From the 3rd century BC, a specific genre known as Triumphal Paintings appeared, as indicated by Pliny (XXXV, 22). These were paintings which showed triumphal entries after military victories, represented episodes from the war, and occupied regions and cities. Summary maps were drawn to highlight key points of the movement. Josephus describes the painting executed on the occasion of Vespasian and Titus's sack of Jerusalem:
There was also shaped gold and ivory fastened about them all; and many resemblances of the war, and those in several ways, and variety of contrivances, affording a most lively portraiture of it. For there was to be seen a joyful country laid waste, and entire squadrons of enemies slain; while some of them ran away, and some were carried into captivity; with walls of great altitude and magnitude overthrown and ruined by machines; with the strongest defenses taken, and the walls of most populous cities upon the tops of hills seized on, and an army pouring itself within the walls; as also every place full of slaughter, and supplications of the enemies, when they were no longer able to lift up their hands in way of opposition..
Fire also sent upon temples was here represented, and houses overthrown, and falling upon their owners: rivers also, after they came out of a large and melancholy desert, ran down, not into a land cultivated, nor as drink for men, or for cattle, but through a land still on fire upon every side; for the Jews related that such a thing they had undergone during this war.
Now the workmanship of these representations was so magnificent and lively in the construction of the things, which it exhibited what had been done to such ads did not see it, as if they had been there really present. On the top of every one of these pageants was placed the commander of the city that was taken, and the manner wherein he was taken.
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