There was also a succession of painters (the so-called 'pittori berniniani') who, working under the master's close guidance and at times according to his designs, produced canvases and frescos that were integral components of Bernini's larger multi-media works such as churches and chapels: Carlo Pellegrini, Guido Ubaldo Abbatini, Frenchman Guillaume Courtois (Guglielmo Cortese, known as 'Il Borgognone'), Ludovico Gimignani, and Giovanni Battista Gaulli (who, thanks to Bernini, was granted the prized commission to fresco the vault of the Jesuit mother church of the Gesù by Bernini's friend, Jesuit Superior General, Gian Paolo Oliva). As far as Caravaggio is concerned, in all the voluminous Bernini sources, his name appears only once, in the Chantelou Diary which records Bernini's disparaging remark about him (specifically his "Fortune Teller" that had just arrived from Italy as a Pamphilj gift to King Louis XIV). However, how much Bernini really scorned Caravaggio's art is a matter of debate whereas arguments have been made in favor of a strong influence of Caravaggio on Bernini. Bernini would of course have heard much about Caravaggio and seen many of his works not only because in Rome at the time such contact was impossible to avoid, but also because during his own lifetime Caravaggio had come to the favorable attention of Bernini's own early patrons, both the Borghese and the Barberini. Indeed, much like Caravaggio, Bernini used a theatrical-like light as an important aesthetic and metaphorical device in his religious settings, often using hidden light sources that could intensify the focus of religious worship or enhance the dramatic moment of a sculptural narrative.