His technique relied on a disciplined use of line to mimic the effects of light and shadow found in Baroque painting. Aquila often worked from the designs of Raphael and Ciro Ferri. In prints like the Dispute of the Sacrament and the Defeat of Attila, he preserved the compositional logic of the original frescoes while adding his own crisp, graphic clarity. He avoided the soft, painterly textures common in etching, preferring the firm and deliberate strokes of engraving. This approach gave his prints a structural quality that matched the buildings they depicted.

Modern collectors value these prints for their architectural precision and historical accuracy. They offer a window into the scale of Roman ecclesiastical art without requiring a trip to the Vatican. Works such as The Virgin of the Basket or the Madonna and Child in Clouds with Saints provide a formal, classical aesthetic that suits structured interior designs. These engravings function as a bridge between the grand scale of the Baroque period and the intimate setting of a private home.