As one Bernini scholar has summarized, "Perhaps the most important result of all of the studies and research of these past few decades has been to restore to Bernini his status as the great, principal protagonist of Baroque art, the one who was able to create undisputed masterpieces, to interpret in an original and genial fashion the new spiritual sensibilities of the age, to give the city of Rome an entirely new face, and to unify the [artistic language of the times." Few artists have had as decisive an influence on the physical appearance and emotional tenor of a city as Bernini had on Rome. Maintaining a controlling influence over all aspects of his many and large commissions and over those who aided him in executing them, he was able to carry out his unique and harmoniously uniform vision over decades of work with his long and productive life. Although by the end of Bernini's life there was in motion a decided reaction against his brand of flamboyant Baroque, the fact is that sculptors and architects continued to study his works and be influenced by them for several more decades (Nicola Salvi's later Trevi Fountain in 1735 is a prime example of the enduring post-mortem influence of Bernini on the city's landscape).