The cabinet, with two lower drawers front, hinged door, rounded corners and upper "puller", rests on four top-shaped feet with gilt bronze applications. The mirrors of the rose and cedar wood backgrounds and the plant inlays in maple wood, also visible on the sides, are admirable. It was commissioned by Vittorio Amedeo III "for his own use", perhaps intended for the king's apartment on the second noble floor of the Royal Palace of Turin. On the back of the limelight, in fact, the inlaid figures of the sovereign, surmounted by the Savoy crown, appear in great display. He was moved to the Genoese residence between 1823 and 1830.

The pair of candlesticks, of almost sculptural value, depict Spring and Autumn. They seem to be born in pendant with the monumental clock with a rural scene, all decorated with the coat of arms of the Savoy family contained in a leaflet folder. It is incredible that the series of furnishings, very sumptuous and of great effect, was commissioned, or in any case purchased, on the occasion of the preparation of the Throne Room, which took place between 1847 and 1848, when the furniture was completely renovated. of the environment.

The tapestry depicts Ovid's version of the mythical story of the wicked Niobe. Proud of her divine origins and even more of her numerous offspring, Niobe induced the Thebans to leave out a sacrifice to Latona who had given birth only to Apollo and Diana, proposing the cult of her own person. Two other tapestries, also preserved in the collection of Palazzo Rele, are produced with this cloth, the first with Diana the huntress (Sala degli Arazzi) and the second with Diana with Oto and Ephialte (Sala delle Adienze). As demonstrated by the brand and the monograms woven along the selvedge, the three tapestries were made in Paris at the beginning of the seventeenth century in the so-called boutique d'or, the most important of the factories of the production complex activated in 1607 by Frans van den Planken, Frenchized in François de La Planche.

The furniture is part of the series of four consoles with mirrors, produced en suite for one of the largest rooms in the building, the Sala del Veronese. Between 1745 and 1755 the stuccoes on the walls and the magnificent consoles were probably made, inserted in the unitary decorative design of the environment, which certainly underwent an update with the purchase by the Durazzo family of the Veronese dinner. The vibrant and complex carving of the piece of furniture, in which the rose motif predominates starting from the clump in the center of the crosspiece of the legs, envelops the structure of the piece of furniture, articulated with balance in the usual sinuosity of the Louis XV style. The French models, well assimilated by local carvers, are resolved with that profusion of roses, foliage and racemes perched on the “pergola” mirrors, typical of the Genoese decorative culture. The delicacy of the carving and the harmony between size and ornamentation make this series of furnishings one of the most prestigious examples not only of Genoese Rococo, but of the entire chapter of the Italian decorative arts of the eighteenth century. The precious onyx shelves were probably purchased in the Roman area.

The presence of this rare example of a night clock refers to the singular episode concerning its conception. Pope Alexander VII (1655-1667), who suffered from insomnia and could not stand the ticking of the clock in his bedroom, commissioned the Campani brothers to make a silent and legible clock even in the middle of the night thanks to the creation of a openwork dial which was illuminated at the rear by a small oil lamp or a candle. Having completed a first prototype in 1656, Pietro Tommaso Campani took it to the pope to show it to him, and such was the satisfaction with the invention that he granted him a patent. Generally the clock was dark in color, made of ebony or other ebonized woods, in some cases, for the most important creations, it was decorated with polychrome inserts of hard stone. The altar structure culminated with a pediment flanked by volutes and featured a central copper front panel, often painted with subjects of inspiration alluding to the passage of time and life or religious. The latter was frequently surrounded by decorative columns or pilasters.