for Navarre as they supported the claim to the French throne of King Charles the Bad of Navarre. In 1379 the ever-difficult citizens of Ghent rose up against Duke Philip the Bold of Burgundy wearing white chaperons. White was also worn in factional disturbances in Paris in 1413, by opponents of the Armagnacs, during one of King Charles VI's bouts of madness. The chaperon was one of the items of male clothing that featured in the charges brought against Joan of Arc at her trial in 1431. This was apparently a hat rather than a hood, as she was stated to have taken it off in front of the Dauphin – this was cited as further damning evidence of her assuming male behaviours. In 15th century Florence, cappucci were associated with republicans, as opposed to courtiers (see gallery). An advisor to the Medici told them in 1516 that they should get as many young men to wear "the courtier's cap" rather than the cappucci. Part of the connotation seems to arise because the chaperon was too complicated to be taken off on meeting one of higher rank (in Florence at any rate); it was merely touched or pushed back on the head slightly. The cappuccio in Renaissance art In addition to being featured in many Renaissance portraits by virtue of being the fashion of the day, the Italian cappuccio was of interest because the mazzocchio's shape made it a good subject for the developing art of perspective. The painter Paolo Uccello studied the perspective of the mazzocchio and incorporated it in some of his paintings (e.g. in The Counterattack of Michelotto da Cotignola at the Battle of San Romano). Apart from portraits, many of the best, and least formal, depictions of the chaperon in art come from paintings of the Nativity and other scenes of the early life of Christ. It is of course always winter, when the chaperon was most likely to be worn. Saint Joseph is especially useful, as it is never part of his depiction to be fashionably dressed, and it is part of his character in the period that he is often shown quite dishevelled (see examples below). The shepherds are the lower-class figures most often shown in a large scale in paintings of the period. Decline By about 1480 the chaperon was ceasing to be fashionable, but continued to be worn. The size of the