The body from the neck to the feet is only twice as long as the head, so that it appears extremely short and podgy.

This work is not less remarkable for its painting than for its drawing.

The great Margaritone had but a limited number of colours in his possession, and he used them in all their purity without ever modifying the tones.

From this it follows that his colouring has more vivacity than harmony.

The cheeks of the Virgin and those of the Child are of a bright vermilion which the old master, from a naive preference for clear definitions, has placed on each face in two circumferences as exact as if they had been traced out by a pair of compasses.
A learned critic of the eighteenth century, the Abbe Lanzi, has treated Margaritone's works with profound disdain.