59201 m1366

Es: Italian light infantry, jrst half ofthe iyth century

The role of light infantry was vital in those sieges that dominated Italian Renaissance warfare. This man wears a velvet-covered sallet and carries the large wooden shield that became characteristic of Italy’s infantry. Apart from a padded aketon his only armour is a leg harness worn on the vulnerable left leg, which was normally advanced forward when fighting in ranks. (‘Rout of San Romano’, by Uccello, c. 1455, Uffizi Gallery, Florence; ‘Camp scene’, Veronese manuscript drawing, early 15th century, British Museum, London.)

Ej: Artilleryman, early iyth century Bombards (in the background) and other forms of cannon were widely used in Italy. At first they were mounted on frames without wheels. This gunner carries a stone cannon-ball and has a touch thrust into his belt. This was an iron rod to be heated in a brazier and then used to fire the gun. He also wears a late 14th century bascinet, modified and with its visor removed. (Italian bombard, early 15th century, Artillery Museum, Turin; modified Italian bascinet, c.1400, Wallace Collection, London.)

F: Malatesta and Montefeltro Fi: North Italian light caoalrymen, c.1460 Fifteenth century Italian light cavalry were ąuite heavily armoured by earlier standards. This man wears a barbuta, a form of sallet that gave good protection while not restricting its wearer’s breathing. His armour also lacks the heavy pauldrons that tended to restrict arm movement. Notę the lance-rest on his breastplate. (Milanese armour madę for Frederick I, c. 1450, Waffensam-lung, Vienna; Milanese armour madę for Ulrich IX, c. 1445, Churburg Castle; Milanese sallet, c. 1450, Scott Coli., Glasgow; fresco from Sab-bionara, mid-i5th century, Diocesan Museum, Trento.)

F2: Italian knight, c.1460

This horseman wears the fuli eąuipment designed for jousting with the lance. The large crest on his helmet would normally have been reserved for tournaments or parades, while the large pauldrons on his shoulders completed his overall protection.

The condottieri leader Niccoló da Tolentino defeating the Sienese in 1432 at the Rout of San Romano. This painting, madę by Uccello between 1450 and 1459, illustrates the eąuipment of that datę rather than of the year of the battle itself. (National Gallery, inv. 583, London)

His horse’s armour consists of a head-protecting chamfron, a scalę crinet and a rigid iron bard beneath a heraldic caparison. Such defences madę the animal slow but almost as impervious to attack as its rider. (‘Rout of San Romano’, by Uccello, c. 1460, National Gallery, London; Milanese armour, c. 1440—60, Scott Coli., Glasgow; Florentine cassone chest, c. 1450-70, National Gallery, Dublin; Milanese horse-armour, c.1450, City of Vienna Historical Museum; portrait of Federigo de Montefeltro by Della Francesca, c. 1470, Brera Gallery, Milan.)

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