 Quite the contrary because Le Gros developed all his composition into space and entices the viewer to go around the figure.While a classicist like Rusconi linked a spatial development closely to the anatomy of the figure, Le Gros achieved this with an abundance of highly malleable drapery and extrovert gestures.In addition, he showed a keen sense for nuanced effects of light and shadow, whether it was to make the heavily polished, white as snow figure of "Luigi Gonzaga" stand out, or to cast "Filippo Neri" into a mystical shade.