Initially attributed to Venetian sculptor Orazio Marinali, stylistic differences redirect attribution to German artist Tommaso Rues. Unlike Marinali’s works, Rues’s pieces demonstrate meticulous detailing, with finely chiseled hair, smooth flesh, and crisply defined facial features. Comparisons to Rues's known works, such as Charity in Venice’s San Giovanni della Croce chapel, reinforce this connection. Both busts exhibit similar facial features and aristocratic elegance seen in Rues’s sculptures.

Further comparisons extend to Saint Juliana in Venice and Saint Rose of Lima in London, showing Rues’s distinct handling of drapery and facial details. Apollo’s laurel crown and robes share attributes with Rues’s mythological busts at the Kroměříž Castle in the Czech Republic, reflecting Rues's exposure to ancient Greek and Roman works in Venice.

Rues, born in 1636 in Brunico and active in Venice from the 1650s, catered to local and international patrons, including German nobility. He produced "modern sculptures" for Venetian palaces and beyond, as recorded in inventories from the era. His workshop held a Venus bust at the time of his death in 1703, highlighting his involvement with such classical themes. Other works linked to Rues include busts of Minerva, Diana, Mercury, and Flora, along with Hercules and Antaeus. Rues's works are notable for blending classicist ideals with a distinct attention to detail, setting him apart within the 17th-century Venetian artistic landscape.