 Hello, my name is Govan Bailey, I'm the Bader Chair in Southern Baroque Art at Queens University in Kingston in Canada. I work a lot on Jesuit art and have specialized in particular on the early period of the decoration of the Jezu and particularly the painted decorations and the stuccoes and the marble that you see in the side chapels. But this man here, John Paolo Oliva, Giovanni Battisto Oliva, was in many ways the second most important patron of the Jezu after its original patron who was Alessandro Farnese, who was a very important cardinal, grandson of Pope Paul III. Oliva was a world famous preacher. He was extraordinarily interested in the visual arts and he used art in his preaching as a way of making references to various themes that he was talking about. And his interest in the arts went beyond just metaphor. He also was very interested in art patronage. At this time, in the middle of the 17th century, the Jezu is still mostly unfinished, the decoration. Inside the side chapels that I just talked about, which have been painted mostly in the 1580s and 90s and a bit of the dome and the pendentas around the dome, they had been finished for a long time. But for decades, the entire vaults and the apps and the ceilings of the transeps were unpainted. And so Oliva, he was very well connected and one of his connections was with Bernini. He was one of her very close friends. In fact, I'd like to think of it as a mutual admiration society. Bernini loved Oliva's preaching and Oliva loved Bernini's art. And he sort of got Bernini involved as a project manager in a sense to get together this new phase of decoration in the 1670s. And he did it through, not directly, Bernini did not contribute anything directly to this period, but through his pupil, Baciccio, who painted these fantastic frescoes of which we have in this exhibition, a number of Botsetti, which is what we call an oil sketch. And by bringing Bernini on board, Bernini made sure that Baciccio, whose real name was Goweli, worked within the style that Oliva was aiming at, which is very much a Bernini style, but he also gave him the best job of his career, and it really made his career. And it was through Baciccio that the rest of the church was finished. So in the late 1670s, the church finally reached the stage that they would hope for almost a century before where the entire interior was decorated. And this was a great moment. And we really have Oliva to thank for that, much in the same way that we have Alessandro Farnese to thank for the first phase and for the jazoo itself, the building, back in the late 16th century.