Equipment and Armor for Horses
Medieval European tack was greatly influenced by metallurgical technologies. Viking iron stirrups dating from the late 9th or early 10th CE centuries have been found in Wales. These findings are significant because stirrups enabled a rider to balance his weight on a horse evenly. The nailed horseshoe is another example of ‘new’ technology. There is some debate about the origin of the horseshoe. Dunlop credits the Celts for inventing the nailed horseshoe, while Isenbart claims that literature lacks mention of a nailed iron horseshoe prior to the 10th century.[1][2] Prior to the nailed version, horse footwear resembled Roman sandals because of the way they were attached by rings and laces.[3]
The earliest representation of medieval horse armor is believed to be the Spanish sculpture in the San Lorenzo church in Vallejo de Mena. The sculpture dates from the late 12th, to the early 13th century.[4] Standard horse armor consisted of: a Chanfron (Shaffron)-the faceplate and side plates (some were crested, some had points to resemble the legendary unicorn, all were designed in some way to resemble the knights’ armor), for jousting the shaffrons had the eyes plated over. The peytral (breast armor), plated mouth bit, plate covered reins, crinet (the back–of-neck armor), armored saddle and pommel plates and the upper and lower portions of the crupper-hind and flank armor all served to protect the horse.[5][6]
The earliest representation of medieval horse armor is believed to be the Spanish sculpture in the San Lorenzo church in Vallejo de Mena. The sculpture dates from the late 12th, to the early 13th century.[4] Standard horse armor consisted of: a Chanfron (Shaffron)-the faceplate and side plates (some were crested, some had points to resemble the legendary unicorn, all were designed in some way to resemble the knights’ armor), for jousting the shaffrons had the eyes plated over. The peytral (breast armor), plated mouth bit, plate covered reins, crinet (the back–of-neck armor), armored saddle and pommel plates and the upper and lower portions of the crupper-hind and flank armor all served to protect the horse.[5][6]
These photos illustrate a complete matched set of a horse and knight’s armor, which were made as a complete set for Johann Ernst, the Duke of Saxony.[7] Horses sometime wore a caparison over the armor, to add extra padding and protection for the horse. The other purposes that the caparison served included hiding the armor of the horse and displaying loyalty colours.[8] This was useful as warrior identification on a chaotic battlefield.
Japanese equipment and armor was, in many ways, different from that of medieval Europe. The Japanese adapted many of these items from other Asian countries. One example of this is the harness; because leather was at a premium in Japan, textiles and Dutch and English wool were substituted for leather. Both bits and stirrups, or abumi, were made of iron. The bit was similar to the Western snaffle bit. There were very few variations in the basic stirrup of the period, which was the primary way that mounted warriors maintained a solid platform in order to balance their weight to use a bow effectively.
Saddles were based on the saddles of the Chinese; red oak was specifically grown to make the saddles. Two major styles existed; one was for military and one was used by nobility at court.[9][10]
Japanese equipment and armor was, in many ways, different from that of medieval Europe. The Japanese adapted many of these items from other Asian countries. One example of this is the harness; because leather was at a premium in Japan, textiles and Dutch and English wool were substituted for leather. Both bits and stirrups, or abumi, were made of iron. The bit was similar to the Western snaffle bit. There were very few variations in the basic stirrup of the period, which was the primary way that mounted warriors maintained a solid platform in order to balance their weight to use a bow effectively.
Saddles were based on the saddles of the Chinese; red oak was specifically grown to make the saddles. Two major styles existed; one was for military and one was used by nobility at court.[9][10]
Japanese Saddle and stirrups with dragon and lightening design. Edo period 1670 Japan lacquer on wood (maki-e), gold foil, silver, pigment, plant fibre (cord), dyes, metal, leather, (other materials)
(a) 27.5 x 42.3 x 38.4 cm (saddle) (b) 25.3 x 29.4 x 12.0 cm (stirrup) (c) 25.3 x 29.4 x 12.0 cm (stirrup). National Gallery of Victoria, Melbourne Purchased, 1888 (2025M.a-c-D1A)
What is particularly unique about Japanese tack is that the saddle girth of the Japanese saddle fastened on top of the horse, rather than at the bottom like the European saddle, could be adjusted while on the back of the horse.[11] Rather than wearing shoes nailed to the hooves, Japanese horses wore straw sandals. Horse armor first developed during the Edo period (1603-1868) and was made with rawhide scales that were lacquered and sewn onto fabric. Peytral armor protected a horse’s chest, and was often combined with neck armor. Despite the availability of horse armor, Ian Bottomley states that the armor may not have actually been used in battle, but instead during parades.[12]
Training for European Horses Training a warhorse was expensive, time consuming and required powerful horses. The classical art of “dressage” (what some people today call horse dancing) was originally developed to condition and discipline horses for use on a battlefield.[13] The present day Lipizzaner Stallions at the Spanish Riding School in Vienna, Austria, show the remarkable and difficult maneuvers required on the battlefield, as well as the magnificent horses selected for such training. The maneuvers associated with high classical dressage were originally designed as equine military training to develop strength, agility, balance, concentration and focus on the rider’s demands. This video clip shows a world-class dressage rider. Notice how unified the rider and horse are and how the rider maintains a constant straight line from the top of the head to the heels. The rider takes all the impact in the lumbar region, while the horse performs flawlessly.[14] While it may look effortless for both horse and rider, it takes years of practice, skill, patience and training before a horse and rider are able to match their abilities effectively.
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[1] H. Dunlop, David J Williams. Veterinary Medicine, 217.
[2] H. Isenbart, H, Buhrer, E.M. The Kingdom of the Horse, 86.
[3] Ibid, 86.
[4] Stuart W. Pyhrr. Donald J. LaRocca. Dirk H. Breiding. The Armored Horse in Europe, 1480-1620. (New York: Metropolitan Museum of Art, 2005), 9.
[5] H. Isenbart, H, Buhrer, E.M. The Kingdom of the Horse, 85- 86.
[6] Stuart W. Pyhrr. Donald J. LaRocca. Dirk H. Breiding. The Armored Horse, 44-71.
[7] Kunz Lochner. Armor for Man and Horse. Etched steel, leather, copper alloy and textile.c. 1548. The Collection Online. The Metropolitan Museum of Art., 1 Jan. 2014. Web. 2 Dec. 2014. Accession Numbers: 29.151..2;29.158.183-.184; 32.69.
Horse facing left:
http://www.metmuseum.org/collection/the-collection-online/search/35739?rpp=30&pg=1&ft=armor%2Bfor%2Bman%2Band%2Bhorse&pos=2&imgNo=1&tabName=gallery-label
Suit of armor:
http://www.metmuseum.org/collection/the-collection-online/search/35739?rpp=30&pg=1&ft=armor%2Bfor%2Bman%2Band%2Bhorse&pos=2&imgNo=2&tabName=gallery-label
Horse facing right:
http://www.metmuseum.org/collection/the-collection-online/search/35739?rpp=30&pg=1&ft=armor+for+man+and+horse&pos=2
Horse facing left:
http://www.metmuseum.org/collection/the-collection-online/search/35739?rpp=30&pg=1&ft=armor%2Bfor%2Bman%2Band%2Bhorse&pos=2&imgNo=1&tabName=gallery-label
Suit of armor:
http://www.metmuseum.org/collection/the-collection-online/search/35739?rpp=30&pg=1&ft=armor%2Bfor%2Bman%2Band%2Bhorse&pos=2&imgNo=2&tabName=gallery-label
Horse facing right:
http://www.metmuseum.org/collection/the-collection-online/search/35739?rpp=30&pg=1&ft=armor+for+man+and+horse&pos=2
[8] Stuart W. Pyhrr. Donald J. LaRocca. Dirk H. Breiding. The Armored Horse, 9-10.
[9] Bottomley, “Horse Accoutrements,” 80-82.
[10] Japanese Saddle and stirrups with dragon and lightening design. Edo period 1670 Japan lacquer on wood (maki-e), gold foil, silver, pigment, plant fibre (cord), dyes, metal, leather, (other materials)
(a) 27.5 x 42.3 x 38.4 cm (saddle) (b) 25.3 x 29.4 x 12.0 cm (stirrup) (c) 25.3 x 29.4 x 12.0 cm (stirrup). National Gallery of Victoria, Melbourne Purchased, 1888 (2025M.a-c-D1A)
(a) 27.5 x 42.3 x 38.4 cm (saddle) (b) 25.3 x 29.4 x 12.0 cm (stirrup) (c) 25.3 x 29.4 x 12.0 cm (stirrup). National Gallery of Victoria, Melbourne Purchased, 1888 (2025M.a-c-D1A)
[11] Stephen Turnbull, The Samurai Sourcebook (London: Cassell and Co, 1998), 114.
[12] Bottomley, “Horse Accoutrements,” 84, 86-8.
[13] http://www.olympic.org/equestrian-dressage-equipment-and-history?tab=history
[14] Description of dressage movements and coordination