Luigi Pirandello, Umberto Saba, Gennaro Finamore, Filippo Tommaso Marinetti, Sibilla Aleramo, Matilde Serao, Grazia Deledda, Ada Negri, Guido Gozzano, and Giovanni Pascoli all contributed to the magazines.

After moving to Milan, Basilio found Metardo Rosso and met Aleardo Villa, who introduced him to the "Famiglia artistica" ["artistic family"], and began his study of the nude.

l suono e il sonno [Sound and sleep], now preserved in Chieti, was shown at the 1984 Triennial Exhibition of the Academy of Brera in Milan.

The work is kept in the Pinacoteca Cascella di Ortona in the Palazzo Farnese and subsequently appeared at the Exposition of the Society of Fine Arts of Rome.

In 1903, he finished Il bagno della pastora, preserved in Pescara, for the Venice Biennale, a painting that was not exhibited due to its late arrival.

In the same year in Pescara, where he had settled, he started a chromolithographic establishment, giving life to the journal L'illustrazione abruzzese [The illustration of Abruzzo], in collaboration with Vincenzo Bucci and Francesco Paolo Michetti, which was a periodical dedicated to regional art and culture.

This typographical interest was revived in Basilio in 1914 when in Pescara he was able to print a new magazine, La grande illustrazione [The great illustration], which he directed for a year.

The entry of Italy into war overturned the magazine's thematic approach: interventionist, he included among his collaborators Sivilla Aleramo, his sons Michele and Tommaso, then the writings of Luigi Pirandello, Guido Gozzano, Filippo Tommaso Marinetti, the Negri, Baldini, the Sartorio, the Previati, the Irolli, the Spadini, and Umberto Boccioni.

In 1901 Basilio Cascella participated with La voce dei venti, lithograph preserved in the Pinacoteca of Chieti, at the National Exhibition of Fine Arts in Milan.

He stayed in Milan between 1910–1912, worked for the magazine La Natura published by Vallardi, while between 1917 and 18 he moved to the center of Rapino in the Chieti area, interested by the new means of expression of ceramics, which in the country had begun in the mid-1800s, revived by Fedele Cappelletti and Gabriele Vitacolonna.

The Cascella collected the popular legacy of bucolic pastoral painting on majolica, and also made tesserae and wall panels, such as the Monument to Andrea Bafile [it] in the Bocca di Valle cave in Guardiagrele, Lieutenant of the Royal Navy of L'Aquila origins, which fell in 1918.In addition to the proven collections of the Cascella Museum in Pescara, dishes, tiles, panels with mythological and pastoral subjects, amphorae, and vases are preserved, such as L'allegoria dell'amore [The Allegory of Love] in 1925, while the Portrait of Francesco Paolo Tosti (1925).

Large-scale majolica on the D'Annunzio themes of Iorio's daughter, the bridal coffers, with ceramic panels or round pieces were exhibited at Monza in the II and III International Exhibition of Decorative Arts, then in Rome at the Exposition of the Cultori di Belle Arti Society, and finally in the galleries in Pesaro and Milan in 1929 together with the works of Michele Cascella.

After moving to Rome in 1928, where he remained until his death, Basilio directed his production to celebrate, among other things, events of the fascist regime, his continuous presence in the artistic sector, had increased his fame, in 1929 he entered the Parliament, becoming Master of Art.

The later works are the Marriage of His Highness King Prince of Piedmont (1930) at Villa Savoia, La giornata della Fede (Rome, Quirinal Palace), Italian People and Fabbro (1936–41), preserved at the time at the Ministry of the Interior, Trebbia del grano, already in Rome at the Ministry of Agriculture, and the composition allegory Trionfo della Libertà of 1947.