painting in Dutch Golden Age painting specialized in guardroom scenes of rather disorderly soldiers, not often in battle, but ransacking farmhouses or sitting around in a camp guardroom. The paintings of Salvator Rosa, essentially landscapes, often showed groups variously described as bandits or soldiers lurking in the countryside of Southern Italy. The Surrender of Breda by Velázquez (1634–35) shows a crowded scene as the two sides meet peacefully to surrender the town; a theme more often copied in naval painting than land-based military art. From at least the late 15th century, sets of tapestries became the grandest medium for "official military art"; the Portuguese Pastrana Tapestries (1470s) were an early example. A set produced for the Duke of Marlborough showing his victories was varied for different clients, and even sold to one of his opponents, Maximilian II Emanuel, Elector of Bavaria, after reworking the general's faces and other details. In the mid-18th century, a number of artists, especially in Britain, sought to revive military art with large works centered on a heroic incident that would once again bring the genre to the fore in history painting, as it had been in the Renaissance. The standard contemporary battle scene tended to be grouped in the lowly category of topographical painting, covering maps and views of country houses. The Death of General Wolfe (1771) by Benjamin West, The Death of Captain James Cook (1779) by Johann Zoffany, The Defeat of the Floating Batteries at Gibraltar, September 1782 and The Death of Major Pierson (1784) by John Singleton Copley are leading examples of the new type, which ignored complaints about the unsuitability of modern dress for heroic subjects. However such works had more immediate influence in France than in Britain. In the Napoleonic era, France added Romanticism to its style and began to portray individual soldiers with more character. Battle paintings were increasingly produced for large public buildings, and grew larger than ever before. Baron Gros painted mostly glorifications of Napoleon and his victories, but his 1808 painting of the Battle of Eylau does not neglect the suffering of the dead and wounded on the frozen battlefield. In contrast, Goya's large paintings The Second of May 1808 and The Third of May 1808, perhaps consciously conceived as a riposte to Gros, and his related series of 82 etchings, The Disasters of War (Spanish: Los Desastres de la Guerra), emphasized the brutality of the