In his monumental woodcut Mantegna, William Kentridge adopts the early modern convention of the multisheet print. The construction of prints from multiple matrices (such as woodblocks or copperplates) was a practice developed to expand the size of a printed composition, allowing a print to carry increasingly detailed information and to express importance and grandeur. Kentridge’s woodcut is a contemporary interpretation of the Renaissance master Andrea Mantegna’s Corselet Bearers—the sixth panel of Mantegna’s nine-part Triumphs of Caesar series from about 1484–92—picturing Julius Caesar’s triumphal return to Rome from the Gallic Wars with his soldiers, standard bearers, and musicians carrying the spoils. The objects that Kentridge’s figures brandish include a bust and Roman wreath (as in Mantegna’s original) as well as a sewing machine and horn/shower nozzle (motifs that frequently appear in Kentridge’s work)—calling into question what objects are considered of value in society, ancient or contemporary.