with his two brothers and their younger cousin, William Ade (1820–92) of Milton Court Farm, to commemorate thecoronation of Queen Victoria.[1]
Local legend claims that work on the horse began after the farmers’ sons took a boat trip along theRiver Cuckmere and climbed Hindover Hill (historically also spelt 'Hinover and 'Hineover') for a picnic.[6] When boredom set in, one of the boys proposed cutting a horse hill figure, inspired by a similar one he had heard about elsewhere, as a way to celebrate Queen Victoria’s coronation in June.[7] According to this account, the horse was cut on the spur of the moment and completed in a single day.[8]
A 1925 account by Peter Ade, son of William Ade, provides additional detail, suggesting that the cutting took place on a Sunday, with a group of young men and boys from Alfriston—absent from church—participating in the creation of the figure.[9] Ade also remarked that the horse’s creation "had no special significance" and was undertaken simply "for the fun of the thing".[10] It is also believed that William Ade’s father, Charles Ade, who had surveying experience, may have contributed to the planning of the figure.[1] Numerous records from the 1850s and 1860s support the 1838 date for the horse’s creation.
An alternative theory claims that the horse was cut in 1860 by two local boys who, noticing a patch of exposed chalk resembling a horse’s head, decided to cut away the rest of the figure to complete the outline.[1][11] While the 1838 origin remains the more widely accepted explanation, it is possible that these boys recut the horse around 1860 after a period of neglect, working from the surviving outline of the head. This could explain overgrowth on parts of the body and the resulting confusion over the figure’s date of creation.[12][13]
TheHackpen White Horse is often regarded as the 'sister horse' to the First Litlington White Horse, as both were originally cut in 1838 to mark Queen Victoria’s coronation and were of broadly similar proportions.
Few contemporary accounts describe the first horse’s design. One report, written after a visit in 1884, noted its prominent "mane, eyes, and nose" as well as "twodonkey's ears".[14] Another account from 1925 compared it with the Second Litlington White Horse, describing the original as resembling "the thickest farm horse", in contrast to the "racy" appearance of the later figure.[15]
Although its exact size is not recorded—beyond being described as "gigantic" in a 1925 account—a faint photograph from the late 1910s suggests the figure was significantly larger than the present horse and depicted in a standing position with straight legs, consistent with most other chalk horse figures.[16]
Although some have suggested that the first horse stood around 100 yards north-west of the current figure, photographs of Hindover Hill from the late 1910s show its faint outline in roughly the same position as the present-day horse.[17]
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Over time, the first white horse fell into disrepair.[18] Chalk figures require regular maintenance to prevent them from becoming overgrown with grass and other vegetation.[19]
By the early 1860s, the roughness of the horse’s outline had become a common subject of comment. In 1862, one observer described it as "a piece of rusticsculpture", suggesting that the recutting and upkeep carried out during this period were not of the same quality as the original cutting in 1838.[20] By 1898, it was reported that the figure had become "a very rough cutting resembling a horse", and that its maintenance had become a traditional activity for local youths, passed down through generations.[21]
References to the horse throughout the mid- to late 1800s indicate that it was regularly maintained until around 1900, when neglect set in. By the early 1910s, the figure had become entirely overgrown. In 1908, one account remarked that "all traces have now perished" as "the usual periodical scourings" had ceased.[22] An additional account from the early 1930s claimed that the horse "was destroyed byrabbits that burrowed into it at such length it became almost obliterated".[23] The last recorded sighting of the original figure was in 1924, when it "could be made out, though with difficulty" due to heavy overgrowth.[24]
Interest in the First Litlington White Horse was reignited in the early 20th century, sparking efforts to revive its tradition and preserve its historical significance.[25] The 1924 carving is widely regarded as both a restoration of the first figure and a reimagined design, created to honour and celebrate the enduring legacy of the horse on Hindover Hill.
The second horse was carved by local farmer John T. Ade (the grandson of William Ade, one of the cutters of the first horse) alongside two of his friends, Eric Hobbis and Stephen Bovis (a worker on John Ade's farm), during a single night between 7 pm and 5 am during the full moon of 20 February 1924 on a 45 degree slope.[26][27] There are two differing accounts of when the idea to recut the horse was first conceived. One version claims that John shared the story of his father’s original carving of the horse in 1838 during a late evening at a pub in the nearby village ofAlfriston, where he, Hobbis and Bovis hatched a plan to recreate the figure under cover of darkness.[28] The other suggests the conversation took place while the group was traveling along Litlington Road below Hindover Hill, where John Ade pointed out the site to his companions before they resolved to restore the horse.[29] Originally designed by John Ade during the winter of 1923, he drew inspiration for his design from theWestbury White Horse inWiltshire, alongside a picture he had of the First Litlington White Horse.[30] John Ade suggested his inspiration in cutting the horse was based on both the history of the First Litlington White Horse cut by his grandfather and the story of theKilburn White Horse inNorth Yorkshire.[30][31]
According to John Ade, they first laid out the horse using ropes and pegs in the House Field at Ade's Grove Hill Farm in the nearby village ofHellingly in preparation for its cutting inLitlington.[30][32] The original drawing created by John Ade to assist with the horse's cutting is minutely annotated to give the distance between each peg and the next to ensure the accuracy of the design's transfer.[30][32] During the February full moon on a cold and frosty night, the men cut the horse using a 'stick' of 35 inches as a measurement for a quick transfer of their design.[32] They arrived at the site around 7 pm, working throughout the night and finished the cutting at around 5 am the following morning, giving them just enough time to get back home and milk the cows before any suspicion of their absence was raised.[33] The horse was cut without the knowledge of the local residents, who were startled by the horse's sudden appearance on the hillside. This may have been the motivation behind the speedy cutting.[34] The unusual design of the horse, especially the original differing positions of its front and rear legs, drew attention for its peculiar composition. In 1931, it was described as "whereas its hind legs move, its forelegs refuse to."[35]
In the late 1930s, the Litlington White Horse was deliberately covered by theMinistry of Defence to prevent it from being used as a location marker for theLuftwaffe duringWorld War II, after maps featuring hill figures were found on captured German aircrew.[36] The rushed uncovering of the horse in 1945 by Ministry of Defence contractors resulted in several changes to the horse's original shape, including only one front leg being recut.[36] This was not corrected until the full moon of 9 June 1949, when between 10 pm and 3 am, two of the original cutters, John Ade and Stephen Bovis (Eric Hobbis had moved away), alongside their friend Paul Harris a local builder's merchant, made several changes to return the horse to its 1924 appearance.[37][38] These changes included recutting an additional front leg and readjusting the back, which "had shifted uphill a bit from saddle to rump".[32][39]
The restoration of the White Horse in the 1980s and 1990s was an important effort to preserve the figure’s visibility and integrity. Notably, in 1985, theEast Sussex County Council, in collaboration with theBritish Trust for Conservation Volunteers, undertook significant work to maintain and enhance the figure.[40] From September 17 to 23 of that year, wooden boards were installed around the horse to secure the structure.[41] This project, sponsored byPrudential plc, also included terracing the legs and body to reduce the gradient and ensure the chalk would remain in place.[36][42] Additionally, a perimeter fence was erected to prevent livestock damage.[36]
A notable change during the restoration was altering the horse's posture. Originally standing, the horse's position was adjusted to a prancing stance to prevent the chalk rubble used in its construction from slipping and to reduce the risk of the legs of the chalk horse acting as natural water channels, causing the consistent unpredictable elongating and splaying of the horses hooves after heavy rainfall.[30] This adjustment resulted in the horse taking its current form.[32] Workers on the hill communicated with observers below via a two-way radio system to direct these changes.[43][44]
A significant issue in the horse's preservation since its recutting in 1924 has been the legs acting as channels for running water, causing them to become straightened, elongated, and splay out to form deltas at the hooves after significant rainfall.[30] In 1991, Frog Firle Farm, along with the White Horse situated in its grounds, was acquired by theNational Trust, which has since regularly maintained the horse.[45] In 2016, maintenance of the horse saw 6 tonnes of chalk being spread over the figure.[46] The figure is part of the Changing Chalk initiative run by theNational Trust,South Downs National Park Authority, andHistoric England, where volunteers learn to monitor and preserve scheduled historic sites, including the Horse.[47]
Over the decades, the figure has required several restorations, particularly after periods of neglect or natural overgrowth.[48] In recent years, technology has played a role in the preservation of the Litlington White Horse. Techniques such asaerial dronephotography anddigital mapping have been used to monitor its condition and plan conservation efforts more effectively. As part of its maintenance, care is taken to minimize environmental impact. Thechalk used for restoration is often sourced locally to ensure consistency, and efforts are made to protect the surroundinggrassland and itsbiodiversity.
As a significant local landmark, the horse has been subject to several acts of vandalism. In May 2017, it was vandalized with the addition of aunicorn horn, which was quickly removed.[49]
The horse is situated on a 45-degree slope and measures around 20 meters (93 feet) long and 28 meters (65 feet) high. Unique among other horse hill figures, it has been cut in a prancing position since 1983.[50] When visiting the horse in 1949, Morris Marples described it as having "two ears and a long, flowing tail, but lacking both an eye and nostril".[51]
Beyond its historical and communal roles, the Litlington White Horse has become a symbol of local identity and pride. It features in localart,literature, and even in the branding of localbusinesses andorganisations. The horse has also been featured in numerous paintings, photographs, and films. Its striking image against the rolling hills ofEast Sussex makes it a popular subject for artists seeking to capture the beauty and history of the English countryside.
The chalk hillside where the Litlington White Horse is situated is not just a cultural landmark but also an ecological one.[52]The South Downs, of which Hindover Hill is a part, hosts a uniquechalk grasslandecosystem.[53] The maintenance of the horse indirectly supports the preservation of this habitat, as regular clearing of the figure helps prevent the spread of invasive species and promotes the growth of native chalk grassland flora.
Today, the Litlington White Horse is a popular spot for hikers and tourists, offering stunning views of the surrounding countryside and theCuckmere Valley. It serves as a waypoint for many walking routes across theSouth Downs, attracting visitors interested in both natural beauty and historical landmarks.[54] The horse also features in local educational programs, whereschools andcommunity groups visit the site to learn aboutlocal history,geology, andecology.
At the peak of Hindover Hill, a freecar park is located along Alfriston Road, with a shortfootpath leading down to the White Horse. However, a better view of the horse can be obtained from across the valley by walking south along the banks of theRiver Cuckmere fromLitlington village.
The Giant of Hindover Hill is a lost chalk hill figure that is said to have once appeared alongside the First Litlington White Horse on the side of Hindover Hill. There are some references to the figure throughout the 19th century, though descriptions provide little detail regarding its origins, design, or longevity. By the 1930s, mentions of the giant had ceased, and its potential existence faded from public memory.
Historian Rodney Castleden suggests that Hindover Hill was once home to a giant figure similar to theLong Man of Wilmington, which has since disappeared.[55]Jacqueline Simpson supports this theory, noting that until the early 19th century, the figures on Hindover Hill and Wilmington were collectively referred to as "Adam and Eve."[56] Although one account from 1895 refers only to the figure on Hindover Hill as the "Adam and Eve and the White Horse".[57]
Further context is provided byPhilip Carr-Gomm, who recounts tales of a tall female giant, described as a goddess, believed to have been carved into the chalk on Hindover Hill.[58] An account from 1893, detailing the restoration of the Long Man of Wilmington, states: "Near Wilmington is another hill—Hindover Hill—also sharply precipitous, and on this there are large figures of a horse and a lady cut in the white chalk centuries ago."[59]
In 1905, J. P. Emslie recorded a local tradition describing a male figure carved into Hindover Hill. According to this story, the carving depicted "a man being thrown from a horse," commemorating a Saxon victory over the Normans.[60] A. H. Allcroft summarised various accounts of the figure, noting: "Men who were schoolboys in the 1860s recollect it well enough, though it is now so vanished that learned folks refuse to believe it."[61]
By 1923, one report stated that "the Hindover Hill horse and man have completely disappeared in fifty years."[62] By the late 19th century, the figure had faded to such an extent that its existence was called into question. It is likely that if the figure did exist and was ever maintained, upkeep ceased around the same time the first Litlington White Horse was stopped being scored in the late 19th century.
Several mid-19th-century accounts of the Litlington White Horse mentioned a large cross cut into the chalk alongside the horse on Hindover Hill.[63] An 1865 account refers to the figures as "the cross and white horse".[64] However, by the 1890s, accounts of the horse failed to mention the cross. The reason why the horse continued to be maintained while the cross was neglected remains unknown.
During the late 1920s and 30s, there were accounts of a large letter "S" and an irregular shape resembling a lion's head cut into the chalk below the second white horse.[65] However, no further mention of these figures can be found after the mid-1930s. If these markings were man-made, their short existence suggests they were not maintained.
Oral histories passed down through generations of local families weave together rich details about the original figure, blending fact with folklore and adding layers of myth and legend to the horse's history.
One local tale suggests that the horse was originally cut as a memorial to a local girl whose horse bolted while she was riding along the brow of Hindover Hill, resulting in her fatal fall.[36] A similar story claims the horse commemorates a woman riding down Hindover Hill on a white horse when the animal slipped and fell, leading to their deaths.[66] However, there is no evidence to support either of these accounts.[36]
Another story suggests that the hill figure originally depicted a dog, carved by a grieving boy to mark the grave of his pet, which had been killed either alongside or in theRiver Cuckmere below.[67] Over time, erosion allegedly caused the figure to change shape, eventually resembling a horse in its current form. This story, like the others, lacks supporting evidence.[68]
The Litlington White Horse was the solution toPimania, the UK's first real-life video treasure hunt game.[69] Released in 1982, the clues revealing the White Horse were not identified until 1985 by Sue Cooper and Lizi Newman, by which time its publisherAutomata UK had ceased trading.[70] The game’s various locations were designed to represent parts of a horse, with it finally identifying the winning site as the mouth of the Litlington White Horse. On 22 July 1985, the winners arrived at the horse, where the game’s creators presented them with the prize: a golden sundial valued at £6,000 (equivalent to £26,700 in 2023).[70][71]
The Litlington White Horse served as the inspiration for Miriam Moss's bookThe Horse Girl (2002), which tells the story of a young girl who secretly carves a large white horse on the chalky hill overlooking her village after her mother forbids her from going near real horses.[72]
In 2025, artist Alfie Caine debuted an exhibition in New York titled The Chalk Carver’s House, inspired by the Litlington White Horse and its landscape context.[73] The show featured seven paintings, each placing the chalk horse within dreamlike and surreal domestic interiors like framed windows, doorways, and surrounded by seemingly mundane objects (flowers, bananas on a table).[74]
The Litlington White Horse has been featured in various poems and ballads, most notably in the poemThe Sussex White Horse, which is attributed to an unknown author and predates 1880.[75] The poem tells the story of an individual who becomes lost while wandering theSussex Downs and struggles to find their way back. Ultimately, the person encounters the Sussex White Horse, which serves as a guiding landmark.[76] The poem's closing lines are:
I looked to left, and looked to right,
When sudden glimmering on my sight
The Sussex White Horse rose;
I nearer drew, and followed till
I saw his head above the hill,
With mane, and eyes, and nose.
And now though twilight darkens round,
I feel that I the way have found,
For well I know the song:
If you will always hold your course,
And follow by the old White Horse,
You cannot far go wrong.[77]
| Humanoid |  | |
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| Horses | ||
| Other | ||
| Related art | ||