The tomb monument adapted to the conditions imposed by the Calimala and integrated with the interior of the Baptistry. The wall tomb was required to be placed between two existing Corinthian columns—those between Ghiberti's North Doors and the western tribune—constituting one-third of one of the octagonal walls, near the altar and facing Ghiberti's East Doors. The setting starves the tomb monument of light, especially when the Baptistry's doors are closed, which is normally the case. It would be even darker were it not for the "screen" back wall protruding from the Baptistry wall. The white and brown (and whitish-brown) marble further integrates the structure with the polychromatic white and green of the Baptistry interior. Some scholars accept the colored sketch of Buonaccorso Ghirberti as evidence that the "original effaced polychromy" of the tomb was more integrated, although others contend that the sketch is too inaccurate. The canopy's interaction with the columns and conceit of being supported by the Baptistry cornice make the tomb monument further "wedded to the architecture" around it, even if the marriage is morganatic. Apart from the effigy on the sarcophagus, all the other sculpted figures are in high relief.