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In this painting Pisanello employs the techniques of proportion (recognizable from the horse and rider) keenly debated in the Renaissance workshops of Uccello and Donatello, but he also makes use of the vocabulary of International Gothic. The placing of hills, trees, and animals on top of one another is familiar from Franco-Flemish illuminated books; it has been established that Pisanello borrowed motifs from the books of hours by the Limburg brothers.
Incised gold leaf is used for the saint's garments, and raised plaster covered with gold decorates the horse's harness, the hunting horn, and the saint's spurs.
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