Among them were Angeli musicanti (Angels Playing Music), a fresco he painted for the chapel of Our Lady of Pompei and two oval portraits of Pope Leo XIII and Blessed Bartolo Longo.

The search for new altar pieces, replacing the ones destroyed, it is not easy for both the difficult economic situation and the clergy that requires religious representations in line with the traditional iconography, which the artist sometimes agrees not to foreclose future commissions.

It is valuable to note that the landscape behind the figures is represented in a deliberately simple manner, so that the faithful can recognize immediately the local sights and monuments, as in St. Albina and in St. Francis, in which it is particularly significant the view of the large Gaeta gulf.

After the summer of 1965 he left teaching and set up the large study that, among carob trees and prickly pears, he had built on the land of Santa Maria la Noce.

It was now easier to prepare sketches and large cartoons for religious works and then – limiting the charcoal and pastel studies – he could systematically focus on oil painting, especially of the human figures and still lives.

In the following years he devoted a greater commitment to personal and collective exhibitions, with a lack of direction, but without referring to a gallery or an agent and tied to a provincial reality.

[2] His style reaches maturity based on two fundamental elements: the physical construction of the subject, with increasing use of the spatula to distribute and overlay color, and the mention of the deliberately unfinished around the main theme.

Elio Marciano for the female nude observes that "the earthly reality of the fine figures of young girls is filled with love of classical perfection of chaste nudity."

Mario Lepore ascribes to the works of Antonio Sicurezza "the solidity of a job not only well known but also rich in resources and, most importantly, that shows a genuine temperament, from the narrative paintings skills.

Other critical interventions are often united by a thin thread that identifies values early in the artist and natural attachment to popular traditions, moral honesty, humility and frank simplicity.