The most interesting picture in the National Gallery (Fig. 8) to the student of armour, however, is that representing the battle of Sant' Egidio by Uccello, fought in 1416, when Carlo Malatesta, Lord of Rimini, and his nephew Galeazzo, were taken prisoners by Braccio di Montone. Uccello was born in 1397 and died in 1475, but there is no evidence as to the year in which the picture was painted. It appears to represent an attempt to rescue the Lord of Rimini, by a knight clothed cap-à-pie in very advanced plate armour and wielding a horseman's hammer. The breast and back plates are articulated; tuilles, where worn, are very short; the large pauldrons are of very varied construction, and either roundels or coudières with butterfly expansions are worn indifferently; in all cases the figures are completely cased in plate armour, though some wear mail gorgets, except that Malatesta has been partly disarmed and is protected by mail alone. De Commines observes that it was the law of arms in Italy to strip those taken to their shirts and dismiss them. The chief interest lies in the head-pieces, which, except in the cases of the prisoners and some trumpeters, are closed armets with baviers and visors hinged at the side, of varied form, the occularia being in all cases notched out at the upper margin of the visor and forming either round or half-round holes or slits. These armets are provided with most fantastic crests and plumes, the crown of the helmet being in several cases covered with velvet, overlaid with goldsmith's work and merging into the crest. All have the roundels at the back of the neck. [Illustration: FIG. 9.--_Carved Relief for the Visconti Tomb in the Certosa at Pavia. South Kensington Museum._] Another notable representation of an Italian battle (Fig. 9), in which the mounted combatants are clothed in complete typical Gothic armour, is to be seen in the cast from the Visconti Tomb of the Certosa, Pavia, in the South Kensington Museum. The armour is of the most beautiful type, and the figures are singularly supple and full of action. The armet is more fully developed and almost uniform in type. The visor works on pivots, the occularium is a slit above it, and the bavier is a separate piece fastened by straps at the back. The event represented is the battle before Brescia in 1402. As a full-sized representation of the latest Italian Gothic armour nothing can perhaps be finer than the fifteenth century effigy of Guidarello Guidarelli surnamed Braccioforte from Ravenna, of which there is also a cast in the South Kensington Museum. The tuilles are flexible and pointed, formed of narrow horizontal plates; the shoulder-plates are bossed into lions' heads; and the armet has a double visor without bavier. The statue of St. George, made by Donatello for the Florentine corporation of armourers in 1416, is almost Roman in costume and of little interest.