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a halo surrounding his head. The medal’s reverse, on the opposite side <strong>of</strong> the engraving, shows<br />

Martellange’s design for the façade <strong>of</strong> Saint-Louis-des-Jésuites. In the lower left corner the<br />

obverse <strong>of</strong> the second medal presents a pr<strong>of</strong>ile portrait <strong>of</strong> Louis XIII dressed in armor with a<br />

large ruff <strong>and</strong> a sash, typical <strong>of</strong> contemporary <strong>state</strong> portraits. 26 Each <strong>of</strong> the images is<br />

accompanied by an inscription, which will be addressed below. The reverse <strong>of</strong> the portrait <strong>of</strong><br />

Louis XIII bears no image, but simply consists <strong>of</strong> Latin text, which reads: “To God all powerful<br />

<strong>and</strong> great—Louis XIII dedicated this building to St. Louis in the year 1627 in order to have as a<br />

protector in heaven the founder <strong>of</strong> his race, <strong>of</strong> his name, <strong>and</strong> <strong>of</strong> his kingdom.” 27<br />

The tradition <strong>of</strong> casting medals for placement in the foundations <strong>of</strong> new buildings began<br />

in the fifteenth century, with the earliest known example being Matteo dei Pasti’s 1454 medal <strong>of</strong><br />

San Francesco in Rimini. 28 Pasti’s medal depicts a pr<strong>of</strong>ile portrait <strong>of</strong> the patron Sigismondo<br />

Malatesta on the obverse with Alberti’s initial design for the façade <strong>of</strong> the church on the reverse<br />

(fig. 37). Subsequent examples followed the same pattern, such as Julius II’s foundation medal<br />

for Saint Peter’s designed in 1506 by Caradosso Foppa, featuring Bramante’s exterior design for<br />

the basilica. Although the Roman Catholic rite for the blessing <strong>of</strong> th foundation stone did not<br />

require medals, by the seventeenth century it was customary to include them as a means <strong>of</strong><br />

commemorating the event.<br />

The use <strong>of</strong> medals to celebrate construction <strong>of</strong> a new church was also a feature at Jesuit<br />

foundations. In 1568 Cardinal Aless<strong>and</strong>ro Farnese commissioned G. Bonsegni to create a<br />

foundation medal to commemorate the start <strong>of</strong> construction on the Gesù, the Jesuit mother<br />

church for which he was the patron. 29 Like other foundation medals, it showed a pr<strong>of</strong>ile portrait<br />

<strong>of</strong> Cardinal Farnese on the obverse with Giacomo da Vignola’s design for the façade on the<br />

reverse (fig. 38). The fact that the Gesù’s patron, rather than the superior general <strong>of</strong> the society,<br />

was the one to commission a medal to commemorate the event provided a precedent for future<br />

Jesuit churches.<br />

Although documentary evidence revealing the person responsible for commissioning the<br />

medals for Saint-Louis-des-Jésuites is lacking, tradition dictates that it was Louis XIII. In France<br />

the ruling monarch used medals to commemorate royal occasions <strong>and</strong> major events; foundation<br />

medals for works connected to the king certainly fell within this realm. 30 King Charles IX<br />

(1560-1574) <strong>and</strong> his mother Queen Catherine de’ Medici were the first French leaders to<br />

commemorate such an event when in 1566 they placed medals bearing their portraits in the<br />

90

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