 With his model for "Saint Thomas" from around 1703–04, the most intricate and detailed terracotta he ever produced, he harked back to the highly emotional baroque of Gianlorenzo Bernini's "St. Longinus".He was undoubtedly aware that, if he prevailed and his model was accepted by the pope's committee, all the other sculptors would have to follow suit stylistically.So this, in effect, was Le Gros' attempt to establish himself as the artistic leader of the Eternal City.