Another version of the bowed captive, which differs from the present example in various minor particulars and in its golden-yellow patina, is in Vienna (Planiscig, loc. cit.). It has been plausibly attributed to Leone Leoni by comparison with such works as the statue of Ferrante Gonzaga at Guastalla, that of the Marquis de Marignan on his tomb in Milan Cathedral, and not least the atlantes on the façade of Leoni's house in Milan. No other cast of the second bronze is known, but there can be no doubt that they are the work of the same artist. Planiscig described the Vienna example as a 'captive barbarian', which is reasonable enough, but did not go on to speculate upon its original function. Given the existence of the second prisoner, it is tempting to wonder whether they may not be casts of modelli for two of the supporting elements for an unexecuted monument designed to commemorate a triumphant hero lording it over his vanquished foes. Such an origin might also explain the energy but also the roughness of the present bronzes.