Two components make up this vertical whistle. The superstructure is a wooden carving of two birds that face each other, bellies touching, with a small round object between them, so that each is holding it in their beaks. The birds' talons clutch the base of the sculpture. The base has a hole in the center into which the antelope horn is pegged.
The sculpture atop the horn illustrates a Vili proverb warning about the complications that stem from fighting over the same woman. Ritual specialists often doubled as judges in time of moral and social instability. People facing seemingly irreconcilable problems consulted experts to get to the root of the problem. Banganga or professional practitioners used objects like this whistle to awaken ancestral forces lying latent in nearby minkisi sculptures.
Densely painted, this painting depicts a battle with figures both on foot and on horseback. Fallen figures in the foreground are mirrored by a line of figures still engaged in combat in the futher distance. The rump of a white horse at the left is balanced by another pale horse and rider (with banner) that approaches the viewer at right.
A study for one of Decamps' most important works that was exhibitied in the Salon of 1834, this work depicts a battle in 101BCE of the Roman consul Marius against the Germanic tribe of the Cimbri. In palette and composition, this painting recalls the battle scenes of Delacroix.