Equestrian Equipment From the Bayeux Tapestry - Class Notes

These are the Class Notes from a class I taught at Æthelmearc War Practice in 2010 and at the Pennsic War in 2011 regarding information which we can derive about horse equipment that was used in Norman England from the Bayeux Tapestry. The plate numbers are based on the plates found in David A. Wilson's The Bayeux Tapestry. This source is exceptionally helpful as the photographs are very clear and detailed.  I highly recommend it for the researcher interested in Norman culture.  The book is widely available through booksellers, such as Barnes and Nobles and Amazon, etc.  http://www.amazon.com/Bayeux-Tapestry-David-MacKenzie-Wilson/dp/0500251223


Introduction:
The Bayeux Tapestry is used commonly to discern facts about life during the Norman period.   It also reveals a great deal of information about equipment used on horses.

Examples:
Bridles have nosebands, rings at bit attachment, rosettes or rondels at brow bands, rarely throatlatches, a single set of reins with attachment at the end and sliders.

Saddles have breastplates, high pommel and cantle pieces which are curled, stirrups similar to modern English stirrups.

Details are revealed in later sections of the Tapestry- such as, girth and bit design, decoration on breastplates, and variations in saddle color and padding.

Other interesting facts are revealed- such as which hand is shown holding the reins, dependent upon the activity engaged in by the rider.

Examination of Tack examples: 

Reins- Which hand is holding –

Beginning segments show horse going to the left, reins in right hand, or closest to front of scene 2, 8b

Next segments- horses moving to left, rein again in closest hand, now left. 7

Next we see the close hand is busy so farthest hand is used… 16a

In instances were a weapon is held in the closest hand, we see the reins in the farthest hand. 19

Sometimes no hands are holding reins as the rider is busy in combat. -- 14b, 16a

Some instances, rein is held in same hand as holding the shield, which is to be expected. 20

Reins---variations – 2, 11a (with and without sliders), 14b, 57b, 66 border

Rings and Rondels --- 14, 27b, 53b, 60b, and 65, 66, 71 shows obvious rings, horse’s skin color shows through

Bit Detail - slobber bar – 7a, 18b; attachment – 9a; rings on end of bit – 14, 59, 69; s shaped bit – 11a, 12a; 44b, 53b, 55b, 57b

Noseband – chin piece and not - 2

Possible throatlatches- 16a, 18a, 54b

Breastplate variations- 2,14, fancy 19a, 23b, 25a, 27b, 67

Saddle detail – 11b, 20, 27b, 54b, 57


Blanket types- 2b, 14b, 24b, 39b, 45, 54b, 61; obvious pad, fringed – 68b, 69b, 70

Girth detail- 7a, 8b, 11b (buckle and rivet detail); 12a (buckle), 15a, 24a, 55, 62, 68 (wide, fancy)

Sadlle straps and girth depicted clearly

Stirrup detail- 7b, 8b, 14, 39b

Other interesting facts/details- Halters- 40, 41, 42, 43 (lead ropes); Pack animal- 46b; Mule- 14b; Horse whips- 73b, Plowing- 10b, 11

Conclusion:
The Bayeux Tapestry remains a valuable resource for the historian researching life in Norman England. Because tack components are made from materials which do not survive through time easily, few extant examples of tack from the period exist. Therefore, equestrian historians wanting to investigate the types of tack used in this period have few sources to turn to for accurate information. The Bayeux Tapestry fills that void and provides us with an incredible glimpse into the equestrian world of Norman England.

Some variation can be contributed to artistic “license” of the individual embroiderer. It is evident there are several people working as changes in style and detail elements are common and follow segments. But amongst segments there is variation attesting to the fact that tack design did vary somewhat in style. but not in function.