This article details the construction process for making a heraldic caparison. Obviously the first step in construction involved measuring
the horse and laying out the fabric for cutting.
I had made barding before, so I was able to
utilize part of this as a guide.
I also
utilized a modern stable blanket which fit the subject horse, Rex, to verify
sizing.
Barding, like
stable sheets or blankets, are not just
square pieces of cloth draped over the horse.
There are curves to fit the horse's
shoulders and rump areas.
By comparing
the layout to a "garment" which I know matched Rex's contours, I was assured the barding
would fit.
From this process, I
developed the following "pattern," incorporating color combination, ear
and eye slots, and plan. These measurements are raw, including seam allowances
of about
2 inch.
The project was sewn completely by hand, using period
stitches
. The back seams are all sewed with back
stitching as this is a very strong stitch and these seams were the most likely
to bear the greatest tension and stress through use.
The lining was attached with a hidden hem
stitch, with some whip stitching at stress points for greater strength and
reinforcement.
Whip stitch was used to
attach the ears to the main front piece. (See the article on this blog on making a surcoat for details and illustrations of these stitches.)
I started with the rear piece as this was the easiest, with
less structures and features (the front piece includes eye slots and ears, etc.).
I did not
have the benefit of a commercial pattern which tells you how to best lay out
the material for efficient use of expensive material.
The linen I was using cost about $24 a yard
so I wanted to be careful to cut the material out in the most conservative
manner.
I took extra time to carefully
consider the placement of the red and white pieces for optimal use of the
cloth.
The top red and white pieces
could be cut to extend to both sides, eliminating a seam along the horse's topline (backbone area), making it
stronger, and
this was a more efficient use
of the cloth.
These pieces were measured
first and sewn together.
The bottom white
pieces were added next. Lastly the red pieces, which are curved to 1) lie
better along the horse's
rump, and 2) prevent the piece from being too long and dragging on the ground
or tripping the horse's
hind legs, are cut out and attached.
At this point, the outer layer of the back piece was
complete. The next step was to paint the
heraldic eagles on the fabric. This has
to be completed before attaching the lining because the paint could leak
through the fabric onto the lining. I
used acrylic paint, because I have yet to learn to mix my own pigment or make
tempura paint as indicated in use by Cennini. First, I traced an eagle that I have used for other projects. Cennini says it was very period to do so. Placing this drawing under the material, I
traced its rough
image onto the fabric. I usually draw
all my artwork from scratch, but because this was being done on fabric where it
is much more difficult to erase, I wanted to ensure good proportion and size
before proceeding. The rough drawing
gave me a guide to finish the drawing. Removing it, I hand drew the eagle, adding the detail I wanted to
include. I decided to use white paint
to show the highlights of the image. I
started to paint the black areas and wanted to allow the white of the fabric to
show this detail, as a void of black paint, but the uneven-ness of the fabric
would not allow for a clear line.
I placed several sheets of paper under the fabric, which
laying flat, absorbed any paint that leaked through. This was especially important to prevent the
paint that did leak through from running and marring the image. I painted the black, leaving the white areas
void. I then painted these whites areas
with paint, straightening the edges. Again, because of the uneven-ness and absorption of the fabric, the
paint tended to extend over the edges of the black. Therefore, it was necessary to go back and
touch up any uneven-ness of the detail. Both eagles were completed on the rear piece.
 |
| Rear piece finished and folded. |
Once the paint was thoroughly dry, I was ready to line the
back piece.
I laid out the material for
the lining, measuring and sewing the seams.
Once this was completed, I laid out the outer layer on an open part of
my floor large enough that the entire piece was flat.
I laid the lining material on top and inch by
inch, worked my way around the fabric, turning under the edges towards each
other, and pinning them.
Having attached
the lining with pins, I sewed the two pieces together with a concealed hem
stitch.
I stitched using different colored
thread, based on the color of the outer piece, red or white, in order to
better conceal the stitches.
I found
this method of attaching the lining was preferable to the alternative method of
turning the right sides together, stitching the seems, leaving an opening, and
turning the whole thing out.
It
resulted in a smoother interface than I have experienced with the other method.
After the lining was sewn onto the outer layer, I tacked
together the layers at intervals throughout the span of the piece. I used a technique similar to that used in
upholstery. Several stitches were passed
through both layers, unknotted, at spaced intervals. This would prevent the layers from shifting
and sliding, as well as ballooning, but not be permanent so that, if needed,
they could be easily removed in the future in the event the lining needed
replacing.
The next phase of the project was to construct the front
piece. I determined that the bulk of the
head piece would be made from the red material and I worked on this first. The pieces were laid out and cut. I laid it out so that there was no seam along
the top of the neck, an area that would take a lot of stress and wear. The only seam was the piece over the
nose. I stitched this using a
backstitch, for strength. I attached
the white piece on the top, again, eliminating a top seam by the fact the white
extends on the other side. I then added
the red below and lastly the white. This
last piece is flared to allow for better hang and coverage of the chest as the
horse moves.
I cut out the eye and ear slots, based on measurements on my
target horse. It was difficult to fold
the material back inside on the circle, and where there were slight gaps in the
coverage, I reinforced the edges with extra whip stitching to prevent the cloth
from fraying. After stitching this
down, I turned the fabric over again, to make a double fold. I felt this was necessary to make a strong
edge around the eyes and ears.
Additionally, I needed to enlarge the holes slightly which I determined
from preliminary fitting on the horse. Once the outer layer was constructed, I painted the eagles on the front
piece, as was done on the back section.
When it came to the stage to attach the lining, I discovered
a problem.
I determined that I didn't have enough yellow linen left to line
the entire piece.
Calculating the
correct yardage requirements was difficult as I didn't
have a pattern or guide since this was all an original design.
The red and white amounts were sufficient as
both were used, but the yellow had to cover all areas.
I attempted to contact several local stores
to get more yellow, but none had it in stock, or available online.
So I was faced with a dilemma.
I decided to stitch together as much of the
yellow as I could and ended up with a small section to line in another
color.
I choose to line the remaining
area, in the head section, with white.
I
reasoned that white is a light color like the yellow, which makes the barding
cooler, and it has an aesthetic appearance.
 |
Head piece,
showing lining, ear and eye holes;
ears not yet attached. |
I laid out the largest piece of yellow cloth I had and then
attached four sections of other pieces to make the bottom half lining.
Because I had a limited amount of white left
as well, I had to piece together several pieces of this also.
Once these pieces were constructed and sewn together,
I laid them out as I had for the rear piece and attached them with pins,
folding the edges inside.
I did not pin
the areas that include the head piece as I would need to complete the ear and
eye holes on the lining, but was not ready to do so yet.
I sewed the edges as pinned.
Once this was completed, I was able to better
determine the location of the eye and ear holes on the lining.
These I cut out and folded back to match the
outer layer.
Once pined, I sewed these
edges.
I had yet to sew the seam which
extends down the length of the horse's
face. This was done from the inside by turning the seams inward and
whipstitching the edges.
Once this was
completed, I could pin down the jawline pieces and sew these seams, completing
the front piece.
 |
| Head piece, ears attached. |
The next part of constructing the front piece was the
attachment of the ear pieces.
Firstly, I
cut out and sewed together the two pieces.
I took measurements of my horse and compared it with commercial fly
masks I have which fit Rex.
(These masks
cover the top of the horse's
head and ears, protecting them from flies. Some extend down over the horse's face as well.)
Once completed, I attached them to the head
piece.
This was not a simple task.
They were difficult to pin and keep in position,
and when I initially pinned them, I whip stitched them loosely on, uncertain of
their final placement.
I considered
keeping it that way in case I found my horse would not tolerate the ears; they
could be more easily removed at an event.
But the white from the lining showed, presenting an unaesthetic
appearance.
Using the initial stitching
as a basting stitch, I re-pinned the ears and, once more securely attached,
re-stitched the ears with strong whipstitches attaching red to red.
Thus, no white showed and the ears were
securely attached.
It took careful
planning and a little luck to match the size of the ear bases to the size of
the opening as both are irregular.
I
did not line the ears because I felt this would add too much bulk and the added
weight would prove irritating to the horse.
The last phase in construction concerned the seam along the horse's jaw and chest area. As indicated,
in period artwork, it appears these seams were tacked loosely at intervals. I replicated this technique along the jaw, down the throat and neck area to the chest. This kept the edges
together, and the piece on the horse's
head, without restricting movement or breathing.
 |
Eye slots are definitely too small
and needed enlargement |
[Note: After writing this documentation, I have had occasion to use the caparison several times at equestrian events. I found I needed to make a few adjustments. The tacked areas were too snug so I released them. I have used the barding with these flaps loose, tucked into the bridle. This worked fairly well but allows the barding to shift. I intend to add ties to secure if more firmly. And the eye slots needed to be enlarged as they were entirely too small. If you make one of these pieces for your horse, I recommend that you cut the eyes out larger than you think they need to be sized.]
CONCLUSIONS AND SUMMARY
For some years I have been wanting to make a set of barding
which was both period in construction and aesthetic in appearance. I also wanted something that displayed my own
heraldry as was commonly done during the Middle Ages in battle and for the
Tournament. This dream started over
thirty years ago, with my first attempt at barding, a blanket barding and
strapping that I created out of a recycled old red velvet tablecloth. In the tradition of the early days of the
SCA, I used something cast out and worn to create a piece of medieval pageantry. During that time, horses weren't used much in the SCA, there being no
formal activities or rules permitting their use. So I used that first barding in costume
classes at mundane horse shows. It
later made an appearance at an SCA event, again resurrected, with a few
changes, as a Japanese set of barding for the 2008 Æthelmearc King's Equestrian Championship
competition. My next attempt at barding
was sequined blanket barding and bridle set, Arabian style, which I used on my
Arabian horses in parades. It made an
appearance as well at a later SCA event, on loan for a student. Clearly not constructed of period materials,
it was the farthest thing from authentic, but added to the pageantry of the
moment.
 |
| My first heraldic barding |
My next barding was during a time when SCA equestrian
activities had really taken off, and I wanted a more period looking set of
barding to use on my horses.
While
heraldically correct, and correct in design, it was not made utilizing period
techniques.
Additionally, it was
constructed of cotton which I learned from other SCA artisans, was not superior
to linen for coolness and wicking moisture.
I entered it in my first Ice Dragon Pent, and learned a lot from that
experience.
That set of barding
provided me with a proto-type, and was used for years during SCA activities.
With the completion of this current project,
my dream has been realized.
This barding, I believe, is aesthetically pleasing and it is period in construction,
proudly displaying my heraldry in a period manner. With this and the other
pieces that I have created, including a period bridle and saddle, saddle pad
and period clothing for myself, I hope to take to the tournament lists this
coming year in period style!
 |
The barding in use at an SCA event,
the Siege of Sylvan Glen |
1. The following
sources were consulted for period stitches: Website: Archaeological Sewing
techniques, 5 Feb 2010,
<http://heatherrosejones.com/archaeologicalsewing/index.html>; Website: Period stitches and extant
examples, March 2010, <http://www.personal.utulsa.edu/~marc‑carlson/cloth/stitches.htm>;
and
Website: Period stitches, Jan 2009, March 2010, <http://jauncourt.i8.com/stitches.htm>
2. Cennini,
Cennino d'Andrea.
The Craftsman's Handbook: "Il
Libro dell=Arte," trans. by Daniel V. Thompson, Jr.,
(New York: 1960). Chapter XXIII. This
source can be viewed online at
http://www.noteaccess.com/Texts/Cennini/.
