Saturday, January 31, 2015

A review and discussion of King René’s Tournament Book, or

The Tournament, as held in the 14th and 15th centuries, was an event of great pomp, ceremony and pageantry. Basically a "contest@ between the @forces@ of two opposing men of high nobility, it afforded the combatants with an opportunity to show off their martial equestrian skills, and provided the populace with a grand demonstration of the valor of knights and fighting men. The Emprise as it is practiced in the SCA today is derived from the customs of the Tournament of these times. It is therefore worthwhile for the SCA equestrian to study the treatise of King René in order to gain a better understanding of the tradition of the tournament and the reasons for the procedures used in the Emprise. 

 
René of Anjou, a politician as well as a military man, is well known to history as a patron of the arts. His titles include: Count of Provence, Duke of Anjou, Bar and Lorraine, and King of Jerusalem and Sicily. He was also an author and wrote several poetry works, as well as: the Mortiffiement de Vaine Plaisance, a religious allegory (1455); the Livre du Cuer d'Amours Espris, a romantic allegory (1457); and the Forme et Devis d'un Tournoy, a treatise on how to hold a tournament (1460).
 
In his book, René proposes to explain the forms, customs and procedures for conducting a Tournament. As he states, AHereafter follows the form and manner in which a tourney ought to be undertaken. And in order to organize and carry out this tourney well and honorably and in the right way, you must keep to the order hereafter described.@ René organized several extravagant tournaments including a tourney at Nancy in 1445, celebrating the marriage of his two daughters Marguerite and Yolande; the Emprise de la Gueule du Dragon at Razilly; the Emprise de la Joyous Garde, at Saumur, both in 1446; and the Pas de la Bergère at Tarascon, in 1449. So, it seems he is appropriately suited to write such a treatise.
 
He begins by stating that it would be courteous if the Prince holding the tournament would secretly write to his Aopponent,@ or other nobleman asking if he would participate in the tournament. This would save him the embarrassment of having to decline in public if, for some reason, he was unable to attend or participate.  René explains that the prince or nobleman hosting the tournament is referred to as Athe appellant,@ His Aopponent@ is called the Adefendant.@
 
He details that Athe king of arms@ should be sent by the appellant, bearing a Tourney sword, as a symbol of the Tournament, and that he should present it to the defendant, asking him to participate in the Tournament. This is to be done with the greatest amount of ceremony in a very public place (once the secret message was confirmed). The appellant prince should select 8 potential judges -knights and squires, half from his lands, and half from his Aopponent=s@ lands who are men of great martial skill themselves. René sets out the exact wording that can be used in these matters, all of which is full of pageantry, and truly conveys the flamboyant nature of these proceedings.  He explains in what way the defendant could state that he was forced to decline, if that was the case, and maintain his honor in doing so. He also states how the defendant would go about accepting the offer of a Tournament, and how he would then review a scroll presented to him by Athe king of arms.@ This scroll would include the Ablazons@ of the prospective judges, which the defendant could study and pick from to determine the final list of judges for the Tournament. We here see that the >King of Arms@ is meant to be what we know in the SCA as a Herald. The scroll contains the heraldic arms of the men proposed to judge the Tournament. The defendant, it is understood, would know these men by their heraldic devices and be able to determine if he wanted them to participate. And so, we can see that those men put forth by the appellant truly must have been men of renown that they would be well known by their heraldry alone.
 
René details how the king of arms, the Herald, should notify the judges that they have been asked to participate in the Tournament. He lists the benefits of a Tournament as follows:
First, Aall may know which men are come of ancient nobility, by the way they bear arms and crests.
Second, those who have failed to behave honorably will be chastised so that the next time they will be wary of doing that which is not fitting for honor.
Third, each one who takes up the sword will get good exercise of arms.
 And fourth, by chance it may happen that some young knight or squire, by doing well, will get mercy, grace, or an increase of love from his very gentle lady and mistress.@
Additionally, if they hold a good Tournament, Athe tourney will take place in such a way that fame and widespread rumor will go out to sustain nobility and increase honor.@
 
If the Judges accept, which we can suppose most would have done, they set a date and time for the Tournament.  The Herald is tasked with going back to the appellant and defendant, and to the King, and telling them this information.  Additional courts would be sent invitations as well, whether by this main Herald, or his delegates.  And they should Acry the tourney in the places appropriate.@  René details the manner and form in which they should do this.
 
From Tunierbuch, showing
straw-filled hourts on the horses.
In the next part of his treatise, René covers the equipment of the mounted warrior, his crest, mantling and armor, as well as his weapons, tack and protection for the horse.  For the latter, he suggests a Ahourt@ made of straw stuffed cloth, sew in a crescent shape that straps to the chest of the horse and protects it from weapons= blows and kicks by the opponent=s horses.  (This section of René’s book provides a wealth of information of benefit to the SCA equestrian researcher.)
 
René describes the lists:
A The barriers ought to be one-fourth longer than wide, and of the height of a man, or of the length of an arm and a half, of strong wood and with two crossbars, the one high and the other at knee- level. They should be double; that is to say a second barrier four feet outside the first barrier, to refresh the foot servants, and protect them from the press; and within this space should be the armed and unarmed men ordered by the judges to protect the tourneyers from the crowd. And as to the size of the lists, they should be bigger or smaller according to the number of tourneyers and the opinion of the judges.@
René continues to explain the customs and rules of the Tournament. The appellant brings his Lance to the Tournament, as does the defendant, and he is referred to by René as >the captain.@ He suggests that those noble warriors desiring to compete in the Tournament must present themselves on the Thursday before the Tournament, in all manner of pageantry. René suggests the participants enter the town with a great procession. The captain=s main battle horse, or destrier, should proudly bear his heraldic arms, and be mounted by a small page. The horse should have ostrich feathers mounted on its head and bells collared around its neck. Behind should come the horses of the knights and squires of the company, walking two by two, in high fashion, decked out in their finest barding bearing their master=s heraldic arms. Behind these should be a great pack of trumpeters, minstrels, and heralds dressed in the nobleman=s heraldic arms. Behind them walks the knights and squires who will actually participate in the Tournament. And behind them, their followers bring up the rear of the procession. 

At the inn where the participant takes up residence, participants must display their arms. René says lords and noblemen should do it in this manner: AHe should have the heralds and pursuivants put up a long board attached to the wall in front of his lodgings, on which is painted his blazon, that is to say his crest and shield, and those of his company who will take part in the tourney, knights and squires alike. And he should have his banner displayed at a high window of the inn, hanging over the road@ Additionally, captains of companies, should additionally display their pennons with their banners, and Abarons who put up their banners at the windows are required on their honor to display the coats of arms of at least five other tourneyers with their banners, as a company.@
 
The judges entry to the city is no less ceremonious.  René details how they should enter town and go to a cloister, if possible, to set up residence during the Tournament. At this place, the participants in the Tournament display their crest and banners to be visited by and shown to the ladies. There the judges also display their heraldic arms. AAnd the judges should have in front of their inn a cloth three arms'-lengths high and two wide, on which are drawn the banners of the four judges held by the king of arms who cried the festival, and above at the top of the cloth should be written the two names of the captains of the tourney, that is, the appellant and the defendant, and at the foot, below the four banners, should be written the names, surnames, lordships, titles and offices of the four judges.@
 
On the evening of the arrival of the participants and the judges, there should be a great feast. The ladies and damsels who have come to watch the Tournament, and in whose honor it is held, attend this feast, as does the heralds. The folks there should eat, and dance and then the Heralds announce that the participants must, on the next day, present their crest and banners to the house where the judges are staying. Additionally, this next day is a day of rest for the tourneyers, followed by another feast with dancing and revelry. 
 
The next day the crest and banners are displayed and the ladies come to view them. René details how they are walked around the hall to look at each participants= gear. Heralds will tell the ladies who each participant is in case they do not know them by their arms. This display of arms is really, in essence, a judgment of the valor and merit of the participants and whether or not they will be permitted to participate in the Tournament. René =s treatise goes into great detail about how men who were guilty of several offenses would be treated. It is as though they are seen as besmirching the glory and honor of the Tournament by attempting to enter it. We can see in this manner that only the most worthy entrants were allowed to compete and those dishonorable warriors were discouraged by harsh judgment and treatment. 
 
(This description of crests and the illuminations in René’s book provides the SCA equestrian with excellent source material for creating their own crests which can be used in SCA equestrian activities.)
 
That night, at feast, the judges announce that the two sides shall tomorrow present themselves to the Tourney site. They also explain how each will follow ceremony and Apresent their oaths.@  And so, the following day, first the appellant, then the defendant, comes to the field and with a great deal of pageantry announces their intent to compete in the Tournament and abide by the rules. These list that Ayou will strike none of your company at this tourney knowingly with the point of your sword, or below the belt, and that no one will attack or draw on anyone unless it is permitted, and also that if by chance someone's helm falls off, no one will touch him until he has put it back on, and you agree that if you knowingly do otherwise you will lose your arms and horses, and be banished from the tourney; also to observe the orders of the judges in everything and everywhere.@
 
That day again ends with a feast. At that feast a Knight of Honor is selected by the ladies.  He will be tasked with indicating when mercy should be shown to anyone who has committed some offense in the Tourney. A...if someone is too severely beaten, the knight or squire will touch his crest with the veil, and all those beating him must stop and not dare touch him because from that hour forward, the ladies have taken him under their protection and safeguard.@ This veil, given to him by the Ladies, is called Athe mercy of ladies.@ The Knight of Honor will come to the Tournament with the judges before the participants and after the ladies are seated, Afully armed, with a helm with a crest on his head, and his horse covered with his arms, ready to fight, the mace and the sword hanging from the saddle, carrying the lance to which the veil is tied.@
 
So we have: the day of arrival, the second day when crests are reviewed and merit measured, the third day when oaths are made, and finally, on the fourth day, the Tournament. 
 
The judges enter the arena and check the lists. The Knight of Honor takes his place in between the barriers and ropes, with his assistants. His helm is given to the Ladies to display near them.  Meanwhile, the appellant and defendant sends word throughout the city for their men to gather together and come to the Tourney field. The men are instructed that they should arm themselves for the tourney, mount their destriers, and assemble at the inn of their captains. The Heralds call them together, "Take up, take up your helms, take up your helms, lords, knights and squires, take up, take up, take up your helms and come out with banners to gather at the banner of your captain."  They meet up with their captain and proceed to the Tourney field. They Ashould have ... heralds... with them, and many trumpeters and minstrels sounding; and the lord appellant's pennon should be carried before him by someone... After this pennon should come the lord appellant, and at the tail of his horse whoever carries his banner. And after him two knights banneret in front with their banners, and twenty tourneyers, and then banners and tourneyers alternately, and in such order they proceed to the barriers. And when they are before the barriers, their servants should make a great cry; and then all the knights and squires should lift their right arms over their heads, holding their swords and maces, as if threatening to strike... and wait quietly.@ 
 
The Herald for the Appellant announces him and his intention to enter the Tourney. The Herald for the Judges replies, and welcomes the appellant, assigning a side in the Field to him and his men.  After a great cry from their supporters, these warriors take up their place on the Field. 
 
Afterwards the defendant and his company, similarly assembled, enter the Tourney field. They are introduced, welcomed and take up their place.
 
After both sides have readied themselves, four men, specially selected for the task, cut the ropes dividing the two lists from each other and the combatants do battle. AThen the two sides ....fight until by the order of the judges the trumpets sound the retreat.@ Failure to stop fighting will result in a loss for that side. 

René does not elaborate a great deal on the fighting itself. He mentions how each participant can have a man-at-arms to assist him should he fall from his horse. AAnd it is their job to take their master out of the press when he asks and they can do it, always crying the cry of their master.@ He mentions how the tourneyers should retreat from the field after the retreat is called, and how their pennons and banners should be removed from the field. AAnd they may go in troops fighting among themselves to their inns, or without attacking each other, as they wish; and in this way the tourney is finished and over.@ One must assume that some of these warriors, not content with the amount of fighting to be had in the Tournament, continued fighting outside the Tourney field.  (This can be seen as similar to SCA heavy fighters, following a battle, seeking pick-ups fights with one another for the pure pleasure of testing themselves against each other.)

That evening a feast is held in honor of the Tournament. At this feast, the Ladies award the prize of the tourney to the fighter they deemed to have Afought best today in the melee of the tourney.@  The Herald then announces that on the next day there will be Jousting, by individuals and teams.  While René does not mention the prize given to the winner of the days Tournament, he does detail prizes for the Jousting to be held the next day.

The first will be a wand of gold for him who strikes the best blow with a lance that day.
The second will be a ruby worth a thousand ecus or less, for him who breaks the most lances.
And the third will be a diamond worth a thousand ecus or less, for him who stays the longest in the lists without losing his helm.@

The last section of René =s work concerns the procedures for arranging for this next part of the Tournament. He does not describe the Jousting phase itself, but discusses the arrangements that need to be made to run this event. This includes finding a good site, with a suitable hall for the feast, lodgings for the participants, pay for those rendering services, etc. (very similar issues that concern any Autocrat of the SCA.)  And so, at the end of his treatise, we see that the issues that Rene= faced in his day, is not much different than those by current day Autocrats, Marshals and event organizers.

René =s Treatise provides us with a lot of source material to use as a guide in planning a Tournament such as one held during the 14th and 15th centuries. It was during that time that Tournaments reached their peak, and were the most elaborate and celebrated of medieval martial displays. Though mounted melees are not often the focus of SCA equestrian activities, we can still use René as a basis for our own events, such as the Emprise. It also provides an understanding of the historical significance of ABillets@ the arms displayed on wooden shields, displayed at the Tourney field to identify the participants, as well as the barriers, use of crests, and the heraldic discourse. All these things add to the pageantry and the wonder involved in Living the Dream, the equestrian way!

King Renés Tournament Book, A Treatise on the Form and Organization of a Tournament, translated by Elizabeth Bennett, can be found here.

The Taking of an Equerry


While not part of any Kingdom law, it is customary for Peers to assume a mentoring relationship with a student who aspires to follow the example of their Peer in achieving a level of excellence in their chosen discipline within the SCA.  Knights take Squires; Laurels take Apprentices and Pelicans take Protégés.  Each have their own belts which indicate their status and when new people are brought into the SCA this is something that usually explained to them to avoid the embarrassment of wearing a colored belt indicating a student relationship.   The relationship between the Peer and their Squire/Apprentice/Protégé are personalized to the individuals and usually include expectations from both sides.   Within the equestrian community of the Known World, there is a special type of student that is taken by a Peer---known as an Equerry.

Historically, the term Equerry was used to denote a senior attendant with responsibilities for the horses of a person of rank.  Within the SCA the term is used to denote a “student” of an Equestrian Peer or Grant Level such as a Lancer (Companion of the Order of the Golden Lance).  The intent is to denote that the “student “is learning and being mentored in the ways of the horse and equestrian arts.

In 2000, Sir Jerald of Galloway envisioned taking a squire based on the equestrian arts.  Aside from being a Knight, Sir Jerald was also a Viscount and the premier knight of An Tir.  He also designed the arms of An Tir during his tenure as Black Lion Herald.  Sir Jerald was an accomplished horseman and was very involved in the equestrian program of the SCA, competing throughout the Known World.  He competed five times at Gulf Wars where along with other members of the Lance of St. Anne, he held the field Tenant.  He was an Equestrian Marshal in several Kingdoms and was Special Deputy to the Society Equestrian Officer.

Sir Jerald of Galloway
 
Sir Jerald determined to establish a Peer-student relationship for himself and his “squires” that was not focused solely on rattan style fighting but on the skills of horsemanship in the tradition of the medieval knight.   Sir Jerald, as a former Herald Emeritus, did research on the term “equerry” which he used to identify this type of squire for himself.   He also wrote his own ceremony for taking an equerry:
I, Viscount Sir Jerald of Galloway, mindful of your Prowess, Chivalry and Dedication to the equestrians of the Knowne Worlde do hereby recognize within you a person of worth and a seeker of knowledge. I have chosen you as my personal Equerry.
As an Equerry you will demonstrate to the Knowne Worlde the Chivalry, Equestrian Skills, and Pageantry of the Mounted Warrior of the High Middle Ages.

Do you understand the purpose of becoming an Equerry?
Do you agree to continue the example you have set forth which has caused the notice and appreciation of myself?

Then it is my pleasure to bring you under my shield, joining your voice with mine so that our combined example might cause others to strive for greater excellence.
Bear this belt with pride, but not in vanity, allowing it to remind both you and others of your continued commitment to myself and the Equestrians of the Knowne Worlde.

 
As noted on the website for the Lance of St Anne (http://www.lanceofstanne.com), Sir Jerald took the first two Equerries ever created in the SCA on March 17, 2000 at Gulf Wars IX.  His Equerries were THL Brenna Caitlin MacGrioghair of Renwick and THL Myra Elvey MacGregor, both of Trimaris. He presented his Equerries with a belt, gules and or checque with Jerald's personal device –a battle axe--on the tip of the belt.
Equerry belt given by Sir Jerald

Sir Jerald passed from this world on September 19, 2007 in his home kingdom of An Tir.  Besides his excellent example as a Chivalrous man, Sir Jerald continues to serve as an example and inspiration to many equestrians throughout the Known World.  It was his desire that others continue this tradition and that Peers or recipients of Grant Levels awards who had achieved a level of equestrian excellence pass their knowledge onto others and further develop their equestrian skills.

Mu'allemah Yaasamiin al-Raqqasa al'Alaa'iiyiyya created a third Equerry in in the SCA in the Kingdom of Artemisia.  In 2002, she took THL Philip de Lisboa as an Equerry to further his knowledge of Equestrian Arts.  According to her, Philip serves as her equestrian retainer, looking after her needs as well as those of her horses, and is learning horsemanship from her.     He also studied the equestrian martial arts from Yaasamiin.   During the Equerry ceremony Yaasamiin was flanked by her King, 4 Artemisian Knights, an AnTirian Knight, and several Laurels and Pelicans who comprised the approximately 25 spectators who stood as witness.  As she notes, “He did not fit the Protege nor Apprentice category..... I used the red and gold checky that Jerald used and put a cinquefoil [sic] on the tip of the belt where he put his battle axe. " (A  cinquefoil is part of her arms.)

Yaasmiin and her Equerry, His Lordship Philip

The tradition of the taking of an Equerry was continued in Æthelmearc, when Viscount Alexander Caithness took his own Equerry.   In 2014, Mistress Ysabeau Tiercelin took Lord Rhiannon Elandris of Glyndrvdwy as an Equerry at Ice Dragon.  Following the tradition of Sir Jerald, she presented Rhiannon with a belt---gules and or checque. 
Mistress Tiercelin and her Equerry, Rhiannon


Equerry Belt made for Rhiannon Elandris by Lord Magnus de Lyons, apprentice/protégé to Ysabeau Tiercelin.

Last Year, the Society Equestrian Officer, Dame Arabella da Siena, took an Equerry. The tradition continues in our fair Kingdom; at this past Æthelmearc Kingdom 12th Night, Mistress Shishido Tora (Gozen) took an Equerry under the Order of the Golden Lance of Æthelmearc.  THL Morien MacBain became the third Equerry of Æthelmearc, and was presented with a set of checky colored garters. The oath given by Mistress Gozen to her student closely followed the original ceremony of Sir Jerald as a tribute to his example.

Garter presented to THL Morien MacBain

We in the Æthelmearc equestrian community are proud to carry on this tradition, and to foster growth in a part of our SCA activities that takes so much from medieval knighthood.

Adaptation of Modern Tack for the SCA Equestrian

 
Introduction

This article is based on a research paper I wrote and submitted for Ice Dragon in 2011 titled, The Evolution of Tack (Horse Furniture)Through the Middle Ages into Modern Times. The intent was to satisfy the question for aspiring equestrians looking to get involved in SCA Equestrian related activities---"Can I use my modern equipment to participate, and will it be fairly historically correct? Or will I have to invest a large amount of money in making or buying medieval reproductions?"

Equestrian activities are expensive by their very nature. Adding on top of it the additional burden of expensive equipment specific to SCA activities can often deter equestrians from getting involved in the SCA aspect of riding in addition to their other activities. In attempting to promote the equestrian program and encourage greater participation, I sought to research this question so that the burden could be lessened and therefore, more people would consider involvement in SCA equestrian programs.

"Tack" is a term that is commonly understood to mean any equipment used on a horse. Another term for this type of equipment is "horse furniture." For our purposes here, we are talking about bridles and saddles as these are the most essential and obvious equestrian equipment.

Bits and Bridles
The important components of the bridle consist of the headstall, bit and reins. Metal bits and durable materials like leather and cord were developed as early as the 9th Century B.C.E. The form and design of these bridles and bits has remained fairly consistent through the early period and into the medieval age. The typical bit was what we now term the "O-ring snaffle" and "full cheek snaffle." Bits of this type have been recovered in both Europe and Arabia.1, 2  Clark’s The Medieval Horse and its Equipment, c. 1150 c.1450 provides good documentation for these bits which were found in the digs outside London.3


The following are extant bits from period: 
O-Ring snaffle
Full cheek snaffle




Pelham Bit



These are the modern day equivalents:


 
 



















The standard curb bit of today, with its shanks that project from the mouthpiece, was also in use during the medieval period as found in various sources, such as horse armor pieces on display at the Metropolitan Museum of Art in New York City4, and depicted in the Bayeux Tapestry.5 In later period, the length of the shank was exceptionally long, but in structure and design, these bits are identical to the common shanked bits of today. Modern bits of these types are, therefore, historically accurate as are combination bits such as the Pelham.6

Period Curb bit which is identical to a style used today:

The bridle’s design has changed little through history as well. The modern English bridle is nearly identical to bridles found in use during the medieval period as documented in various paintings and illuminated manuscripts. The throatlatch was used after the Norman period; most lack a throatlatch. 7 Modern bridles tend to incorporate the headstall and throatlatch into a single piece of leather, which is cut to allow part of the leather to pass under the horse=s throat area. Evidence for this type of construction is found in the later medieval period.8 There is a time in the middle of the medieval period when nosebands apparently were optional, as there is wide variation in its use.9 Thus bridles with or without nosebands would be historically accurate.
 

Modern bridle parts and period bridle from Wagner

Reins, made of cloth or leather, constitute the final essential part of a bridle. Braided reins, similar to those used today are clearly depicted on an Assyrian bas relief of a chariot horse’s bridle.10  Flat leather reins are also seen in extant pieces, similar to those used today.  Hence the common types of reins used in modern times are historically accurate.

Construction materials used in the medieval period such as sinew or waxed thread stitches and metal rivets are very similar to those used in some modern bridles. The use of leather ties is remarkably similar to the manner of fastening for modern western bridles, especially for rein attachment. Some medieval bridles were more decorative, consisting of metal inlay or attachments, or chain decorations. These highly elaborate bridles resemble parade bridles still seen in use today. In overall design, the standard English style bridle is historically accurate.

The Saddle
Saddle development advanced from simple saddle cloths to rigid structures with the invention of the stirrup. Saddle construction has remained fairly consistent through the medieval period into modern times. The saddle contains a rigid saddle "tree" to which straps and the seat are attached. This tree is very visible in the US Cavalry saddle, (the McClellan) showing it’s similarity to the Roman horned saddle and the war saddle of Henry V.11 The straps that hold the medieval saddle to the horse are also similar on modern English saddles, having two straps attached on either side, extending partway down the horse's side. To these were buckled a second strap, called the girth. The Bayeux Tapestry shows these straps very clearly, including the buckled girth.12

McClellan saddle

Roman horned saddle


War saddle of Henry V

Stirrup construction has remained fairly consistent since their invention by the Chinese between the 5th and 6th century.13 The only deviation we see is that of the western stirrup which was modified to protect the rider's foot from the brush of the American West. A stirrup found in the London digs and a 12th Century Iranian stirrup look like any stirrup that is in use by modern English riders. The top portion has a slot in the metal through which the leather passes, much as modern English stirrups are fitted.14

Iranian stirrup
London stirrup

Seat design has changed very little, with a few variations for decoration and use. Obviously specialized saddles used for jousting were modified to provide a more secure position and allow
the rider to brace against and absorb the shock of impact when jousting.15   Not all knights could afford such highly refined saddles as evidenced by the drawings of more simple designs from several German manuscripts, especially those portraying Marx Walther jousting.16 These flat design saddles were also commonly used while traveling on horseback. These look much like the modern pleasure or plantation English saddle.

The last component of the saddle is the covering that is placed over the tree, seat and strapping. Some medieval saddles were covered with cloth, sometimes velvet or embroidered cloth. The degree of ornamentation varies, dictated by the wealth and status of the owner. Modern saddles are primarily leather, while newer designs have synthetic materials; the former saddles would be more historically accurate. In style and shape, the modern English saddle is nearly identical to those used in the medieval period for traveling and hunting and is, therefore, historically accurate. 
Period example which appears similar to a modern Lane Fox, or pleasure, saddle

Summary

Through an examination of the evolution of horse tack through the medieval period, a researcher wanting to outfit a horse in the SCA with proper equipment is prepared to proceed with a good degree of confidence that the end product will be historically accurate. Furthermore, those persons wanting to build a medieval "horse kit" need only turn to their tack room to begin. A standard English bridle, with a common "O-ring snaffle," "full cheek snaffle," standard curb bit or a "Pelham" and a simple flat English saddle such as a dressage, saddle seat or Lane Fox saddle with standard stirrups will give the equestrian a good start. Barding, or the covering often depicted in art on the horse, is the next step to making your horse look distinctly "period."

Endnotes:

1.Sandra L Olsen and Cynthia Culbertson. The Gift of the Desert: The Art, History and Culture of the Arabian Horse. (Lexington, Ky: International Museum of the Horse, 2010). 105, 108, 125.
2.David Alexander, David, ed. Furusiyya: The Horse in Art in the Near East, vol. I (Riyadh, Saudi Arabia: King Abdulaziz Public Library, 2010). 27, 28
3.Clark, John ed. The Medieval Horse and its Equipment, c. 1150 c.1450. (NY: Woodbridge: Museum of London, 1995.)47, 49.
 4.Pyhrr, LaRocca, and Breiding. The Armored Horse in Europe, 1480-1620. (NY: The Metropolitan Museum of Art, 2005). 24-7.
5.David A. Wilson. The Bayeux Tapestry. (London: Thames & Hudson, 1985.) Plate 11.
6.Hyland, Ann. The Warhorse: 1250-1600. (Gloucestershire: Sutton Publishing Ltd, 1998). 49.
7.Wilson. Plate 11.
8.Olsen. 194.
9.Wagner, Drobna, and Durdik. Medieval Costume, Armor and Weapons. (Mineola, NY: Dover Publications, Inc, 2000.) Numerous plates.
10.Alexander. Vol I, 27.
11.Hyland. Medieval Warhorse. 6,7.
12.Wilson, Plate 11.
13.Clark. 72.
14.Olsen. 166.
15.Barber , Richard & Juliet Barker. Tournaments: Jousts, Chivalry and Pageants in the Middle Ages, Woodbridge: The Boydell Press, 2000. 55.
16.Barber. 62, 66, 71.

Sources:

Alexander, David. ed. Furusiyya: The Horse in Art in the Near East. Vol. I and II. Riyadh, Saudi Arabia: King Abdulaziz Public Library, 2010.
Barber , Richard & Juliet Barker. Tournaments: Jousts, Chivalry and Pageants in the Middle Ages, Woodbridge: The Boydell Press, 2000.
Clark, John ed. The Medieval Horse and its Equipment, c. 1150-c.1450. NY: Woodbridge: Museum of London, 1995.
Dent, Anthony Austen. The Horse Through Fifty Centuries of Civilization. NY: Holt, Rinehart & Winston, 1974.
Hyland, Ann. The Medieval Warhorse: From Byzantium to the Crusades. London: Grange Books, 1994.
Hyland, Ann. The Warhorse: 1250-1600. Gloucestershire: Sutton Publishing Ltd, 1998.
Olsen, Sandra L and Cynthia Culbertson. The Gift of the Desert: The Art, History and Culture of the Arabian Horse. Lexington, Ky: International Museum of the Horse, 2010.
Pyhrr, LaRocca, and Breiding. The Armored Horse in Europe, 1480-1620. NY: The Metropolitan Museum of Art, 2005.
Wagner, Drobna, and Durdik. Medieval Costume, Armor and Weapons. Mineola, NY: Dover Publications, Inc, 2000.
Wilson, David A. The Bayeux Tapestry. London: Thames & Hudson, 1985.