The pouting physiognomy and the reclining childish forms are derived from the influential Flemish sculptor residing in Rome in the second half of the 17th century, François Duquesnoy. The high level of finish and attention to detail of the Morpheus suggest that it may be a product of a workshop specialising in goldsmith work, such as that of Luigi Valadier. Similarities can be drawn with the putti designed by Valadier to crown some of his tureens and chenets, however this type of 'Duquesnoy' putto was widespread in the vocabulary of most contemporary Roman sculptors. The elongated composition and the carefully fitted and gilded plate underneath suggest that Morpheus was not a finial for a cabinet, but rather an exquisite item for the collector.