The photograph in the Duveen sales brochure captured these Venetian “fire dogs” (andirons) exactly as they are shown here. However, the lower ornamental bases were not made for these specific pieces; further, it has been suggested that the decorative guards with figures of Mars and Minerva were not actually intended as a pair. An engraving from an 1857 exhibition catalogue depicts these bases, then in the collection of the Earl of Cadogan, topped with figures personifying War and Peace, objects also included in the Duveen inventory. As with other works of functional art—such as door knockers, candlesticks and bells—Duveen may have had reason to think that the original guards of War and Peace were more saleable mounted on smaller, marble bases.

The attribution to Roccatagliata’s workshop is still tenuous, but several experts have noted a connection to this Genoese-born artist who was active in Venice. It has also been suggested that the work may have been done by Nicolò’s son, Sebastiano, who collaborated with him.