illusionistic such as Gaulli's nave fresco (1674-9) in the church of the Gesu and Andrea Pozzo's nave vault (1691-4) in Sant'Ignazio, both in Rome. Luca Giordano 1634-1705 was born in Naples and was so prodigious in his output of paintings that he was known as ‘Luca fa presto’ (Luke fast work) Important Venetian painters included Sebastiano Ricci (1659–1734) and Giovanni Battista Piazzetta (1683–1754) but the greatest baroque exponent was Gianbattista Tiepolo (1696–1770). He is renowned for his light palette of colours used with fluid brush strokes, and it is his frescoes rather than his canvases that exhibit these techniques most effectively. His works include frescoes at the Palazzo Labia and the Scuola Grande dei Carmini in Venice, Villa Valmarana at Vicenza, Villa Pisani at Stra, works at the Würzburg Residence and the throne room at the Royal Palace of Madrid. An important centre of Italian Baroque painting was Genoa. Many, even from abroad, came to the city to gain Baroque artistic experience, and later went to Venice, Florence, Rome or other important Baroque centres. Prolonged visits to the town were made by artists from other parts of Italy and other countries, including Velázquez, Van Dyck, the French sculptor Pierre Puget, Bernardo Strozzi and Giovanni Benedetto Castiglione. Another Italian city which had a vibrant Baroque movement was Milan. The city hosted numerous formidable artists, architects and painters of that period, such as Caravaggio. Baroque sculpture Gian Lorenzo Bernini (1598–1680) was the leading sculptor of his day and the favorite artist of several popes and their relatives, who gave him important commissions. His ‘Apollo and Daphne’ in the Villa Borghese in Rome illustrates how he could precisely capture in white marble the dramatic moment when Daphne, fleeing the pursuing sun god, realizes she is metamorphosing into a laurel tree. This ability to make expressive dramatic narratives in sculpture can also be seen in his Ecstasy of Saint Teresa (1645–52), created for the Cornaro Chapel in Santa Maria della Vittoria, the Blessed Ludovica Albertoni in San Francesco a Ripa in Rome, and St Longinus in St Peter's. He was also a fine sculptor of portrait busts. He had a workshop which trained sculptors such as Antonio Raggi and Ercole Ferrata. His main rival in sculpture was Alessandro Algardi. Melchiorre Caffà (1635–1667) was the pupil of Ferrata and executed ‘The ecstasy of Saint Catherine’ in S Catherina da Siena a Monte Magnapoli in Rome,