the only surviving example of a type of embroidered hanging with which rich Anglo-Saxons used to decorate their homes. In Islamic art the battle scene, often from a fictional work of epic poetry, was a frequent subject in Persian miniatures, and the high viewpoint they adopted made the scenes more easily comprehensible than many Western images. Renaissance to Napoleonic Wars Italian Renaissance painting saw a great increase in military art by the leading artists, battle paintings often featuring near-contemporary scenes such as the huge set of three canvases of The Battle of San Romano (c. 1445) by Paolo Uccello, and the abortive Battle of Cascina (1504–1506) by Michelangelo and Battle of Anghiari by Leonardo da Vinci (1503–1506), which were intended to be placed opposite each other in the Palazzo Vecchio in Florence, but neither of which were completed. For Renaissance artists with their new skills in depicting the human figure, battle scenes allowed them to demonstrate all their skills in depicting complicated poses; Michelangelo choose a moment when a group of soldiers was surprised bathing, and almost all the figures are nude. Leonardo's battle was a cavalry one, the central section of which was very widely seen before being destroyed, and hugely influential: it "exerted a fundamental change on the whole idea of battle painting, an influence that lasted through the Late Renaissance and the Baroque up until the heroic machines of the Napoleonic painters and even the battle compositions of Delacroix", according to the art historian Frederick Hartt. All of these depicted frankly minor actions where Florence had defeated neighbouring cities, but important battles from distant history were equally popular. Andrea Mantegna's Triumphs of Caesar shows the Roman triumphal parade of Julius Caesar, though concentrating on the booty rather than the army following it; the print series Triumphs of Maximilian shows both, leading up to Maximilian II, Holy Roman Emperor riding on a huge carriage. The Battle of the Milvian Bridge by Giulio Romano brought a huge and "seminal" battle scene into the Raphael Rooms in the Vatican Palace. The unusual The Battle of Alexander at Issus (1528–29) by Albrecht Altdorfer managed to make one of the most highly regarded Renaissance battle scenes, despite, or perhaps because of, having a vertical format, which was dictated by the planned setting; it was commissioned as one of a set of eight battle paintings by various artists. "It was the most detailed