The Fight for the Standard is the central part of the fresco dedicated to the Battle of Anghiari commissioned to Leonardo da Vinci, and now lost, to commemorate the victory of the Florentines over the Milanese on June 29, 1440. On the left is Pier Giampaolo Orsini, captain of the Florentine army, wearing a helmet decorated with a mask and intent on protecting the standard, rushing against Niccolò Piccinino, Milanese condottiero and mercenary, who wields the sword above his head. Orsini was supported by Pope Eugenio IV, whose troops were led by Ludovico degli Scarampi, identified as the soldier wearing the turban, placed behind Orsini on the left. The knight on the far right, the one wearing a decoration shaped like a ram's head on his chest, is instead Francesco Piccinino, son of Niccolò. The engraving translates the drawing of an anonymous Italian artist from the 16th century, later extensively retouched and enlarged by Peter Paulus Rubens and now preserved at the Département des Arts graphiques of the Musée du Louvre (inv. no. 20271). For chronological reasons, it is impossible for Rubens to have seen Leonardo da Vinci's fresco, conceived around 1503 and destroyed around 1560, in Palazzo Vecchio in Florence. The Flemish painter, however, stayed in Italy between 1600 and 1608, and it is likely that he acquired the anonymous drawing during that time. The detail of the fresco with the Fight for the Standard then became famous and emblematic of the entire battle thanks to the studies and copies, both graphic and pictorial, executed by artists over the centuries. In fact, it is the same detail depicted in Rubens' drawing translated into this engraving executed by Gérard Edelinck between 1657 and 1666. Little is known about the biographical story of the engraver, but from the study of his works, more than three hundred, emerges an artist of great importance, specialized in the translation of paintings by famous artists. He is attributed the drawing of the same subject, preserved at the Harvard Art Museums (inv. no. 1917.221), considered preparatory for printing. It is worth noting the inscription inside the figurative part, at the bottom left, where it reads L. Da finse pin., an error perhaps due to the Flemish pronunciation of the letter v. The work testifies not only to the fame enjoyed by Leonardo's fresco during the second half of the seventeenth century, but at the same time, it will be important itself in transmitting the iconography of the Battle of Anghiari up to the present day.