In this early example of Cubist painting, Braque was forging experiments with composition and representation of a musical instrument rather than with colourful. The neutral palette is indicative of his first attempts to create different views of the same item. Mandora also indicates Braque's affinity for studio based still-lifes rather than painting street scenes, as did his Futurist contemporaries. This factor, the careful selection of still-life objects in studio versus the depiction of street scenes, is one that helps differentiate the two movements..