received his first payment for his work on the St. Andrews. The cardinal protector of the confraternity of the Baker's guild was Cardinal Biscia, a bibliophile and patron of the arts who served also in the Congregazione della Fabbrica of St. Peter, which commissioned Duquesnoy's St. Andrew and the other three colossuses in St. Peter. It is possible that Biscia recommended Duquesnoy to the Bakers after assisting at the unveiling of the St. Andrew's model in St. Peter on December 10, 1629. Duquesnoy took delivery of the marble for the St. Susanna on January 31, 1630. Like Finelli, he took more time to execute his statue than Ferrucci, Moderno and de Rossi. It was as late as March 6, 1631 that Duquesnoy received his first fifty scudi for his work on the Santa Susanna. Duquesnoy received his second payment the following August, and the statue was installed in the choir over a year and a half later, on March 29, 1633. The final payment of fifty scudi to Duquesnoy was issued in May 1633. However, the last payment order was subsequently cancelled, and Duquesnoy's final payment for the St. Susanna was not reissued until January 11, 1635. Meanwhile, Duquesnoy petitioned the confraternity for reimbursement for additional expenses, and was indeed reimbursed by August 1633. The reason for the confraternity's delay in paying Duquesnoy his final fifty scudi is unclear. In the 1630s, Duquesnoy suffered of gout, attacks of vertigo and depression, which would debilitate him until his death in 1643. His poor health affected his productivity, which drastically decreased at that time. This may well account for the delays in both the completion of the St. Susanna and Duquesnoy's final payment, with the church withholding the latter until all details were set on the already installed statue. Bellori reports that while installing the St. Susanna's metal palm, Duquesnoy had an attack of vertigo, fell from the ladder and almost lost his life. Style and composition Both Bellori and Passeri emphasized the sculpture's relation to the antique. According to Bellori and Passeri, the sculpture proposes a "calibrated tension between eroticism and modesty," which is "played out in the sculpture in the shifting relationship between the body and the drapery." Passeri commented: The form of her dress is a religious imitation of the most beautiful ancient statues as far as the use of draperies, which, although covering, reveal openly the entire nude,