Italian school; XVIII century.

Italian school; 18th century.
"Joshua against the Amorites before the walls of Jericho".
Oil on canvas. Relined.
It presents illegible inscription in the inferior zone.
Measurements: 106 x 162 cm.
In the biblical story, Joshua and the Israelites defeated the Amorites in a series of battles, conquering the promised land. The Amorites, along with other Canaanite peoples, resisted the conquest, but were defeated by Joshua and the Israelites. The conquest of the land from the Amorites and other Canaanite peoples marked a milestone in the history of Israel, since it allowed them to settle in the Promised Land. It is the struggle in front of the walls of Jericho that is depicted in this biblical scene. Joshua captured the five Amorite kings and had them executed, hanging them from trees.

The painting attributed to the Italian School of the 18th century depicts a dramatic and vigorous scene of the biblical battle between Joshua and the Amorites, described in the Book of Joshua, chapter 10. This episode is famous for the miracle in which, according to Scripture, the sun stood still in the sky to allow the Israelite army to complete its victory. The choice of this theme reflects the interest of late Baroque art in sacred narratives charged with action, symbolism and moral transcendence.

In the work, the composition is dominated by movement, tension and the contrast between light and shadow, resources that intensify the emotionality of the moment represented. Joshua, the central figure, appears as the leader chosen by God, symbol of faith and divine obedience, while the disposition of the bodies and the gestures of the combatants emphasize the chaos and violence of the conflict. The dramatic sky suggests supernatural intervention, underlining the providential character of the Israelite triumph. The importance of the theme lies in its theological and moral value: Joshua's victory is not only military, but spiritual, and exemplifies the reward of faithfulness to God in the face of idolatry and injustice. In the context of the 18th century, this scene also served as an allegory of the triumph of Christian order over the forces of disorder and impiety, in tune with the counter-reformist ideals still current in Italian culture at the time.