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" (1504–06) by Michelangelo and "Battle of Anghiari" by Leonardo da Vinci (1503–06), 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.