The table presents a rectangular top of substantial proportions (132 × 104 cm), resting upon a wooden base. The overall structure combines a sober architectural framework in carved walnut with an elaborately inlaid marble surface, producing a striking contrast between the dark warmth of the timber and the cool tonality of the stone.

The top is made out of white marble, into which an intricate design in black marble has been inlaid. The surface is organised symmetrically around a central armorial escutcheon made out of polychrome glass paste. This coat of arms, the Arrighi family, is enclosed within an oval cartouche surmounted by a helmet, rendered with careful attention to heraldic convention. The chromatic accents - most notably the red and blue elements - stand out vividly against the restrained black-and-white ornamental field.

Flanking the escutcheon are two square panels set within the broader geometric scheme. To one side appears a chequerboard pattern in alternating black and white squares; to the other, a Filetto patern (Nine Men’s Morris game). These panels are integrated into a broader decorative programme of scrolling, curvilinear motifs and oval reserves. The interplay of rounded and angular forms produces a dynamic yet rigorously balanced composition, characteristic of Florentine marble intarsia of the sixteenth century. The precision of the inlay work suggests a workshop well-versed in the commessi technique, in which carefully cut sections of contrasting stone are fitted together to create a unified ornamental surface.

The marble slab is framed by a moulded edge with a slightly projecting lip, lending the top a defined architectural contour.

The base consists of four robust, turned legs of baluster form, each rising from a compressed bun foot. The legs are joined by a rectangular stretcher system positioned low to the ground, providing both structural stability and visual coherence. The stretchers intersect at right angles. Beneath the frieze, shaped brackets or corner spandrels soften the transition between apron and leg, introducing a modest ornamental detail that complements the richness of the top without competing with it.

The table embodies the Florentine taste of the second half of the sixteenth century for sumptuous materials, heraldic display, and the integration of architecture and ornament within domestic furnishings.