Schiavoni, Venice (Fig. 232), in Pisano's beautiful drawing of an armed youth, now in the Louvre (Fig. 233), and in a very fine drawing in the Brera of Milan by an anonymous Italian artist, which shows a knight armed in a ponderous suit, strongly suggestive of the work of Tomaso (Fig. 234). All the armaments represented in these pictures display features either modified or exaggerated which can be seen in the existing suits we have described; with this advantage, that in the pictures the suits are represented with their full accomplishment of additional plates of defence and of chain mail, and also with the enriched rivets and the elaboration of strapping, characteristics all of which are missing in the actual armour of the time that is extant.
An image should appear at this position in the text. To use the entire page scan as a placeholder, edit this page and replace "{{missing image}}" with "{{raw image|A record of European armour and arms through seven centuries (Volume 1).djvu/267}}". Otherwise, if you are able to provide the image then please do so. For guidance, see Wikisource:Image guidelines and Help:Adding images. |  |
Fig. 228. From the battle-piece by Paolo di Dono, known as Uccello
Uffizi Gallery, Florence
The patron saint, St. Andrew (St. Cnut), represented in the imaginary portrait of Margaret, titular queen of Scotland, by Van der Goes, which is in the collection of His Majesty the King (Fig. 235), is depicted in a splendid suit of armour that we consider of Italian origin of the middle of the XVth century. There is, however, just the chance that it might be a German
