ree bulbous recipients, supported by si- rens with forked tails, rest on a mixtilinear base at whose centre stands a tall feature with concave faces topped by a female gure carved in the round. e work presents an unusually rich decoration of comma moti- fs, mother of pearl and coral owers, silver bands around the edges of the surfaces and tiny oral festoons hanging from the two registers of the central structure. e design of these recipients is identical to that of two inkwells in the Museo Nazionale di San Martino in Naples, where we also see the same sirens, alluding to the emblem of Sicily. is complex and rare work echoes the style of the temporary decorations and triumphs typical of Sicilian Baroque festivals: it is no coincidence that a work in copper and coral with a central feature fairly similar to ours, the so-called Triumph of Charles II, has been ascribed to the compositional style of the ar- chitect Giacomo Amato (Wunderkammer 2001, pp. 124-5).