Bernini possessed the ability to depict dramatic narratives with characters showing intense psychological states, but also to organize large-scale sculptural works which convey a magnificent grandeur.[4] His skill in manipulating marble ensured that he would be considered a worthy successor of Michelangelo, far outshining other sculptors of his generation, including his rival, Alessandro Algardi. His talent extended beyond the confines of sculpture to a consideration of the setting in which it would be situated; his ability to synthesize sculpture, painting, and architecture into a coherent conceptual and visual whole has been termed by the art historian Irving Lavin the "unity of the visual arts".[5] A deeply religious man,[6] working in Counter Reformation Rome, Bernini used light as an important metaphorical device in his religious settings, often using hidden light sources that could intensify the focus of religious worship[7] or enhance the dramatic moment of a sculptural narrative.