17th Century Wall Decorations

Antique map Holy Land titled 'Perigrinatie ofte Veertich-Iarige Reyse, der kinderen Israels uyt Egipten, door de Roode-Zee; mitsgaders de Woestyne tot int Beloofde Landt Canaan, : met groote vlyt uyt verscheryden auctoren by een gestelt, uyt de H. Schrift gecorigeert, ende int licht gegeven'. Beautiful and rare antique map of the Holy Land...

Amazing Tiziano Vecellio's Circle of the 17th century "Ecce Homo" Oil on canvas, 17th century, based on the original housed in the Kunsthistorisches Museum, Vienna. Dimensions: 1...

Alberto Carlieri (Italy-Roma 1672-1720), "Christ and the adulteress", Oil on canvas, with frame cm H 115 x L 151 x 6.5, only canvas H 98.5 x L 135 cm...

Pier Francesco Cittadini (Milan, 1616-Bologna, 1681) "Jacob and his family go to Egypt" Oil on canvas, cm 109 x 190 (canvas only) The valuable painting, made in oil on canvas, depicts Jacob and his family go to Egypt and we believe it can be, given the high quality painting, autograph work of Italian Pier Francesco Cittadini (Italy Milan, 1616 - Bologna, 1681) made after 1647. The work, in excellent condition is accompanied by a coeval frame in wood finely carved and golden. The scene depicted, which was confused with the Flight to Egypt in the past years, is instead identified with the biblical episode of Jacob’s journey. In the foreground, reading the painting from left to right, we see a caravan composed of animals, including donkeys, dromedaries, goats, dogs and horses and people, women, men and slaves, who carry on their journey along the banks of a river, following a path that to the right, would seem to lead to the through of a bridge. In addition to the watercourse is described an environment characterized by large rocks and impervious come far to cover the entire verticality of the canvas. On the left, in the distance, we see the tail of the caravan that runs along the steep path. Large trees enliven and harmonize the environment, as well as white and grey clouds characterize the predominantly clear sky and illuminated on the right by sunlight. The story is told in the Bible, Book of Genesis, 30, 25, passage in which is described the flight of Jacob from Haran after the contrasts with Laban, father of his wife Rachel. Jacob is the third great patriarch of the Bible. From his descendants originate the twelve generations of the people of Israel. He is the son of Isaac and Rebekah, who led him to flee from the wrath of Esau to Haran to seek refuge from his brother, Laban. At his uncle’s house Jacob met his daughter Rachel. As soon as he saw his cousin, Jacob was taken. Jacob will stay seven years in the service of Laban to marry his beloved Rachel. But Laban, with a deception, will give him in marriage first Lia, the least beautiful eldest daughter, and only after another seven years the splendid Rachel. From his first wife he will have several children, while Rachel will give birth to the beloved son, Joseph, who will become viceroy of Egypt. After years of service, Jacob asked to be paid with every dark-coloured garment among the sheep and every spotted and dotted garment among the goats. Laban accepted and sent away from his sons all the leaders of that kind. So Jacob took fresh branches of poplar, almond and plane tree, and flayed them, and put them in the troughs. The optical suggestion induced the goats and the sheep to conceive and give birth to dark, striped and dotted garments. He also ensured that all the strongest and healthiest leaders of the flock of Laban would drink near the barked branches, thus assuring a genetic superiority to his part of the flock. His flocks grew numerous and strong and he became richer than his relative, arousing envy. It was clear that Laban would not respect him much longer. At the suggestion of the Lord, Jacob decided to return to Canaan. Trying to avoid any possible dispute, he left with his family while Laban was absent for shearing sheep. But when, three days later, his uncle returned home, he became angry, feeling offended because Jacob had gone secretly and had not allowed him to greet his daughters and grandchildren. In addition, his teraphim, statuettes, or idols, which depicted the family deities, had disappeared. After 7 days of pursuit, Laban and his men reached Jacob’s group on Mount Gilead, in the mountainous region west of the Euphrates River, where his uncle and grandson had a stormy conversation. The younger man was outraged at being accused of stealing idols and told Labano to rummage through his family’s tents at will. Neither of them could know or even imagine that it was Rachel who took the idols and hid them in the saddle of the camel. During the search, she sat down firmly on the saddle, apologizing for not being able to get up, «because I usually have what happens to women» (Gen 31:35). So the loot wasn’t discovered. The author of this work was inspired by the composition of an engraving by Stefano Della Bella (1610-1664) of circa 1647. The engraving by Stefano della Bella bears the title "Iacob sur ses vieux jours quitte sans fascherie pour voir son filz Ioseph, sa terre et sa patrie" and is signed on the bottom left "Stef. of the Beautiful In. et fe." while on the right it is declared "Cum privil. Regis", that is with license of the king. Stefano Della Bella (Italy - Florence, May 18, 1610-Florence, July 12, 1664) was born in a family of painters, sculptors and goldsmiths and was left early orphan of his father sculptor, he dedicated himself first to the art of goldsmith at the school of Giovanni Benedetto Castiglione and Gasparo Mola, then turning his attention to drawing and engraving. He soon began drawing figures and copying the etchings of Jacques Callot, which inspired his early works. Under the protection of the Medici, in particular of Don Lorenzo, cadet son of Grand Duke Ferdinand I, Della Bella has the opportunity to make study trips to Rome, where he stayed from 1633-1636; In Rome he met French engravers and publishers of prints such as Israël Henriet and François Langlois, who influenced his decision to move to Paris in 1639, four years after the death of Callot. In Paris he soon reached, thanks to the engravings commissioned by Cardinal Richelieu, the success also worldly; he frequented courtiers, theatre artists and writers, while refusing too oppressive honors. In 1646-1647 he continued his travels in the Netherlands to Amsterdam, Antwerp and Dordrecht. He returned to Florence in 1650 and resumed working under the protection of the Medici court, working for his patrons. In 1656 he became a member of the Academy of Apatists. The painting object of this study is reasonably attributable to Pier Francesco Cittadini, or Pierfrancesco Cittadini, called the Milanese or the Franceschino (Italy - Milan, 1616-Bologna, 1681) as some exemplary stylistic comparisons proposed to follow can prove. Pier Francesco Cittadini was an Italian baroque painter, mainly active in Bologna. His artistic training first took place with the painter Daniele Crespi...

This is a gorgeous antique square 17th Century flemish Verdure landscape tapestry with a beautiful and rich summer scene of a countryside with lush trees and vegetation. The piece m...

17th century Dutch Old Master painting with provenance, Barnyard with farm animals and peasants. This Dutch oil on canvas painting is a jewel among the g...

An impressive and large scale painting on board of the Mother Mary holding the infant Jesus, each displayed wearing a crown with a golden sacred heart, probably Hungarian, the inscription underneath reads ‘Zdravas Kralovno’ in Slovak, which translates to the Latin Salve Regina or Hail, Queen, these are a reference to the Latin Hymn of the same name, which is traditionally thought to have originated in 11th century Germany, and specifically to the monk Hermann of Reichenau. Unlike the Icons of Catholicism, these Eastern Orthodox Icons...

Italian school 17th / 18th century: oil on framed panel, representing The Virgin and Child Jesus, accompanied by Saint Elizabeth and John the Baptist as a child, in the foreground A...

Alberto Carlieri (Rome 1672-1720) "Architectural capriccio with the preaching of Saint Paul in the Areopagus of Athens" Oil on canvas, measures with...

Large oil on oak panel (105 x 72 cm), portraying ‘The Feast of Balthazar’. Attributed to Frans Franken II and his workshop. The workshops of Antwerp spread throughout Europe, produci...

This detailed copper engraving is from Arnoldus Montanus' "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes," which offers a glimpse into the cere...

17th century French School "Virgin and Child (Virgin of the Rosary)" Oil on canvas (Fragment, original canvas, tension bands, restorations) 47.3 x 37.9 cm This canvas was probably...

This original copper engraving hails from Arnoldus Montanus' seminal work, "Die Unbekannte Neue Welt oder Beschreibung des Welt-teils Amerika und des Sud-Landes," a comprehensive depiction of the Americas published in 1673. It presents a vivid scene set in colonial New Mexico, showcasing a moment of interaction—possibly a ceremonial or everyday event—between indigenous people and European settlers or explorers. The detailed attire and adornments of the figures suggest a narrative rich in cultural exchange and complexity. This piece is not only a reflection of the artistic style and engraving techniques of the 17th century but also serves as a historical document capturing the early encounters between different worlds. Published in Amsterdam by Jacob Meurs, this rare German edition offers a unique glimpse into the perceptions and imaginations of European society regarding the New World during the Age of...

TheItem below was painted approximately 300 years ago by Kano Chikanobu. In the center is a depiction of a deer hermit, on the right is a landscape of a tower that gives a sense of ...

A French tapestry from the end of the 17th century, incorporating verdure and rustic elements, with a romantic scene on the foreground of two young men pulling a young girl's swing. The scene takes place in a woodland environment, with trees in the foreground. Enclosed within a trompe l'oeil border, decorated with head flowers. Wool with silk inlay. Hanging: The tapestry comes ready for hanging, with linen backing and a strip of hook and loop tape at the top end, which can be connected to the opposite side of the supplied hook and loop tape, which could be tacked to your wall. For those who prefer the use of a tapestry rod, we can add the appropriate size loops to accommodate your needs. We now have a large selection of antique tapestry rods available as well, which we can provide detail upon request. Associated Words and Descriptions: accessory, antique, antiques, antique rug, antique carpet, antique tapestry, carpet, carpets, cleaning, classic oriental rugs, collectibles, collector items, collector piece, decor, decorative accessory, decorative item, decorative rug, decorator, design, designer, europe, european, farsh, fine, fine antique decorative rugs and carpets, floor covering, floral, geometric, ghali, hali, hand knotted, hand made, hand woven, home decor, home design, interior decor, interior decorator, interior design, interior designer, iran, iranian carpets...

Anonymous. Korean, 17th century. Joseon period. Hanging scroll. Ink on paper. Seal: Shinso Dimensions: Scroll: H. 200 cm x W. 31 cm (79” x 12”) Image: H. 122 cm x W. 29.5 cm (48” x 11.5”) The grapevine came to China and then Korea from western Asia via the silk road trade routes. By the mid-Joseon period, it was one of the most popular subjects for Korean literati painters. Grapevines were painted as a singular subject or, less commonly, in combination with squirrels, which are associated with children due to their playful nature. Together, grapevines and squirrels embody wishes for abundant offspring and wealth. For the Korean literati artist the twisting vines, curling tendrils and round, plump grapes provided ample opportunity for expressive "brush play”. In this painting the artist has abstracted the scene and is seemingly unconcerned with discontinuities and proportion. Vines spring up from nowhere, grapes hang in random clusters and the squirrel’s head appears as if twisted backwards. For the vines and leaves we can feel a sense of speed in the brushstrokes, imparting a dynamic feel which is at once intense and animated. This contrasts dramatically with the countless tiny strokes of ink which realistically capture the texture of the squirrel’s fur...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

A pair of handcarved mid 17th century oak wall panels with a handsome, even patina and string for hanging. Each are of beautiful quality after more than 370 years and well-carved for...

Impressive pair of 17th century Japanese Edo period Rinpa school screens made in the manner and style of Autumn Grasses by Tawaraya Sōtatsu (1570-1640). Beautifully decorated with wi...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Antique tempera Icon depicting St. John the Baptist holding his own head, a reference to his execution by beheading. This came as a result of John publicl...

Brussels late 17th century tapestry, "Asia" from a Four Continents series. Designed by Lodowijk van Schoor, Woven in the Workshop of J. van der Borcht I Size: 9'4 high x 18' wide. Wool, silk and metal thread pattern wefts This extremely colorful and attractive late Baroque Flemish tapestry with a popular iconography is the product of two important figures in 17th century Brussels weaving. J. van der Borcht I (circa 1650–1713) was a master weaver and tapestry entrepreneur who established a most distinguished family tapestry firm and was followed by J. van der Borcht II, Jasper van der Borcht, Pieter van der Borcht and Jan Frans van der Borcht, taking the operations into the mid18th century. Their wealthy patrons allowed the firm to engage some of the best designers and as a result the artistic quality, as well as the sheer technical execution, is always high. The Van der Borchts wove tapestry series (or single pieces) of Mythological Scenes, Months, Allegories, Armorials, Triumphs of the Gods, The Continents, as well as more down-to-earth genre scenes designed or inspired by David Teniers II or Teniers III. Their artist designers included, besides the Teniers, Jan van Orley, Augustin Coppens, Gerard Lairesse, Phillipe de Hondt, and the Antwerp-born Lodowijk van Schoor (circa 1650–1702), the designer of U-1362. Van Schoor was the successor of David Teniers III. He was the designer or co-creator of about fifteen sets of tapestries. His cartoons were utilized and copied in both the Northern and Southern Netherlands, and continued popular well into the 18th century. His style, especially in his later works, is more harmonious and refined than Teniers and he avoided genre scenes with peasants. Van Schoor sometimes collaborated with other artists, for example Lucas Aertschellinck (1620 – 1699) who specialized in landscape backgrounds as in the set of Mythological Scenes” woven circa 1700 in the Van der Borcht shop. He did not collaborate on this tapestry, Van Schoor’s figures are graceful and his color schemes vivid, in keeping with the best of contemporary Flemish tapestry. Van Schoor’s designs influenced artists working at great remove from Brussels, even so far as the Florentine workshop of Bernini and Demignot where a Van Schoor inspired “Four Continents” set was woven in the early 1720s. The “Four Continents” or “Four Parts of the World” was a popular theme in the 17th and 18th centuries for tapestry patrons. Each continent was identified by native peoples and animals: America (North and South together) by Indians and the Turkey bird...

"Exquisite fragment of a border of a French Aubusson tapestry from the middle of the 17th century, featuring a beautiful design of flowers and nice natural colours, entirely hand wov...

Royal Delft Collectors Portrait plate vintage handpainted Dutch Delftware - earthenware Style: Baroque, Vintage, Antique, Rustic Large blue and white cabinet plate - wall plaque Depi...

Antique Flemish (17th Century) rectangular woven tapestry depicting a tumultuous crowd scene of Greek militia bordered by a dense floral decoration, titled "The Assassination of Alex...

Antique miniature map titled 'Illyricum'. Original small map of Illyricum. The Roman province of Illyricum stretched from the Drilon River (the Drin, in...

Italian painting from 1600 Banquet with Figures Memento Mori by Giovanni Martinelli, titled Death Comes to the Banquet Table, vanitas circa 1635. The oil-on-canvas painting is inspi...

This is a gorgeous antique Late 17th Century Franco-Flemish Biblical Tapestry depicting the Reconciliation of Jacob and Esau. The tapestry illustrates the Old Testament story of Jaco...

Fantastic and rare Charles II mid-17th century stumpwork wool and silk picture. Illustrating stories from The Book of Esther, including the Ki...

Antique print titled 'Faifena een Japans jacht.' Old print of a galley yacht from Japan, here identified as Faifena, Fayfena. This print originates from 'Gedenkwaerdige Gesantschappe...

Antique portrait titled 'Christiernus II (..)'. Portrait of Christian II of Denmark. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert den onderg...

Antique map titled 'Peru'. Original antique map of Peru. With cartouche, compass rose, ships and two sea-monsters. Published by W. Blaeu, circa 1645.

The image is a historical copper engraving from 1673, taken from the German edition of Arnoldus Montanus' work, which is known for its depiction of the Americas and the Southern land...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

This is a gorgeous full color antique 17th century Flemish Verdure landscape tapestry depicting a beautiful and rich summer scene of a countryside with lush trees and vegetation, and...

The first road maps of England. London to Holyhead and London to Carlisle. Nicely framed and matted. These are plates removed from a book. These are fir...

This evocative three-quarter length portrait, executed in the Venetian School during the 17th century, depicts an imagined figure of an elite Ottoman woman, rendered in rich oils on ...

The engraving depicts a grand manor house surrounded by formal gardens. It is titled "Facies Splendidissimi Ornatißimique Palatii," which suggests it is an illustration of an opulent and ornate palace. The year noted for the engraving is 1696, and it was engraved by Swidde, referring to Willem Swidde, a Dutch artist known for his work in Sweden and his significant contributions to the collection "Suecia Antiqua et Hodierna" by Erik Dahlbergh...

17th century, Italian oil on canvas painting with battle between Christian and Turkish cavalry The oil on canvas painting depicts a battle between Christian and Turkish cavalry. C...

This 17th century Italian Baroque painting, executed in oil on copper, depicts the Crucifixion of Christ with remarkable depth and dramatic composition. Christ is shown on the cross...

besonders schöner und originaler Flammleistenrahemn aus dem 17.Jhdt, Niederlande für Altmeistergemälde Feine ausgearbeitete Leiste in hoher Qualität Particularly beautiful flame...

Title: The Capture of Two Spanish Admiral Ships by the Fleet of the Dutch West India Company under Admiral Pieter Adriaensz Ita, 1628 Description: This mid-17th century engraving, c...

Silkscreen on canvas by Marylin Monroe after Andy Warhol. Marylin is painted red on a blue background. Photograph screen-printed in color on canvas, signed on the back. Signature in ...

A French Aubusson rustic tapestry from the late 17th century, depicting several villagers on either side of a large tree in the right foreground, watching the cargo being unloaded from a large vessel docked by the verdant river bank at left. Enclosed by a narrow monochromatic border. Wool with silk inlay. Measures: 10’1” H x 7’0” W This tapestry was probably woven after a design by the French painter Claude-Joseph Vernet (1714-1789), renowned for his Marines, or maybe by his student Charles Grenier de Lacroix also known as Lacroix de Marseille...

Antonio Calza (Italy, Verona, 1653-18th April 1725) "Battle between Christian and Turkish cavalry with castle" The painting depicts a bloody battle between Christian and Turkish cavalry. Characterized by dynamism, intensity of color and light, the main scene occupies the lower horizontal section of the canvas, optically interrupted by the black fumes of the shots from which emerge, on the left, the towers of a fortress. On the right, in the distance you can see the combat in progress in the countryside, beyond which you can see the pale presence of hills that create a fifth, marking the horizon. To frame the scene contributes to the left, against light and in the foreground, a portion of the wall. The painter, however, introduces a horse on the ground, of which we see only the back, a ruse to involve the observer making him become active and participate in the scene. In the foreground, lifeless bodies, wounded horses and, scattered on the ground, weapons and a drum enhance the drama of the clash. The excitement and expressive force, the intense chromatic range attentive to the conditions of light and the fine brushstrokes, decisive and dramatic, suggests the attribution to Antonio Calza, one of the most important painters of battles of the seventeenth century, excellent student and continuator of the greatest interpreter of the genre, Jacques Courtois called il Borgognone (Saint-Hyppolite 1621 - Rome 1676). Il Borgognone, although not having had a real school or direct students, places itself as a primary reference point by the Italian and foreign "battaglisti". The genre of battle painting found great success in the collections of the Italian and European nobility of the seventeenth and eighteenth centuries. The battles of the Italian Renaissance, in which the scene converged towards a precise protagonist, evolve towards a type of combat "without hero". The bloody realism of the details and the dynamic development of the narrative confuse the figure of the protagonist, when present, to give importance to the swirl of horses and armed fighters, among which, moreover, does not emerge a winner. The certain documents relating to the life and movements of Antonio Calza are scarce; it was equally difficult to reconstruct, from the critics, a catalogue of autograph works. Through paintings in private collections, in museums and paintings passed on the antiques market it has been possible to identify a copious corpus of works that can be traced back to his hand. The work of art historians, together with that of antique dealers, in conferring proper attributions in order to best outline the figure of Calza, continues but studies are still in progress. In this sense, the work of Giancarlo Sestieri should certainly be noted, who investigated the artistic production of the battaglisti and Calza, thus allowing the comparison of the numerous photographic works reported, to identify and recognize the stylistic qualities that distinguish the corpus of paintings assigned to him today. Antonio Calza was born in 1653 in Italy, in Verona and in 1664 he entered the school of Carlo Cignani in Bologna, dedicating himself to painting battles and landscapes. He then perfected in Rome, where he knew the works of the then undisputed head of the sector, Jacques Courtois called the Burgundian. In 1675 he returned to Verona and married an 88-year-old widow who, dying, left him a rich inheritance. Much appreciated by the nobility and the bourgeoisie, he received numerous commissions. Bartolomeo Dal Pozzo (Le Vite de' pittori, de gli scultori et architetti veronesi, 1718) praises "three great paintings of battles...

The Pietre Dure panel inset with lapis lazuli, marmo giallo, in a rectangular shape, probably a panel from a cabinet.

Roman School, 17th century Madonna and Child Oil on copper, 15 x 11 cm Framed, 26 x 22 cm The small copper on display here depicts the Madonna and Child against a dark background...

This rare coat of arms tapestry, which was hand-woven circa 1650, originated in the lands that would eventually become Belgium. The beautiful and...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

A Baroque Brussels tapestry from the 17th century, signed by Marcus de Vos, depicting Proserpine (Persephone) reaching for a pomegranate and on the right side a dragon, probably from...

Very early Italian School Madonna and Child, Italian Baroque oil on board painting. Professionally restored. The careful removal of accumulated dirt and age-related damage, followed ...

A wall hanging tapestry, simply put, is a textile specifically designed and woven to portray an artistic scene with the intent of hanging it on a wall. Antique tapestries, those that...

Fine Flemish tapestry from Brugge from the 17th century This fine tapestry depicting a mythological scene of a woman spied by two old men. Very inte...

Monumental Museum tapestry/Gobelein 17th century Battle scene Alexander the Great and Darius III Persian King The characters are depicted in life size. An absolute museum unique. Dimension: 530x320 cm Description: Monumental tapestry...

Italian School "Apostle" 17th Century Oil on oak wood Carved and gilded wooden frame. Small defects. Dim.: 44 x 58 cm good conditions

A Brussels verdure landscape tapestry from the 17th century, featuring a verdant landscape with stately and exotic trees at right, a striking acanthus bush in the foreground, and a l...

Antique print titled 'Sultan Hibraim I (..)'. Portrait of Ottoman sultan Ibrahim I, bust-length directed to left; in oval. Published by Balthasar Moncornet, circa 1660. Balthasar ...

Very beautiful and rare 17th century French Aubusson tapestry with a nice design in style of Louis XVI, featuring a historical battle probably from Alexander or a Roman battle, conqu...