The work we are examining here is a clear example of the refinement, exuberance and level of technicalsophistication attained in the manufacture of coral in late Baroque Trapani, and forces us to reconsiderits classification as a “Minor Art”, now recognising it as a compendium of various art forms, resultingfrom the skill and virtuosity of local artisans. The piece is a dual-framed devotional plaque with asculptural group depicting theCalvaryscene in the middle.

Despite the multiplicity of forms and compositional elements, we can observe how the artist hassuccessfully 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 geometryof the inner frames containing theCalvaryscene. Using gilt bronze as both support and connectingelement throughout the entire work, we can appreciate, in this outer register, a sort of starredcomposition, whose entire surface is adorned with phytomorphic motifs carved in coral. In addition, weobserve how the artist has decorated the middle of each of the four sides of the outer register with ovalcartouches made of repoussé silver, each containing a bust.

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

The third and final compositional register, at the centre of the devotional plaque, features the sculpturalgroup 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, accordingto Luke’s Gospel, he cried out to the heavens uttering the words: “Father, into thy hands I commend myspirit.” 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, atthe bottom of the cross, we find a skull, an allusion to the old Judaeo-Christian tradition, which heldthat 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 restof the elements are positioned. As such, the Son of God is depicted, still alive, with his arms reachingout and attached to the Cross by three nails, two sunk into the palms of his hands while the third nailshis feet together, the right one on top of the left. As was generally the case with this sort of iconographicrepresentation, Christ appears flanked by the Virgin Mary and St. John the Evangelist. The Mother ofGod is depicted standing on the left, her eyes gazing at the body of her Son while she raises her left handin what appears to be an act of blessing. On the right we find St. John the Evangelist, whose eyes arealso drawn to the generous suffering of the Saviour, while crossing his hands over his chest in a clear signof 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 sunwith a cherub’s head in the middle, while on the right, also crowned by a cherub’s head though this timein profile, we find the moon.