Medieval Barding, Armor, Colours, and Heraldry for Horses.
As any student of the period knows, the Medieval era covers a little over 500 years. This means that there is quite a lot of difference between the customs and costumes of the first part of the era, 950 AD - 1200 AD to the second part of the era, 1200- 1550 AD. Changes were gradual, and in some areas little change occurred over the entire time. The kind of materials used to make the equipment varied depending upon money, resources, location, rank and purpose. Purpose and money would probably be the two greatest influences. Below is some very general information. I will be the first to admit that I am not a scholar on the subject, but I have a pretty good working knowledge of what is appropriate for the time period, the purpose of the item, and rank of the individual using the item.
Definitions of Leather Barding, Equestrian Armor, Colours and Heraldry.
For all intensive purposes, leather barding and equestrian armor are one in the same. They served up to three purposes. The first purpose was to offer some protection to the horse. The second purpose was to support the saddle on the horse during the rigors of war. The third was to help identify the rider and the group he represented. The sole purpose of colours and heraldry was to denote the identity of the individual or the house/army with whom one was affiliated.
Protection of the horse is probably what most people think of when considering the use of barding/armor. Some of the earliest examples of this can be found in pottery art and tapestries. Horses are seen covered in animal furs and skins. These skins offered an extra layer of protection from the sharp edges of swords, sticks and picks that the opposing army would use in combat. It also helped to protect the horse from other horses teeth and hooves. The added visual image of a horse draped in a predators skin did wonders on the opposing armies morale.
These simple skins eventually developed into multi-layered cloth and leather garments worn by the horse. Felt, matted horse hair, leather, wool fabric, and eventually even small metal disks or plates were incorporated into the blankets. Though very heavy and hot, they served their purpose well and protected the horse.
In those climes where full blankets were impractical because of the heat, open lace or woven leather barding was more popular. These open patterns provide protection from swords, but allowed air circulation. This type of barding became fairly popular with coursers and light Calvary. Heavy Calvary moved toward the metal armor plate that most people remember when thinking of equestrian armor. This type of leather barding/armor was also less expensive than the metal armor, so those that could not afford metal would often use leather with the occasional metal piece or plating.
The open lace or woven barding was also often seen in images with horses that have nothing to do with war. These images, of ladies riding or ladies and nights hunting, show elaborately decorated leather barding used to help support the saddles. Breast straps, breaching, and croupiers can be seen incorporated into the leather barding and supporting the saddles on the horses.
As the medieval period came to a close, the leather and fabric barding moved more and more toward a padding function. The barding became smaller and would protect the horse from the metal armor or hold the armor and tack in place.
Colours and heraldry generally denote the costumes, coverings and decorations which had the sole purpose of designating the ownership of the horse and/or the army/house with which one was affiliated. Examples of these can be found fairly early. They can be as simple as a tassel tied under the horses throat or as complex as a head to tail silk embroidered ensemble. The complexity was determined by rank, period and culture.
The material used for Heraldry tended to be linen or wool. Silk and cotton were very expensive fabrics and were generally not used except in ceremonial occasions or by the very rich to show off their personal wealth. Colours and heraldry can be found worn both on top of and beneath metal and leather armor. Occasionally, heraldry would be combined with barding in one piece and serve a dual purpose of proclaiming one's identity and protecting one's horse. This was more common prior to the heavy use of metal armor for horses. As metal armor for horses became more common, the combined use of barding and heraldry fell out of favor and was generally used only by those who could not afford the metal armor.
Heraldry was also used to decorate both metal and leather armor. In these cases, the heraldry was incorporated into the armor either by etching, tooling, metal or jewel inlay or painting. These pieces of armor were more valuable as the amount of work and craftsmanship going into the pieces was immense. Your average warrior could not afford much, if any, of the more labor intensive decorations. It was only the very rich who could afford to commission such expensive pieces.
Generally speaking, the simpler the barding, the earlier the period. The more complex the barding, the later the period. Full metal armor on a horse was generally reserved for the very rich, and used only in the late medieval period. Combinations of leather barding and metal armor were common as individual warriors did what they could to protect their horses. It was not uncommon to find odd looking combinations of armor as warriors would pick up on piece from one location, win another in a contest, and be awarded yet another piece by his liege lord. Usefulness and expediency was far more important than style. Matching armor was for the rich or the well connected.
Uses in Costuming, SCA and Reenacting today: Medieval look vs. Authenticity
There are three basic camps of folks us use barding, armor and heraldry today. The first are the costuming professionals who look for appropriate costumes for movies, plays and television show. The second camp are the folks from the Society for Creative Anachronism (SCA) and the Renn Fairs. These two groups of folks generally want something that looks period or close to period, that is functional, and fairly easy to maintain. The last are the Reenactors. Reenactors look for items that are as authentic as possible. They want original historical designs based upon documented sources (books and art generally) that are also functional. Each group requires different standards and different materials to make the items.
For instance, period tack did not use synthetic materials of any type. Which means fake furs, polyester, etc. would not be appropriate in period garb. Several fabrics which we take for granted now, such as brocades and laces, did not appear on the scene until the after the Medieval period. Trims of the Medieval period includes woven and braided trims, but no lace. Cut jewels as we know them today were not common. Jewels that were well polished and shaped were available. Certain color fabrics were not common as the dyes needed were either not known or so rare that they were very expensive. Vermilion blue is one such color, as was a deep purple. Royal purple was actually more of a red-purple instead of the blue purple we associate with the color today. The end result of all of this is that creating authentic, period pieces is far more complicated and labor intensive than most people might believe. Be prepared to pay a premium for authenticity. It will be more expensive.
There are some really nice modern materials which can be used to create authentic looking pieces without the expense of authenticity. Many of the trims used in upholstery are appropriate for the Medieval look. Duck cloth, synthetic felt, wool blends, heavy cotton blends and rayon velvets all work well for the Medieval look. Other items, such as clips, Chicago screws, and snap closures, Velcro, zippers, etc. can be used in these Medieval pieces if these items are carefully hidden. This has some advantages and they provide for ease of use and offer some safety. Obviously, none of the above can be used in authentic garb.
For authentic garb, only natural fabrics can be used. The preference is for wool or linen. Silk and cotton are reserved for those portraying the very rich. Earth tone colors, bright reds, picks, light purples, greens, yellows, whites and blacks are all appropriate. Generally speaking, if the dye could comes from plants, dirt, flowers or shells, the color can be used. Actually finding such cloth which has been dyed with natural dyes is very difficult and very expensive. It can be done, but not easily. Most Reenactors would be willing to settle for natural fabrics dyed the appropriate color without questioning the source of the fabric. There are exceptions to every rule, but such exceptions expect to pay for the difference. Closures and attachments for authentic garb include pins, buttons, belts, buckles, lacings and ties.
As for design, the medieval look allows quite a bit of leeway. As long as the general shape and purpose is met, the medieval look items can come in many different forms which include fantasy to fairly authentic. The Reenactors insist that medieval pieces look, feel and act like medieval pieces. |
