The work we are examining here is a clear example of the refinement, exuberance and level of technical sophistication attained in the manufacture of coral in late Baroque Trapani, and forces us to reconsider its classification as a “Minor Art”, now recognising it as a compendium of various art forms, resulting from the skill and virtuosity of local artisans. The piece is a dual-framed devotional plaque with a sculptural group depicting the Calvary scene in the middle.

Despite the multiplicity of forms and compositional elements, we can observe how the artist has successfully linked each of the work’s three levels without seeming unnatural or forced.

On the first level we observe a border that is rich in movement, contrasting with the defined geometry of the inner frames containing the Calvary scene. Using gilt bronze as both support and connecting element throughout the entire work, we can appreciate, in this outer register, a sort of starred composition, whose entire surface is adorned with phytomorphic motifs carved in coral. In addition, we observe how the artist has decorated the middle of each of the four sides of the outer register with oval cartouches made of repoussé silver, each containing a bust.

The middle register of the piece presents two rectangular frames of repoussé silver, the outer one being larger, both of which feature gilt bronze acanthus leaves at the corners. This contrasts with the repoussé silver work of a third frame, rectangular once again, located in the middle, made up of floral motifs carved in coral.

The third and final compositional register, at the centre of the devotional plaque, features the sculptural group of the Calvary scene, depicted in accordance with the aesthetics of Western iconography.

It is thus that we observe the crucified Christ on Mount Calvary, just as he is expiring when, according to Luke’s Gospel, he cried out to the heavens uttering the words: “Father, into thy hands I commend my spirit.” The Cross, in accordance with Latin tradition, is crowned by a sign bearing the letters INRI (Jesus of Nazareth, King of the Jews), true to the description found in the Gospels. At Christ’s feet, at the bottom of the cross, we find a skull, an allusion to the old Judaeo-Christian tradition, which held that Golgotha was the resting place of Adam, the man who brought sin and death into the world.

This coral artist places Christ in the middle of the composition, the central axis around which the rest of the elements are positioned. As such, the Son of God is depicted, still alive, with his arms reaching out and attached to the Cross by three nails, two sunk into the palms of his hands while the third nails his feet together, the right one on top of the left. As was generally the case with this sort of iconographic representation, Christ appears flanked by the Virgin Mary and St. John the Evangelist. The Mother of God is depicted standing on the left, her eyes gazing at the body of her Son while she raises her left hand in what appears to be an act of blessing. On the right we find St. John the Evangelist, whose eyes are also drawn to the generous suffering of the Saviour, while crossing his hands over his chest in a clear sign of prayer. Two little angels complete the scene, located on each side of the crucified Christ, at whom they direct their eyes. Finally, on the left-hand side of the upper register of the scene, we observe the sun with a cherub’s head in the middle, while on the right, also crowned by a cherub’s head though this time in profile, we find the moon.