florida state university college of visual arts, theatre and dance ...

The current arrangement of the apse at Saint-Louis-des-Jésuites is considerably altered
from the time of Louis XIII. Today the curving wall of the apse is clearly visible behind the
altar, showing four faux arcades, each containing a nineteenth-century painting of one of the four
evangelists, surmounted by the tribune (fig. 42). In the seventeenth century a three-storey retable
composed of a central section and two curving sides filled the width of the apse and rose to the
height of the entablature (fig. 43). Although the altarpiece was dismantled following the
expulsion of the Jesuits in 1762, a contemporary engraving preserves the original design as
begun in 1638 and completed in 1641 (fig. 44).
The print most clearly demonstrates the dual emphasis of the interior. The focus of the
ensemble was a large canvas at the center of the first level depicting Simon Vouet’s Presentation
in the Temple from 1641 (fig. 45). 104 To either side of the painting the altarpiece consisted of
twin Corinthian columns, then niches holding statues of Saints Ignatius and Francis Xavier. Both
Spaniards were among the most important saints for the Jesuits: Ignatius Loyola founded the
Society and was its first superior general while Francis Xavier was one of the original members
and especially active in missionary work. 105 Pope Gregory XV had canonized the men in 1622,
adding to their popularity.
On the second level of the retable, above the Presentation in the Temple, was a painting
of the Apotheosis of St. Louis (c. 1641) also by Simon Vouet (fig. 46). 106 Framed by twin
columns and topped with a pediment, the image shows St. Louis draped in a fleurs-de-lis-
covered mantle being carried to heaven by two angels. Cherubs at the king’s feet struggle to lift
the crown of France while two more, floating above, hold the crown of thorns. The image is
completed by the royal regalia seen in the lower left corner: the hand of justice and the royal
scepter rest on a pillow, which in turn is placed on blue and gold fabric emblazoned with the
fleur-de-lis. Additional images signifying the importance of French kingship are found at either
end of the altarpiece’s first level, St. Louis on the right and Charlemagne (768-814) on the left
(fig. 44). 107 References to the monarchy are also included in the retable’s second level, where
two aedicules, containing cartouches with the royal arms, were topped with crowns decorated
with fleurs-de-lis. The devices appeared next to statues representing St. John and St. Mary
Magdalene. Both saints looked up to a painting depicting the Virgin Mary, who in turn raised
her eyes to the crucified Christ on top of the ensemble.
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