The beautiful baroque frame has a special decorative effect, linked to the rich tradition of local shops, of gilded wood and carved with motifs of volutes and, on the sides, two all-round little puttini, blessing, cultured “in motion” on long festoons of leaves. Attributed to the workshop of brothers Antonio and Paolo Filocamo, for the obvious stylistic affinities with the canvas depicting L’Estasi di San Francesco di Paola, created by Antonio Filocamo in 1734 for the church of Messina SS. Cosma and Damiano, now at the Regional Museum of Messina, the work can be placed in the production of the painter, in the third decade of the eighteenth century. The particular compositional cut, taken from models of Maratta, master of the brothers Filocamo in the Roman living room, unites the two canvases, more complex and crowded that of the Regional Museum of Messina, built wisely in the calculated spatial game between classicism and baroque. Plant also used in the canvas depicting the Virgin before the Crucifix intercedes for the souls of the Purgatory of the Regional Museum of Messina, by Placido Celi, who was also active in Rome for a long time and popularizer of stylistic models of Maratian descent within the pictorial culture of Messina in the early eighteenth century. The canvas, also inspired by models of Sebastiano Conca, well known in Sicily, is built with skillful lighting effects and demonstrates the refined technique of the painter, engaged also in complex altarpieces, as well as in the great cycles of frescoes for major churches in Messina, including those of Santa Caterina Valverde and those of San Gregorio (1723), now almost entirely lost, which reveal the knowledge of the great Roman and Neapolitan decorations studied for a long time at the school of Maratta.