If there had been doubts over Bernini's position as Rome's preeminent artist, they were definitively removed by the unqualified success of the marvelously delightful and technically ingenious Four Rivers Fountain, featuring a heavy ancient obelisk placed over a void created by a cavelike rock formation placed in the center of an ocean of exotic sea creatures. Bernini continued to receive commissions from Pope Innocent X and other senior members of Rome's clergy and aristocracy, as well as from exalted patrons outside of Rome, such as Francesco d'Este. Recovering quickly form the humiliation of the bell tower, Bernini's boundless creativity continued as before. New types of funerary monument were designed, such as, in the Church of Santa Maria sopra Minerva, the seemingly floating medallion, hovering in the air as it were, for the deceased nun Maria Raggi, while chapels he designed, such as the Raimondi Chapel in the church of San Pietro in Montorio, illustrated how Bernini could use hidden lighting to help suggest divine intervention within the narratives he was depicting.