The volume, by an anonymous author, ranks among the most interesting and significant examples of plumarian art of the sixteenth-seventeenth-century period: the album contains eighteen anonymous figures mostly belonging to local species, grouped in sixteen plates. The birds are made up of feathers glued to a paper template applied to a silk satin background of different shades, such as to bring out the colors of the specimen's livery in the best possible way. Unfortunately, the state of conservation of most of the specimens is very precarious due to the ancient action of moths and corroding organisms that have ruined or even removed most of the feathers. The reproduction of the specimens is generally very faithful both in the shape and size of the body, and in the arrangement of the feathers and in the characteristic attitude of the animal. Unlike other contemporary compositions, where the beak and limbs are the original parts treated adequately to be able to apply them on the sheet without excessive thickness, the birds depicted in this volume have limbs, beak and eyes painted in tempera. The current arrangement of the birds on an eighteenth-century silk satin background suggests that the album was reassembled and restored after 1766 and re-bound, probably reusing the old dark red Moroccan binding with the ducal coat of arms. The work was most likely present in the Grand Gallery library of Duke Carlo Emanuele I on the basis of the inventory of 1659.