armour, whether or not they saw active service. In the Early Modern period, when senior commanders tended to wear their normal riding dress even on the battlefield, the distinction between a military portrait and a normal one is mostly conveyed by the background, or by a breastplate or the buff leather jerkin worn underneath armour, but once even generals began to wear military uniform, in the mid-18th century, it becomes clear again, although initially officer's uniforms were close to smart civilian costume. Full-length and equestrian portraits of rulers and generals often showed them on the battlefield, but with the action in the distant background; a feature probably dating back to Titian's magisterial Equestrian Portrait of Charles V, which shows the emperor after his victory at the Battle of Mühlberg but with no other soldiers present. Monarchs were not often painted in military uniform until the Napoleonic period, but in the 19th century this became typical for formal portraits, perhaps because uniform was more visually appealing. A distinctively Dutch type of painting are huge group portraits commissioned by the wealthy part-time officers of city militia companies, of which Rembrandt's Night Watch (1642) is the most famous, although its narrative setting is atypical of the genre. Most examples just show the officers lined up as though about to eat dinner, and some show them actually eating it. Otherwise group portraits of officers are rather surprisingly rare until the 19th century. Sculpture Most surviving sculpture of battle scenes from antiquity is in stone reliefs, covered above. Renaissance artists and patrons were keen to revive this form, which they mostly did in much smaller scenes in stone or bronze. The tomb in Milan of the brilliant French general Gaston of Foix, Duke of Nemours included numerous marble reliefs round the base of the sarcophagus (which was never completed). Statues and tomb monuments of commanders continued to be the most common site until the more general war memorial commemorating all the dead began to emerge in the period of the Napoleonic Wars. Nelson's Column in London still commemorates a single commander; it has very large reliefs around the base by different artists, although these are generally regarded as less memorable than other aspects of the monument. Wellington's Column in Liverpool is also known as the "Waterloo Memorial", shifting to the more modern concept when "the dead were remembered essentially as soldiers who fought in the