Observing this work, one can immediately perceive Gian Lorenzo Bernini's extraordinary ability to draw a vital breath out of inert matter. A result obtained through small, apparently secondary details: the lips that seem to be about to open, the unshaven beard on the cheeks, a button on the mozzetta not completely fastened, the irises of the eyes engraved with the tip of the drill. Details that freeze the fleeting moment of the present in stone, capture the moment, infuse the portrait with great immediacy and psychological individuality. All these elements testify to the exceptional technical mastery with which Bernini was able to obtain particular effects from marble, not for virtuosity as an end in itself, but to give the portrait a naturalness that makes it seem to the observer that he is really in the presence of the pope. As the scholar Lelio Guidiccioni observed in 1633, the wisely hinted movement of the head and shoulder is enough to give us the impression of being on our knees in front of a speaking portrait of the pontiff, who with a benevolent gesture of blessing beckons us get up.