The author stresses that this paper will cover both the technical history of the creation of this sculpture and the conservation methods and their results as observed since 1982. The life-size marble, a property of the Victoria & Albert Museum, dated at about 1620, was designed as a fountain figure. Its provenance is noted. Examined in 1979 the marble was found to be very friable. Gamma radiography with an Irridium 192 source was decided upon after tests to gather information on previous restorations and check on the depths of cracks. In addition this process revealed not only the pattern of tubing inside the Triton, but also how severely damaged the crystal structure of the marble was and how porous. Careful cleaning was carried out after tests. Cellosolve (2-ethoxy ethanol) in a sepiolite poultice was found to be the most successful and gentlest cleaning agent. An air abrasive machine using an aluminum oxide abrasive powder was used on the oldest deposits. Neptune's raised arm, which had been previously repaired, was painstakingly realigned. In so doing, it was discovered that Bernini had used two pieces of marble without metal for dowelling, which would have corroded, stained, or fractured the stone. The tests for consolidation treatments are described, and the reasons why an acrylic silane mixture was adopted are given (percentages and quantities indicated). The treatment was done in 1980 and the results evaluated in 1986 are declared satisfactory. A close study of the state of the finish gave interesting clues as to Bernini's technique and aesthetic intentions. The materials and their suppliers are listed.