The rich blue in the costume of the standard bearer directly in the foreground then catches the eye and leads the viewer back to the top of the dais along the diagonal lines of his body. The figures on the right are bathed in a bright light which strongly contrasts the deep shadows and dark tones to the left of the painting. This helps to direct the gaze as the eye is drawn towards the brightly light space and then directed back to the centre, away from the darker areas. The painting is separated into three sections by the dais at the base and the architectural feature towards the top, both of which use strong horizontal lines to create a defined central area of the painting. The colours and figures are confined to the central section of the painting where their diagonal and open stances create a strong sense of movement. The top and bottom sections of the painting are dominated by layered horizontal and vertical lines, in the floor tiles in the lower section and the architectural features in the top, that give the painting depth. Tiepolo's masterful use of foreshortening in the figures accentuates this depth. During the 18th century the French took the lead as culture makers in Europe. The French courts lead the way in fashion, art and thought and most of Europe looked towards them as the strongest example of culture. As in the renaissance the world of art was fascinated by the ‘ancients’, with Ancient Roman history and culture being looked back upon and reflected in the art world. The French Académie royale de peinture et de sculpture (royal academy of painting and sculpture) founded in 1648 was a leading force in the production of art and had a strong impact on the rest of Europe. The 18th century was also a time of huge global exploration and trade making ‘exotic’ places such as Asia and Africa points of interest and fascination. This fascination with the exotic and the power of holding knowledge of the world outside of Europe was not found only in France, but can be seen all over Europe, including in Italy. The original placement and patron of "Scipio Africanus Freeing Massiva" is unknown and so the reasons for the commissioning of the work remains unclear however looking at the image with ideas of material culture in mind it is possible to extrapolate at least the meanings that the patron wished to portray by the commissioning of the work. The fascination with Roman history and the prestige of history painting, especially in the French academy, means that this painting would probably have been held in high regard.