The tondo with Saint Joseph and the Child, probably part of a polyptych, brings attention to the episodes of revision of late Mannerist experiences linked to brilliant chromatic effects and the vibrations of the drapery that matured on the Tuscan and Roman example at the end of the sixteenth century. The Child, behind whom a particularly refined and flamboyant halo is visible, presents a flattening of the face, in the composition and in the pearly flesh, convincing references to Azzolino.