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The importance of the chromatic material is certainly represented by the plastic solidity of the representation, thing well known, for example, by Mancini, in his clotting the blacks in the rich in velvet Signora Pantaleoni's skirt from the Galleria Nazionale in Rome; but this is the case of a process that invests the full composition, because the painter, it seems, wants to represent more through the power of real levels than through perspective shams, like if it was a bas-relief: so some stresses of black become sometimes natural shadows. In fact this is the sensation that come out from the Ritratto di vecchia painting, that instinctively I defined "model for a medal".

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