Completed in 1638, the marble sculpture sits in the north-eastern niche in the crossing of St. Peter's Basilica in Vatican City.

Bernini not only oversaw the addition of interior decoration in St. Peter's but he was responsible for the creation of several works, including Saint Longinus.

[4] It is likely that the early bozzetto (a rough model made in terracotta), held in the Fogg Art Museum and dated to ca.

This indicates Bernini used the model to calculate how the various blocks of marble could be brought to together to form a physically robust and seemingly complete whole.

The German artist Joachim von Sandrart counted 22 small models for Saint Longinus when he visited Bernini's studio in 1635.

[10] Once the model had been agreed by the relevant parties, Bernini set to work on the sculpture, taking three years to produce the final design.

The Council of Trent, which reaffirmed basic Catholic doctrine in response to the Protestant Reformation, clarified what elements should be considered in all religious artwork.

The Holy Lance is thrust to the side and his armor and military apparatus lay behind him, a symbol of his revocation of his career as a Roman soldier.

Bernini has composed the scene as if the viewer has stumbled upon Longinus, frozen in time at the exact moment of his spiritual transformation.

The fabric, depicted in what would otherwise be an unrealistic placement, suggests movement and that the viewer has just stumbled upon Longinus in his exact moment of spiritual awakening.

[14] Bernini has also elevated the drama of the scene by manipulating the construction of the sculpture to create sharp contrasts between light and dark.

An iconic visual element of the Baroque era is chiaroscuro, or the contrast between light and dark, which served to heighten the drama of a scene.

Using a claw chisel, Bernini has created large and small linear patterns across the sculpture, or hatching effect commonly seen in drawings.

These two techniques create more darker shadows in the sculpture that are juxtaposed against the bright white marble, thus enhancing the dramatic effect of light and shade.

[15] Manipulating a subject's facial expression to depict their inner feelings and personality was a common technique employed by Bernini and other Baroque artists.

The mixing of blood and water symbolizes the sacraments of the Eucharist and baptism, two important components of the Catholic faith during the Counter-Reformation.