the theatrical narrative of St Andrew which begins in the High Altar chapel and culminates in the dome. Over the High Altar is an oil painting of the Martyrdom of Saint Andrew (1668) by French painter Guillaume Courtois, a depiction which shows Andrew tied to the diagonals of the form of the cross on which he was crucified. Andrew appears for a second time as if he were breaking through the curved pediment of the edicule frame to the high altar; this time he is represented by a white stucco sculpture carved by Antonio Raggi. He is shown on a cloud, designating a heavenly appearance, and, with his arm outstretched and gaze cast upwards, he indicates that he is on his way to heaven as represented by the golden dome, the stucco cherubim heads clustered around the opening to the lantern, and the lantern vault with the Dove of the Holy Ghost. This dramatic visual narrative is sustained not only upwards through the space of the church but employs different artistic modes. Bernini combined painting, sculpture and architecture into a synthesis to create visually the idea of the apotheosis of St Andrew in this spiritual theater. He used a similar synthesis of artistic modes in his design of the Ecstasy of Saint Theresa in the Cornaro Chapel of Santa Maria della Vittoria. This synthesis has been referred to as the ‘unity of the visual arts’. Chapels First chapel on the right, the Chapel of St Francis Xavier houses three canvases by Baciccio depicting the baptism, preaching and Death of St Francis Xavier (1705). In the ceiling, Filippo Bracci painted The Glory of St Francis Xavier. The Chapel of the Passion, also known as the Chapel of the Flagellation, has three canvases with scenes from the Passion of Jesus Christ by Giacinto Brandi: a Deposition, a Flagellation, and a Road to Calvary (1682). To the left of the main altar, the Chapel of Saint Stanislaus Kostka houses the shrine of the saint, an urn of bronze and lapis lazuli made in 1716. The painting above the funerary monument Madonna with child and Saint Stanislaus Kostka is by Carlo Maratta (1687) and a ceiling fresco of Glory of the Saints by Giovanni Odazzi. The last chapel, dedicated to Saint Ignatius of Loyola, houses the paintings Madonna and child and Saints and Adoration of Kings and Shepherds by Ludovico Mazzanti, with a ceiling