A firearm held across the shoulders gives this Cossack a broad, active silhouette above a dark horse. The identification index places the Del Prado subject around 1700, well before the more familiar Napoleonic Cossack figures.
Red clothing, armour and a walking horse make Morosini an imposing mounted portrait. Del Prado’s cavalry series includes this Venetian naval commander and doge, showing how a mounted figure can represent status as well as battlefield service.
A broad hat, decorated outer garment and dark horse give this captain the recognisable character of a royal musketeer. Del Prado’s mounted pose points towards the real military role behind the literary image.
A long forward-pointing lance and red clothing give this mounted figure a direct, forceful shape. Del Prado’s Swabian League subject belongs to the political and social upheavals of the early sixteenth century.
A blue upper garment and red saddle covering make this hussar a colourful addition to Del Prado’s earlier cavalry subjects. The Esterházy name adds historical interest, but also requires care when identifying a regiment.
A raised sword, pale coat and black horse give this Del Prado trooper a forceful outline. The Leuthen identification places the figure in Frederick the Great’s army during the Seven Years’ War.
The wing and long lance are instantly recognisable. At Vienna, the less visible story is how an allied army reached the ground from which its cavalry could attack.
A raised sword and a moving horse suggest an open cavalry fight. At Poltava, however, mounted action belonged to a battlefield shaped by earthworks, routes and a larger struggle for control.
This rider belongs to a frontier of farms, towers and family allegiances. The horse mattered because a raid depended on getting across difficult country—and getting home again.
