 In the painting the influences of Genoa and Bologna were much more attenuated to give way to the lessons of Pietro da Marone, Paolo Veronese and Moretto.The following year, he painted a fresco of the two great monochromes of "Saint Gregorio Magno" and "Saint'Onorio" on the counter-façade of the church of Saints Faustino and Giovita in Brescia, where the shift towards more characteristic features of the Brescia area can be found.The activity of Amigoni in the second half of the 1630s, which would thus attest the evolution of his reunion with local art, remains obscure today due to the loss of some works that were fundamental in this sense.