armoured (Fig. 991); yet his horse is without protection though caparisoned with strap-like ornaments of what appears to be gilded leather. St. George rides straight-legged with the heel well down; he is in a most comfortable saddle, which a good deal resembles that on the Colleoni statue (Fig. 989). Again, none of the famous battle-pieces of Uccello (Vol. i, Fig. 238) shows the horses protected; nor in the works of that great pageant painter, Benozzo Gozzoli, does horse armour ever figure as a feature of the picture. The only recollection which the present writer has of the representation of a chanfron of a simple type in an Italian painting of this date is that shown in Carpaccio's celebrated picture in the Accademia of Venice, "The Ten Thousand Martyrs" (Fig. 992).
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Fig. 994. Chanfron
Probably Spanish, about 1480 From the armoury of Charles V F 110, Royal Armoury, Madrid
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Fig. 995. Chanfron
Late XVth century. It is the tradition that it was the chanfron of the horse ridden by Francis I at the battle of Pavia. From the armoury of Charles V. F 113, Royal Armoury, Madrid
In the Stibbert Armoury of Florence is to be seen an equestrian suit (Fig. 993), composite but effective in its general appearance, representing an armed Italian knight. The croupière of the horse is of plate—strangely German in style; though according to the statement of the late Mr. Stibbert it was discovered, together with the crinet and chanfron, in southern Italy
