Around 1635, du Quesnoy, influenced by the Antinoüs of the Belvedere, restored three antique torsos, the Bacchus 222, the Mazarin Adonis (Louvre) and the Rondanini Faun (Victoria and Albert Museum). The first two are very similar in pose. The double movement of an S shape was obtained by accentuating the curve in the antiques. The marble was chosen and worked so as to achieve a continuity of material and style; the legs, the tree support and the base were formed from one block. For the Rondanini Faun, whose antique fragment was more important, the constraints were greater, resulting in greater verticality, dynamism, and a more nervous handling. These restorations witness the adaptation of du Quesnoy's art on the sculptures he completed, a veritable integration of the antique in a close recreation of the originals.