Nomads of the Golden Mountains of Altai

Yesterday when I was researching the post about horses in the ancient world, I was intrigued by the detail image of a Persian horseman on the so-called Pazyryk carpet that Lloyd Llewellyn-Jones included in his blog post. The Pazyryk carpet is considered the oldest surviving example of a pile carpet in the world and is thought to have been made around 400 BCE in Armenia or Persia.

It was discovered in a Scythian kurgan burial in the Pazyryk Valley of the Ukok plateau in the Altai Mountains, Siberia, south of the modern city of Novosibirsk, Russia. The tomb mounds discovered there are now part of the  Golden Mountains of Altai UNESCO World Heritage Site. 

The horseman of the Pazyryk culture apparently  accumulated great wealth through horse trading with merchants in Persia, India and China as evidenced by the variety of grave goods including Chinese silk, the pile carpet,  horses decked out in elaborate trappings, and wooden furniture and a full-sized burial chariot found there.   Some horses were provided with leather or felt masks made to resemble animals, with stag antlers or rams’ horns often incorporated in them. Bearded mascarons (masks) of well-defined Greco-Roman origin were also found.  Scholars think these may have been inspired by the Hellenistic kingdoms of the Cimmerian Bosporus. 

These finds were preserved when water seeped into the tombs in antiquity and froze, encasing the burial goods in ice until their excavation by archaeologists M. P. Gryaznov in 1929 and Sergei Ivanovich Rudenko in 1947–1949.

In his book, "The frozen tombs of Siberia: the Payryk Burials of Iron-Age Horseman," Rudenko comments on the close similarities between the equestrian and animal motifs of the Pazyryk carpet and the sculptures of Achaemenid Persepolis.

"Arranged chain-like men and beasts in certain spaces, obviously remind us of Achaemenid and Assyrian styles. Decorating horse tail and foretop is also a Persian tradition. Stablemen pace on the horse's left while their right hand is on its neck both in Persepolis statues and Pazyryk."

He also points out that the deer design is a yellow deer known as a Persian Fallow Deer or Mesopotamian Fallow Deer.

Five bodies were found in the Pazyryk burials during this period including a powerfully built man in his fifties thought to be a chieftain. The man was elaborately decorated with an interlocking series of striking designs representing a variety of fantastic beasts. The best preserved tattoos were images of a donkey, a mountain ram, two highly stylized deer with long antlers and an imaginary carnivore on the right arm. Two monsters resembling griffins decorate the chest, and on the left arm are three partially obliterated images which seem to represent two deer and a mountain goat. On the front of the right leg a fish extends from the foot to the knee. A monster crawls over the right foot, and on the inside of the shin is a series of four running rams which touch each other to form a single design. 

A carefully embalmed young female, dubbed the Siberian Ice Maiden, was discovered by archaeologist Natalia Polosmak in 1993 at Ukok, near the Chinese border. She had been buried over 2,400 years ago in a casket fashioned from the hollowed-out trunk of a Siberian larch tree. On the outside of the casket were stylized images of deer and snow leopards carved in leather.  Six horses wearing elaborate harnesses had been sacrificed and lay to the north of the chamber. Her hair was shaved off but she was wearing a wig and tall hat and was  clad in a long crimson and white striped woolen skirt and white felt stockings. Her yellow blouse was originally thought to be made of wild "tussah" silk but closer examination of the fibers indicate the material is not Chinese but was a wild silk which came from somewhere else, perhaps India. Like the chieftain, she had been tatooed with animal motifs including creatures with horns that transformed into flowers. Although Herodotus described the widespread use of cannabis by Scythian nomads, the seeds found in the tomb of the Ice Princess were only coriander, probably used to disguise the smell of the body.

In January 2007 a timber tomb of a blond chieftain warrior was unearthed close to the Mongolian border. Like the other individuals, the man was tattooed and he wore a well-preserved sable coat. What looks like scissors were found among his grave goods. Additional tombs were found as recently as the summer of 2012.

Detail of horseman on the Pazyryk carpet, 400 BCE, courtesy of Lloyd Llewellyn-Jones

The Pazyryk carpet 400 BCE, courtesy of the Hermitage Museum and Wikimedia Commons.

Detail of deer on Payryk carpet, 400 BCE, courtesy of the Hermitage Museum and Wikimedia Commons.

Funerary chariot found in a Pazyryk burial courtesy of Charles Recknagel and the Hermitage Museum.

Closeup of a felt saddle pad from a Pazyryk burial mound courtesy of Charles Recknagel and the Hermitage Museum

A saddle found in the Pazyryk tombs, showing the same kinds of tassels that can be seen on the saddles depicted in the Pazyryk carpet courtesy of Charles Recknagel and the Hermitage Museum.

Wooden table found in a Pazyryk burial mound courtesy of Charles Recknagel and the Hermitage Museum

A gilded wooden figurine of a deer from the Pazyryk burials, 5th century BCE courtesy of the Hermitage Museum in St. Petersburg, Russia and Wikimedia Commons.

Fifth century BCE bridle with wooden Hellenistic motifs, Pazyryk Culture, courtesy of the Hermitage Museum in St. Petersburg, Russia

Wood and leather finial of a griffin with a stag in its beak, Pazyryk Culture, 5th century BCE, courtesy of the Hermitage Museum in St. Petersburg, Russia

Mask with Antlers for a Horse Head, Pazyryk Culture, 5th century BCE, courtesy of the Hermitage Museum in St. Petersburg, Russia

This plaque in the shape of a griffin standing on the defeated ibex served as decoration of the headdress of a noble warrior. The entire composition is raised in relief from a sheet of gold. The griffin's head is hollow. Its figure seems enormous as compared with that of the ibex. The ibex is depicted with its hind quarters twisted upwards, which is typical of Altaic art. The griffin's body was richly decorated in a cloisonne technique, but the insets have not survived. This composition is similar to that of the leather object found in the Pazyryk Barrow No. 2 in Altai. The ibex's posture and the decorative devices are identical to the depictions on the saddle covers from the Pazyryk Barrow No. 1. Thus this splendid aigrette can be attributed to the 5th to 4th century BCE. Besides, we see that the whole composition, particularly the griffin, was produced under the influence of the Achaemenid art, courtesy of the Hermitage Museum in St. Petersburg, Russia.

Leather, fur, and gold foil headdress, Early Iron Age, Pazyryk Culture, courtesy of the Hermitage Museum in St. Petersburg, Russia

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The horse: A perfect gift to a Persian (or Parthian)

"For a nomadic people like the Persians, the horse had a significant practical and symbolic purpose and the importance of horses among the Iranian nobility is evidenced by the fact that many of them bore names compounded with the Old Persian word aspa – ‘horse’, observes Lloyd Llewellyn-Jones, Senior Lecturer in Ancient History at the University of Edinburgh.  "Several of Darius I’s inscriptions note that Persia was a land containing both good men and good horses (DZe §1; DPd §2) and Herodotus famously states that Persian fathers were intent on teaching their sons ‘to ride, to draw the bow, and to speak the truth’ (1. 136; see also Strabo 15. 3.18). The premium Persian horses were bred in the alfalfa-rich plains of Media, and it was here that the main royal stud farms were located (Polybius 10.70). Most prized of all were those steeds bred on the plains of Nisaea near Ecbatana and Bisitun, and Nisaean horses became celebrated for their magnificence, fine proportions, and swiftness (Herodotus 3. 106, 7. 40; Aristotle, History of Animals 9. 50.30). Nisaea is said to have sustained 160,000 horses (Diodorus 17.110), although stiff competition came from Media and Armenia which were also used for breeding good steeds (Strabo, Geography 11. 13.7; 11. 13.8, 14.9), as were the provinces of Babylonia (where one satrap possessed 800 stallions and 16,000 mares; Herodotus 1. 192), Cilicia (which provided an annual tribute of 360 white horses, Herodotus 3. 90), Chorasmia, Bactria, Sogdiana, and lands of the Saka which provided the Empire with its cavalry."

The Persepolis texts tell us that individuals who safeguarded the royal horses and officials serving as Masters of the Horse were paid well and enjoyed a diet of regular meat. Horses symbolized wealth and status and appeared in courtly ideology to model the ideal warrior image. They were also the center of aristocratic pastimes including hunting and racing.

According to Xenophon, the finest present to give a Persian was a horse and horses served as exceptional religious sacrifices.  

"As founder of the Empire, Cyrus II was honored with a horse sacrificed to his soul every month (Arrian, Anabasis 6. 29.7.)," states Llewellyn-Jones. "Moreover, the infamous tale recounted by Herodotus (3.85) of how Darius I acquired his kingdom through a trick involving the neighing of his horse is, in all probability, a Greek misunderstanding of the Iranian practice of hippomancy, or divination through the behavior of horses (see also Ctesias F13 §17), demonstrating the deep-set importance of the horse as a hallowed species in the Iranian consciousness."

Image: Procession of nobles, possibly from Palmyra, Syria, 100-150 CE, limestone, now in the collections of the Cleveland Museum of Art, image courtesy of the museum.

Palmyra was a key center for trade between the Roman and Parthian Empires. This unique relief at the Cleveland Museum of Art has been associated with Palmyra only through stylistic comparisons because its find spot is unknown. 

"It depicts men in Parthian dress riding Arabian horses with bejeweled harness trappings ahead of riders on camels—a possible reference to the caravans that made Palmyra so wealthy. Although all of the riders are dressed and equipped as Parthians, the proportions and perspective of the scene seem to be informed by Greco-Roman conventions. It may depict a ceremonial procession." - Cleveland Museum of Art

The museum defines the horses as Arabians but their body structure is quite stocky, not at all like the Arabian horses of our time. Yet, a 2017 study by evolutionary biologist Barbara Wallner at the University of Veterinary Medicine in Vienna concluded that nearly all modern horse breeds can be traced to two distinct, ancient Middle Eastern lines, the Arabian and the now extinct Turkoman horses from the Eurasian Steppe. Wallner and her colleagues studied variations in a segment of DNA along the Y chromosomes of 52 modern male horses that represented 21 modern breeds then expanded their analysis to include 363 males representing 57 modern breeds.  

 

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Archaic Period Horse Sculptures

 Horses, with or without riders, were favorite subjects for Boeotian artisans. The figurines were frequently left as burial offerings in graves. Horses were a sign of wealth for the Greeks of this period, and the terracotta horses were probably left to symbolize and to reinforce the high status of the deceased. Thousands of clay figurines like this one survive from the Archaic period (600 to 480 BCE).

"Horses played a central role in the great civic festivals in the ancient world, such as the Panathenaic Games in Athens and the Olympic games at Olympos, where they took part in chariot races and single horse races. The horse’s long affiliation with gods and heroes in Greek mythology no doubt also fostered a special respect and admiration for this remarkable creature in the minds of “ordinary” Greeks. In Homer’s Iliad, horses drive the chariots of the heroes and are praised for their swiftness and beautiful coats. They are often depicted as having special relationships with their owners, like Achilles and his immortal horses, Balius and Xanthus.  In the Iliad, it is told how, when Patroclus was killed in battle, Xanthus and Balius stood motionless on the field of battle, and wept, yet when Achilles rebuked Xanthus for letting Patroklus get slain, Hera granted the horse human speech to deliver to Achilles a warning about his own fate." - Stasahatzoglou, The significance of the horse in ancient Greece.

Terracotta horse and rider, Greek, Boeotian, about 550 BCE, courtesy of the Getty Villa in Pacific Palisades, California.

Archaeic Period Horse and Rider from Cyprus, 700 BCE 

Pyxis Lid with Three Horses Greek made in Boeotia 760-750 BCE Terracotta that I photographed at the Getty Villa in Pacific Palisades, California

Terracotta horse with warrior rider Cypriot Cypro-Archaic I-II 600 BCE said to be from the temple of Apollo Hylates at Kourion that I photographed at the Metropolitan Museum of Art in New York.

Terracotta wheeled horse thought to be a toy Cypriot Cypro-Archaic 6th century BCE that I photographed at the Metropolitan Museum of Art in New York

A BOEOTIAN TERRACOTTA HORSE AND RIDER, 575-550 BCE,  courtesy of Christies

Greek Horse and Rider 6th century BCE Terracotta with slip decoration courtesy of The Barnes Foundation

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Lorica squamata

Lorica squamata, was  a type of scale armor used during the Roman Republic and in subsequent periods. It was made up of small metal scales sewn together to form the armor. It is commonly seen in illustrations of banner bearers , musicians, centurions , cavalry troops, and even auxiliary infantry images, although it could have also been worn by regular legionaries. This type of armor was the same length as lorica hamata, with the same doubled shoulder straps.

The individual scales were made of iron or bronze , and sometimes both metals were alternated in the same armor.  Some scholars have also suggested the use of hardened leather as well.  The scales were tied with wires in horizontal rows, these being in turn sewn or tied to the inner lining.  A complete example of lorica squamata has never been found.  Loose scales, on the other hand, have been found in numerous excavations including those in a non-military context.

While looking through my images from the Capitoline Museum I found this beautiful relief of a cavalryman wearing lorica squamata. I can only assume it is from the Republican period because I did not photograph any identity cards, could not find it using the Capitoline Museum's collections search or find it among Wikimedia Commons reliefs in the collections of the Capitoline Museums. 

The second image is a reconstruction of a centurion wearing lorica squamata photographed by Wikimedia Commons contributor Wolfgang Sauber at the Museum Quintan, an archaeological museum in Kuenzing, Germany.

 

 

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Etruscan chariots

 

Silver panel, perhaps from a parade chariot or piece of furniture, overlaid with electrum and decorated in repoussé relief with two riders, perhaps taking part in a horse-race, with a fallen comrade below, Etruscan, 540-520 BCE, found in the Castel San Mariano near the city of Perugia.

Perguia, first called Perusia in the ancient sources, was one of the 12 confederate cities of Etruria.  The league was mostly an economic and religious league, or a loose confederation, similar to the Greek states.  The historical Etruscans had achieved a state system of society, with only remnants of the chiefdom and tribal forms used by surrounding Italics. The government was viewed as being a central authority, ruling over all tribal and clan organizations and wielding the power of life and death. The gorgon was revered as an ancient symbol of that power, and frequently appeared as a motif in Etruscan decoration.

The individual referred to as a "fallen comrade" in this Archaic period relief appears to somewhat resemble a gorgon and, as such, may represent the presence of death in such competitions or victory over death. (only my humble opinion, though)

Perusia was not mentioned in the ancient sources until, Q. Fabius Pictor's account, utilized by Livy, of the expedition carried out against the Etruscan League by Fabius Maximus Rullianus in 310 or 309 BCE. At that time a thirty-year indutiae (truce) was agreed upon. However, in 295 BCE Perusia took part in the Third Samnite War.

At the decisive Roman victory at Sentinum, the enemy fielded over 1,000 chariots (although I doubt any of these were plated with silver) along with 60,000 infantry and 40,000 cavalry.  The Roman consuls Quintus Fabius Maximus Rullianus who commanded the right and Publius Decius Mus who commanded the left were ultimately victorious after Publius Decius decided to devote himself to galvanize the troops. This term refers to a military commander offering prayers to the gods and launching himself into the enemy lines, effectively sacrificing himself, when his troops are in dire straits. His father had done the same at the Battle of Vesuvius (340 BCE). 

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Epona

 The worship of Epona, "the sole Celtic divinity ultimately worshipped in Rome itself",  was the patroness of cavalry and widespread in the Roman Empire between the first and third centuries CE.  This is unusual for a Celtic deity, most of whom were associated with specific localities.  Evidence of her worship was first found in the Danubian provinces and scholar Fernand Benoît asserted that she had been introduced in the limes of Gaul by horsemen from the east.  However, although the name is Gaulish, dedicatory inscriptions to Epona are in Latin or, rarely, Greek. They were made not only by Celts, but also by Germans, Romans, and other inhabitants of the Roman Empire. An inscription to Epona from Mainz, Germany, identifies the dedicator as Syrian.

Epona's feast day in the Roman calendar was given as December 18 on a rustic calendar from Guidizzolo, Italy. She was incorporated into the imperial cult by being invoked on behalf of the Emperor, as Epona Augusta or Epona Regina.

Perceptions of native Celtic goddesses changed under Roman hegemony. only the names remained the same. As Gaul was Romanized under the early Empire, Epona’s sovereign role evolved into a protector of cavalry. The cult of Epona was spread over much of the Roman Empire by the auxiliary cavalry, alae, especially the Imperial Horse Guard or equites singulares augustii recruited from Gaul, Lower Germany, and Pannonia. A series of their dedications to Epona and other Celtic, Roman and German deities was found in Rome, at the Lateran. Her cult is said to have been "widespread also in Carinthia and Styria."

Epona relief from the Limes fort Kapersburg, 2nd century CE, in the Wetterau Museum in Friedberg with the inscription: In h(onorem) d(omus) d(ivinae) de(ae) Epon(ae) Bilic[i]/us Gematus col(l)eg(ii)s su[i]/s de iu[s(su)] de(ae) I[mp(eratore) C]a[e]s(are) L(ucio) Sep[t(imio)] / [Severo] A[rabic]o Adia[b(enico)] / [Parth(ico) ma]xi[mo] co(n)s(ule) II[I]. Image courtesy of Wikimedia Commons contributor Haselburg-müller.

Copper alloy figure of the goddess Epona, seated between two ponies, Romano-British, at the British Museum.

Gallo-Roman bas-relief in Saint-Béat marble representing the Celtic goddess Epona courtesy of Wikimedia Commons contributor Ecole d'Agassac (31).

The worship of Epona in Thessaloniki may have been introduced by Galerius, who was descended from a region along the Danube. This relief is the only evidence of Epona's cult in Macedonia. 4th c. CE now in the Archaeological Museum of Thessaloniki, Greece, courtesy of Wikimedia Commons contributor Tilemahos.

Replica of the figure of the horse goddess Epona found in the former Roman vicus in Boppard, Germany courtesy of Wikimedia Commons contributor Christian Kipping.

Silver dish in the shape of a shell, detail of the central medallion representing the goddess Epona surrounded by two foals. From the Rethel treasure, collected around 270 to 280 CE. courtesy of Wikimedia Commons contributor Zunkir

Sculpture of Épona, 2nd, 3rd-century, sandstone, found in Le Hérapel site (Cocheren, Moselle, France now in Metz Museum courtesy of Wikimedia Commons contributor Fab5669.

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The widespread myth of winged horses

 According to Greek myth, the immortal winged horse Pegasus and his brother Chrysaor were born from the blood issuing from Medusa's neck as Perseus was beheading her.  In another version, when Perseus beheaded Medusa, the winged horses were born of the Earth, fed by the Gorgon's blood. A variation of this story holds that they were formed from the mingling of Medusa's blood, pain and sea foam, implying that Poseidon was involved in their creation. The last version bears resemblance to Hesiod's account of the birth of Aphrodite from the foam created when Uranus's severed genitals were cast into the sea by Cronus.

Pegasus was captured and raised by the hero Bellerophon who engaged in fighting off monsters. The hero competed with the gods and this angered Zeus, who struck down the horse, turning Pegasus into the beast of burden who carried lightning bolts at Zeus's palace. 

Everywhere the winged horse struck his hoof to the earth, an inspiring water spring burst forth. One of these springs was upon the Muses' Mount Helicon, the Hippocrene ("horse spring"), opened, Antoninus Liberalis suggested, at the behest of Poseidon to prevent the mountain swelling with rapture at the song of the Muses.  Another was at Troezen. Hesiod relates how Pegasus was peacefully drinking from a spring when the hero Bellerophon captured him.

Pegasus allowed Bellerophon to ride him in order to defeat the monstrous Chimera. The hero then went on to achieve other heroic acts and attempted to fly to Mount Olympus to join the gods. This angered Zeus, who caused Bellerophon to fall from the winged horse's back then struck down the horse, turning Pegasus into a beast of burden who carried lightning bolts at Zeus's palace. 

In ancient art, the oldest winged horses appeara on Assyrian seals in the 13th century BCE.  Winged horses appear not only in Greek and Roman art but in the art of the Etruscans, Koreans, Indians, Chinese, and the Tatars.  From the middle of the 7th century BCE, Pegasus is represented in flight in Greek art until the Archaic Period when he is often depicted fighting alone without wings against the Chimera. 

Pegasus is most often represented alone, or accompanied by Bellerophon fighting the Chimera, in which case the most classic representation shows the hero in the saddle, brandishing a spear facing the monster. A tradition from the archaic era presents the hero dismounted before fighting. Pegasus is also represented alongside the Muses.  Pausanias attests that Pegasus was an ornamental figure in ancient architecture such as in Corinth, where heroic worship was paid to Bellerophon and a statue of this hero and of the horse Pegasus decorated the temple of Poseidon.  The Romans associated Pegasus with the Emperor Augustus and it became the emblem of several Roman legions including Legio II Adiutrix and Legio II Augusta.

A Fine Greek Late Classical Bronze Forepart of a Winged Pegasus, 5th century BCE at the Miho Museum in Kyoto, Japan.  This Pegasus image is thought to have originally been an ornament on some object, and for all of its small scale, it is a truly impressive example of detailed sculpture. The point of attachment of the wings, their middle section and their curving tips form a composition that can frequently be seen on such imaginary winged magical beings as the sphinxes, sirens and gorgons seen on Archaic vase painting. The style of the wings on this small Pegasus thus forms a remaining archaic element, while the wings themselves are created in a detailed sense of real wings. The face has a piercing gaze, and the wrinkles around the mouth and point of attachment of the jaw, the nostrils with their raised blood veins are all elements of this detailed expression, with the curved wings giving a sense of tension to the sculpture that adds to its life-like expressive power. These elements all accord with the severe style of the early period in Greek classical art. Similar examples from the same period can be found in the Vatican Museum's Pegasus shaped roof ornament from 5th century BC Etruria. Like the exhibited work, the Vatican Pegasus has the severe early classical Greek style combined with elements of the Archaic style.  This small sculpture gives a realistic depiction of the sacred horse's majesty as he appeared in the world of myth, and can be said to reveal the highest levels of refined artistry of this period. - Miho Museum

 

Winged horse, used to decorate a tool whose shape and use are unknown. Bronze figurine, made in a workshop in northwestern Greece (perhaps Ambrakia), third quarter of the 6th century BCE. From Dodona in Epirus, courtesy of Wikimedia Commons contributor Marie-Lan Nguyen.

Bellerophon fighting the Chimera. Side A of an attic black-figured “overlap” Siana cup, ca. 575–550 BCE. Found in Camiros (Rhodes) now in The Louvre, courtesy of Wikimedia Commons contributor Bibi saint-Pol

Plate with chimera and Bellerophon on Pegasus by the Painter of Baltimora (Apulia), 350-300 BCE at the Palazzo Massimo in Rome, courtesy of Wikimedia Commons contributor Sailko 

Mosaic emblema with Pegasus, the immortal winged horse which sprang forth from the neck of Medusa when she was beheaded by the hero Perseus, 2nd century CE, Archaeological Museum of Córdoba, Spain , courtesy of Wikimedia Commons contributor Carole Raddato

Fragment of capital with winged horses, from inside the cell of the temple of Mars Ultor in the forum of Augustus, c. 2 BCE, courtesy of Wikimedia Commons contributor Sailko

Gold pediment-shaped brooch with Pegasus, Greek, 340-320 BCE, at the Metropolitan Museum of Art in New York.

Terracotta plaque depicting Perseus riding a wingless horse slaying Medusa with wings  Greek 490-470 BCE from Melos that I photographed at "The Body Beautiful in Ancient Greece" exhibit at the Portland Art Museum in Portland, Oregon.  The presentation was originally assembled by the British Museum.

Bronze plate with the foreparts of winged horses emerging from the rim of the plate, Greek, 2nd half of the 6th century BCE that I photographed at the Metropolitan Museum of Art in New York.

Greek Chariot Ornament Depicting Pegasus the winged horse of Perseus, Greek, 5th century BCE Bronze that I photographed at the Walters Art Museum in Baltimore, Maryland. "This ornament of the foreparts of the winged-horse Pegasos decorated a pole that would have connected a chariot to a horse. Careful modeling and incised decoration create a detailed representation of this mythical creature that signified speed. A coiled snake rears up behind Pegasos' head." - Walters Art Museum

Mosaic of Pegasus in Split Archaeological Museum, Split, Croatia, courtesy of Wikimedia Commons contributor Bernard Gagnon.

Pebble mosaic depicting Bellerophon killing Chimaera, in Rhodes archaeological museum, 300-270 BCE, courtesy of Wikimedia Commons contributors TobyJ and Speravir.

Kylix with scene of Gigantomachia including Pegasus, Attic, 490 BCE from Vulci by the painter of Brygos at the Antikensaammlung, Berlin, courtesy of Wikimedia Commons contributor Sailko 

Bellerophon slaying the Chimera mounted on Pegasus. Central medallion restored with a Roman mosaic of over 100 m2 discovered in 1830 in Autun, courtesy of Wikimedia Commons contributor Félix Potuit

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Horse trappings in the time of Alexander the Great

The power of mobility  given by mounted units in warfare was recognized early on, but was offset by the difficulty of raising large forces and by the inability of horses (then mostly small) to carry heavy armor. Nonetheless, there are indications that, from the 15th century BCE onwards, horseback riding was practiced amongst the military elites of the great states of the ancient Near East, most notably those in Egypt, Assyria, the Hittite Empire, and Mycenaean Greece. Cavalry techniques, and the rise of true cavalry, were an innovation of equestrian nomads of the Central Asian and Iranian steppe and pastoralist tribes such as the Iranic Parthians and Sarmatians.  Initially, riders had no spurs, saddles, saddle cloths, or stirrups. Fighting from the back of a horse was much more difficult than mere riding. The cavalry acted in pairs. The reins of the mounted archer were controlled by his neighbor's hand. Even so, at this early time, cavalry used swords, shields, spears, and bows.

During the classical Greek period cavalry were usually limited to those citizens who could afford expensive war-horses. Three types of cavalry became common: light cavalry, whose riders, armed with javelins, could harass and skirmish, heavy cavalry, whose troopers, using lances, had the ability to close in on their opponents, and finally those whose equipment allowed them to fight either on horseback or foot. The role of horsemen did however remain secondary to that of the hoplites or heavy infantry who comprised the main strength of the citizen levies of the various city states. However, Thebes produced Pelopidas, their first great cavalry commander, whose tactics and skills were absorbed by Phillip II of Macedon when Phillip was a guest-hostage in Thebes. Thessaly was widely known for producing competent cavalrymen, and later experiences in wars both with and against the Persians taught the Greeks the value of cavalry in skirmishing and pursuit. The Athenian author and soldier Xenophon in particular advocated the creation of a small but well-trained cavalry force; to that end, he wrote several manuals on horsemanship and cavalry operations.

Phillip and later, his son, Alexander, went on to develop both the heavy Companion cavalry as well as lighter horsemen, the prodromoi, for scouting and screening. Alexander also employed the Ippiko, a heavy cavalry armed with a kontos (cavalry lance) and sword who wore leather armor or mail and a helmet.

Images: Horse trappings dating to the time of Alexander the Great I photographed at the British Museum.  The fierce faces on the roundels depicting satyrs and a bearded man were meant to intimidate the enemy:

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