The western stock saddle is descended from the sixteenth century Spanish war saddle, and the later vaquero (cowboy) saddle of colonial Mexico. By 1700, the vaquero saddle had achieved its basic form: an open rawhide-covered tree with low cantle and pommel, rudimentary capped horn and single cinch rigging. A century later, this saddle featured a slip-on leather cover, or mochila, and displayed regional variation in form and ornament.

Between 1830 and 1870, American influences in the Southwest transformed the vaquero saddle into a truly functional tool for the expanding range cattle industry. Special uses and regional preferences in working methods, however, dictated differences in construction and form. Californians, for example, developed light, graceful saddles with single, center-fire rigging, rounded mochilas or skirts, and slender horns adapted to the "dally" method of roping. In contrast, Texans favored heavier double-rigged saddles with large square mochilas, and preferred thicker, squat horns for tying their ropes "hard and fast."

The western stock saddle, which appeared as a distinctive type by 1870, underwent continuous modification for the next fifty years. Mochila or Mother Hubbard saddle covers gave way to integral skirts, jockeys, and fenders. Half, three-quarter, and full leather seats evolved and deepened as cantles, pommels, and horns became more prominent during the 1880s and 1890s.

Two basic styles emerged: the traditional square-skirted, double-rigged Texas saddle which spread over the Great Plains, and its California cousin with rounded skirts and single rigging, characteristic of the Pacific Coast and Northwest regions. Local artisans and regional tastes produced hybrids with distinctive modifications. Perhaps the most significant variant of styles occurred in the Montana saddle with its single three-quarter rigging, moderate square skirts with rounded corners, medium slender horn, and three-quarter loop seat.

Around 1900 the sport of rodeo began to influence saddle architecture. The "well" of the forks or pommels widened in response to the needs of bronc riders, while the roping events spawned saddle trees with low pommels and cantles. After about 1920, saddles throughout the West began to share attributes previously specific to certain regions. Today, it is nearly impossible to identify the origin of a contemporary stock saddle by its construction or architecture alone.

Master Saddlers of the West

Among the hundreds of western saddlemakers in business between 1870 and 1970, only a handful established widespread reputations as masters of their craft. While some rose to prominence through innovation in design or a flare for marketing, most built their acclaim on superior workmanship.

Many of these master saddlers also originated famed saddletree designs or recognized saddle styles. Others founded such noted saddle manufacturing centers as Cheyenne, Wyoming; Visalia, California; Miles City, Montana; and Pueblo, Colorado. For the working cowboy however, their products simply represented comfort, durability, and status

Having established local and regional reputations for excellence, many master saddlers tried to widen their markets through advertising. One popular method involved the distribution of photographic trade cards depicting individual saddle designs. As business expanded, attractive catalogs, published in series over the years, spread the word both nationally and internationally.

Over the years, saddlers, like so many other craftsmen, have embellished their creations to enhance their appearance and value. While pleasing lines and fine workmanship contribute, the most obvious aspect of a saddle's aesthetic merit lies in the application of ornamentation.

The carving and stamping of leather surfaces, perhaps the most typical ornamental element, lends durability as well as beauty. Other forms of ornamentation commonly include embossed and engraved silverwork, and, to a lesser extent, the use of embroidery on leather surfaces. At its finest, such embellishment compliments both the essential form and intended use of the saddle.

Available in a variety of styles, the tree is the foundation of the saddle and dictates the architecture of the finished product. Comprised of the cantle, sideboards, and pommel, saddletrees are commonly made of wood with a shrink-fitted rawhide covering which lends rigidity and strength. Aluminum and molded fiberglass have also been used in saddletree construction on a limited basis.

Saddle horns were originally an integral, carved portion of the pommel or fork. During the 1880s, however, more reliable cast iron horns supplanted wooden varieties. Depending on regional taste and roping style, horns vary in their height, thickness, slope or pitch, and cap size and shape.

To Learn More About It

Those interested in the history and construction of the western stock saddle may wish to consult the following books on the subject. Many of these works are available at your local library.

Ahlborn, Richard E. ed. Man Made Mobile: Early Saddles of Western North America. Smithsonian Institution Press, Washington, D.C., 1980.
Beatie, Russel H. Saddles. University of Oklahoma Press, Norman, OK, 1981
Laird, James R. The Cheyenne Saddle. Westerners International, Cheyenne, WY., 1982.
Rice, Lee M. and Glenn R. Verman They Saddled the West. Cotnell Maritime Press, Inc., Cambridge MD, 1975.
Verman, Glenn R. Man on Horseback. Harper & Row, Publishers, New York, NY, 1964.

Additional material can be located in periodicals such as The Cattleman, Persimmon Hill and Western Horseman.

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