Analyzes the significance of the changes in the architectural background from Mantegna's preparatory drawing for the Captives (Chantilly, Musée Condé), in which the Temple of Janus is depicted with an arched portal and closed doors, to the final painting (London, Hampton Court Palace), where the same building is depicted from an angle that excludes the doors altogether. Based on the assumption that the inclusion of the closed doors indicates the picture was meant to symbolize a peaceful political situation, suggests that the Triumphs series was originally commissioned by Marchese Lodovico Gonzaga, but that some of the canvases, including the Captives, were painted during the political upheavals of his successor Federico.
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