With the landmark of Cardinal Millini (d. 1629) in Santa Maria del Popolo, the Frangipani landmark in San Marcello al Corso, and the bust of Cardinal Laudivio Zacchia (Berlin), Algardi developed as the main opponent of Gian Lorenzo Bernini in the field of representation figure. Failing to offer Berninis dynamic imperativeness and infiltrating characterization, Algardis pictures were acknowledged for their temperance and surface authenticity.
Algardis nearby companionship with Pietro da Cortona helped create his notoriety in Rome and likewise acquainted him with a classicizing style in figure that owed an extraordinary arrangement to Roman demeanor to authentic correctness and the impact of Christian antiquarianism. Maybe his most paramount requisition in the 1630s was for the marble tomb of Pope Leo XI in St. Dwindles (1644; raised 1652). Leo XI ruled as pontiff an insignificant 27 days in April 1605 (the requisition hailed from the popes incredible-nephew, Cardinal Roberto Ubaldini). Algardi accentuated Leos kindheartedness with figurative figures of benevolence and charitableness and the help model Cardinal de Medicis Legation to France. Dissimilar to Berninis tomb for Pope Alexander VII, which consolidated white and shaded marble with bronze, Algardis ecclesiastical tomb was etched altogether from white marble.
After the decision of Pope Innocent X (1644), Algardi superseded Bernini in ecclesiastical support. Between this date and his demise in 1654, Algardi generated some of his most commended lives up to expectations, around them the situated statue of the pope now in the Palazzo dei Conservatori (1645) and a goliath marble easing of the Meeting of Attila and Pope Leo in St. Subsides (1646–53), which affected the improvement and advancement of illusionistic reliefs. Despite the fact that he was by and large less showy than Bernini, Algardi in this work viably made an overwhelming-size account whose foremost