Loreto, located close by the Forum of Trajan. While the disposition of the four statues within the church has been altered in the years, the choir was conserved virtually intact. In 1628, four artists were engaged to carry out the church's planned decoration, but neither was Duquesnoy engaged at this time, nor was Saint Susanna thought to be among the Roman virgins' statues to be produced and installed in the church's choir. After Maderno and de Rossi (two of the four original sculptors engaged by the Bakers) quickly carried out the first of the two statues they were initially supposed to produce for the Bakers, instead of commissioning a second statue from them, as implied in their contract, Duquesnoy and Giuliano Finelli, two of the most promising young sculptors in Rome, were engaged. The sculptors were to be paid 150 scudi each. The Roman Saint Susanna, like the other saints in San Maria di Loreto a symbol of Christian chastity and beauty, was probably chosen as an emblem of faith and virtue through which inspire the young unmarried Roman women assisted by the confraternity, whose work of charity included the annual provision of dowries to enable daughters of poor bakers to marry or to enter convent. Production There is debate over whether Duquesnoy secured the St. Susanna's commission as a result of the critical success of his St. Andrew or the other way around. In the 17th century, it was generally believed that the success of the former (St. Susanna) secured Duquesnoy his commission for the St. Andrew. The opinion of the early biographers has given rise to a continuing discussion over the sculptures' chronology. Mariette Fransolet, like the early biographers, believed that Pope Urban VIII himself sought a design from Duquesnoy, later approving the Fleming's model at the Congregazione della Fabbrica of Saint Peter'''s meeting in May 1628. She placed the completion and exhibition of a definitive model of the St. Susanna at sometime in early 1627. However, there is no documented involvement of the sculptor with the St. Susanna prior to the end of 1629. Although early biographers and other 20th century scholars such as Mariette Fransolet believed that the critical success of the St. Susanna preceded that of the St. Andrew, modern scholars tend to discredit this assertion. Based on documentary record, Duquesnoy received the commission for the St. Susanna in mid-December 1629, months after he had