The two works show profoundly different characteristics due to the long chronological interval between the two paintings: in Angolo di Ravello the artist returns the image with soft nuances, while in Cetara the line lingers incisively on the volumes of the characteristic houses. The figure of Manfredi Nicoletti acquires a prominent place, as his cultural interests Push him to take a broader view, taking his gaze beyond the threshold of the Neapolitan school of which the Costaioli feel, in some respects, an offspring.