# Litlington White Horse

50°47′17″N 0°08′31″E﻿ / ﻿50.788106°N 0.142031°E﻿ / 50.788106; 0.142031
The Litlington White Horse is a chalk hill figure depicting a horse, situated on Hindover Hill (locally known as High-and-Over) in the South Downs. It overlooks the River Cuckmere to the west of the village of Litlington and north of East Blatchington in East Sussex, England.
The current horse was cut in 1924 by John T Ade, Eric Hobbis, and Stephen Bovis in a single night, and stands at 93 ft (28 m) long and 65 ft (20 m) high. An earlier horse figure was cut slightly northwest of the current one in 1838. Since 1991, the horse has been owned by the National Trust, who, along with local volunteers, regularly clean and maintain it.
Until the late 20th century, the Litlington White Horse was referred to by various names, reflecting its location and nearby landmarks. These names 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". Today, the name "Litlington White Horse" has become the most widely used and recognised.
The Litlington White Horse is one of two hill figures in East Sussex, the other being the Long Man of Wilmington, situated 3 miles northeast of the White Horse. It is also one of only eleven horse hill figures in England located outside of Wiltshire.

## Original Litlington White Horse

The original Litlington White Horse was part of a broader trend in the 19th and early 20th centuries, during which several communities in southern England created or restored chalk figures as enduring symbols of local identity, pride, and heritage.

### Origin

The most widely accepted origin of the original White Horse dates back to 1838, when it was created by James Pagden, the son of a tenant farmer at Frog Firle Farm, alongside his two brothers and his cousin, William Ade (1820–92), to commemorate the coronation of Queen Victoria. Local legend suggests that James Pagden's work on the horse began during a picnic along the River Cuckmere, which supposedly ended with the completion of the cutting on a single day. A 1925 account by Peter Ade, son of William Ade, further details the story, suggesting that the cutting began on a Sunday, with a group of young men and boys from Alfriston, absent from church, taking part in the creation of the figure. Peter Ade also noted that the horse's creation "had no special significance," and was simply done "for the fun of the thing." Additionally, it is believed that William Ade's father, Charles Ade, who had surveying experience, may have contributed to the planning of the horse. The 1838 creation of the White Horse is further supported by numerous records from the 1850s and 1860s that describe the figure.
Another theory posits that the horse was cut in 1860 by two local boys, who, noticing a patch of bare chalk resembling a horse's head, proceeded to cut away the rest of the horse to complement it. While the view that it was originally cut in 1838 is more commonly accepted, it is conceivable that these boys might have recut the horse from its remaining head after a period of neglect in 1860, resulting in overgrowth in certain parts of the horse's body and contributing to the confusion regarding its later creation.
The Hackpen White Horse is often regarded as the 'sister horse' to the original Litlington White Horse, both having been initially cut in 1838 to honour Queen Victoria's coronation and being of broadly similar proportions.

### Design and Location

Few historical accounts of the original horse describe its design. One account, written after a visit in 1884, describes it as having a glaring "mane, eyes, and nose" alongside "two donkey's ears". Whilst another account in 1925, comparing it to the current Litlington White Horse, described its original design as being of the "thickest farm horse", compared to the current horses "racy" appearance.
Although no known account provides its exact size, apart from being referred to as "gigantic" in a 1925 description, a faint photograph taken in the late 1910s suggests the horse was considerably larger than the present horse and was cut in a standing position with straight legs, similar to most other horse hill figures.
Although it has been suggested that the original horse was likely located 100 yards northwest of the present horse, photographs of Hindover Hill from the late 1910s show the faint outline of the horse roughly in the same location as the present-day horse.

### Maintenance and Neglect

Over the years, the original white horse fell into disrepair. Chalk figures require constant maintenance to prevent them from being overgrown with grass and vegetation.
By the early 1860s, the crudity of the horse's cutting was frequently remarked upon, including one comment in 1862 referring to the horse as "a piece of rustic sculpture", implying that the recutting and maintenance of the horse in the early 1860s were not done to the same standard as its original form in 1838.
Continued mentions of the horse in texts throughout the mid to late 1800s suggest the figure was regularly maintained until around 1900, after which neglect resulted in the original horse becoming completely covered by the early 1910s. Additionally, one account from the early 1930s suggests that the horse "was destroyed by rabbits that burrowed into it at such length it became almost obliterated". The last recorded sighting of the horse was in 1924, when it "could be made out, though with difficulty" due to significant overgrowth.

## Current Litlington White Horse

Interest in the original Litlington White Horse was reignited in the early 20th century, sparking efforts to revive its tradition and preserve its historical significance. The 1924 carving is widely regarded as both a restoration of the original figure and a reimagined design, created to honour and celebrate the enduring legacy of the horse on Hindover Hill.

### Origin and Re-cutting

The current horse was carved by John T. Ade (the grandson of William Ade, one of the cutters of the original horse) alongside two of his friends, Eric Hobbis and Stephen Bovis, during a single night between 7 pm and 5 am during the full moon of 20 February 1924. Originally designed by John Ade during the winter of 1923, he drew inspiration for his design from the Westbury White Horse in Wiltshire. John Ade's interest in cutting the horse was based on both the history of the original Litlington White Horse cut by his grandfather and the story of the Kilburn White Horse in North Yorkshire.
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 of Hellingly in preparation for its cutting in Litlington. 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. During the February full moon, the men cut the horse using a 'stick' of 35 inches as a measurement for a quick transfer of their design. 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. 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."

### History and Maintenance

In the late 1930s, the Litlington White Horse was deliberately covered by the Ministry of Defence to prevent it from being used as a location marker for the Luftwaffe during World War II, after maps featuring hill figures were found on captured German aircrew. 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. 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, alongside their friend Paul Harris, made several changes to return the horse to its 1924 appearance. These changes included recutting an additional front leg and readjusting the back, which "had shifted uphill a bit from saddle to rump".
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, the East Sussex County Council, in collaboration with the British Trust for Conservation Volunteers, undertook significant work to maintain and enhance the figure. From September 17 to 23 of that year, wooden boards were installed around the horse to secure the structure. This project, sponsored by Prudential plc, also included terracing the legs and body to reduce the gradient and ensure the chalk would remain in place. Additionally, a perimeter fence was erected to prevent livestock damage.
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. This adjustment resulted in the horse taking its current form. Workers on the hill communicated with observers below via a two-way radio system to direct these changes.
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. In 1991, Frog Firle Farm, along with the White Horse situated in its grounds, was acquired by the National Trust, which has since regularly maintained the horse.
Over the decades, the figure has required several restorations, particularly after periods of neglect or natural overgrowth. In recent years, technology has played a role in the preservation of the Litlington White Horse. Techniques such as aerial drone photography and digital 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. The chalk used for restoration is often sourced locally to ensure consistency, and efforts are made to protect the surrounding grassland and its biodiversity.
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 a unicorn horn, which was quickly removed.

### Design and Location

The horse is situated on a 45-degree slope and measures around 28 meters (65 feet) long and 20 meters (93 feet) high. Unique among other horse hill figures, it has been cut in a prancing position since 1983. 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".

### Present Day

Beyond its historical and communal roles, the Litlington White Horse has become a symbol of local identity and pride. It features in local art, literature, and even in the branding of local businesses and organisations. The horse has also been featured in numerous paintings, photographs, and films. Its striking image against the rolling hills of East 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. The South Downs, of which Hindover Hill is a part, hosts a unique chalk grassland ecosystem. 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 the Cuckmere Valley. It serves as a waypoint for many walking routes across the South Downs, attracting visitors interested in both natural beauty and historical landmarks. The horse also features in local educational programs, where schools and community groups visit the site to learn about local history, geology, and ecology.
At the peak of Hindover Hill, a free car park is located along Alfriston Road, with a short footpath 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 the River Cuckmere from Litlington village.

## The Giant of Hindover Hill

The Giant of Hindover Hill is a lost chalk hill figure that is said to have once appeared alongside the original 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.

### 19th Century References

Historian Rodney Castleden suggests that Hindover Hill was once home to a giant figure similar to the Long Man of Wilmington, which has since disappeared. 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."
Further context is provided by Philip 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. 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."

### 20th Century Decline

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. 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."
By 1923, one report stated that "the Hindover Hill horse and man have completely disappeared in fifty years." 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.

## Lost Hill Figures on Hindover Hill
### White Cross

Several mid-19th-century accounts of the Litlington White Horse mentioned a large cross cut into the chalk alongside the horse on Hindover Hill. An 1865 account refers to the figures as "the cross and white horse". 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.

### Other Hill Figures

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 current white horse. 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.

## Folklore

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. 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. However, there is no evidence to support either of these accounts.
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 the River Cuckmere below. 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.

## Influence and Cultural References

The Litlington White Horse was the solution to Pimania, the UK's first real-life video treasure hunt game. Released in 1982, the clues revealing the White Horse were not identified until 1985, by which time its publisher Automata UK had ceased trading.
The Litlington White Horse served as the inspiration for Miriam Moss's book The 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.
The Litlington White Horse has been featured in various poems and ballads, most notably in the poem The Sussex White Horse, which is attributed to an unknown author and predates 1880. The poem tells the story of an individual who becomes lost while wandering the Sussex Downs and struggles to find their way back. Ultimately, the person encounters the Sussex White Horse, which serves as a guiding landmark. 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.

## Gallery

* Horse before being scoured
* Horse after being scoured
* Second horse soon after being cut in the late 1920s
* Drawing of the second Litlington White Horse in 1936
* Second horse with only one front leg after being uncovered in 1945