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Histoire de la Compagnie de Jésus en France: des origines à la suppression (1528-1762), 5 vols. (Paris: Picard, 1910-1925). 7 The church and its placement parallel to the street is recorded on the Plan de Vassalieu (1609), a copy of which is at the Bibliothèque nationale de France. 8 Claude Malingre, Les antiquitez de la ville de Paris Contenans la recherche nouvelle des fondations & establissemens des eglises. La chronologie des premiers presidens, aduocats & procureurs generaux du Parlement. preuosts des marchands & escheuins de ladite ville. (Paris: P. Rocolet, 1640), 662. 9 Dumolin and Outardel, Églises de France, 136. 10 Archives Nationales S 1014 contains contracts for the Society’s purchase of houses. 11 Blond, Maison professe, 92-93. The control of the abbey was turned over to the Jesuits in 1638. 12 Folio 256 r. from register 797 of the Archives des Affaires étrangères records an unspecified amount of royal funds being given for work at Saint-Louis-des-Jésuites from 1627 to 1629; folio reprinted in Edouard-Jacques Ciprut, "Notes sur quelques travaux au Louvre en 1627-1629," Bulletin de la Société de l'Histoire de l'Art Français (1954): 182-83. 13 Montgolfier, ed., Saint-Paul-Saint-Louis, 20. For a monograph on Martellange, see E.-L.-G. Charvet, Étienne Martellange, 1569-1641 (Lyon: Glairon-Mondet, 1874). 14 Apart from a few minor changes in access to the sacristy, the plan of the church remains the same today. 15 Martellange was most likely replaced due to the professed fathers’ vocal dislike of the original façade. For the debate over the façade, see Pierre Moisy, "Martellange, Derand et le conflit baroque," Bulletin monumental 110 (1952): 237-61. 16 Blond, Maison professe, 61. Saint-Louis-des-Jésuites is 61 x 28 meters while the Gesù is 70 x 36 meters. 17 For eighteenth-century authors who claimed that Martellange used the Gesù as his model, see Brice, Description 2:186; Jean Aimar Piganiol de la Force, Description historique de la ville de Paris et de ses environs, 10 vols. (Paris: Libraires associés, 1765), 5:4. For a twentieth-century author who states the plan reproduces that of the Gesù, see Boinet, Églises parisiennes, 105. 18 Louis Hautecoeur notes that this type of plan owed its popularity to the manner in which it allowed for the liturgical needs of the Catholic Reformation rather than the renown of the Gesù. Specifically, it allowed for clear, unobstructed views of the high altar, provided ample room for people to hear preaching, and made available numerous altars at which to say mass. For a 111
discussion of the plan and its popularity in France, see Hautecoeur, Architecture classique, 1, pt. 3:405-18. 19 Le Pas de Sécheval, "Politique artistique," 441. 20 Scholars now recognize a lack of stylistic unity among Jesuit churches, a topic long debated by architectural historians. For a recent state of the literature concerning Jesuit architecture, see Bailey, "Le style jésuite,” 38-46. 21 For descriptions of the ceremony, see Blond, Maison professe, 58; Fouqueray, Histoire, 4:247- 48. 22 The custom of blessing the site of a new church dated at least to the sixth century, with the first clear mention of a ceremonial first stone in the Roman Pontifical only occurring in the thirteenth century. The local bishop usually officiated at the rite. A more elaborate ceremony, which is essentially the same today, appeared in 1572. For a further description of the ceremony, see C. H. Meinberg, "Cornerstone," in New Catholic Encyclopedia, ed. Catholic University of America (New York: McGraw Hill, 1967), 4: 335-36. 23 The specifics of Louis XIII setting the foundation stone were recorded in a letter from Père Tacon to the superior general of the Society dated 10 March 1627, Archivum Romanum Societatis Iesu, Francia, fundat. colleg. Volume 1, n. 9; as quoted in Fouqueray, Histoire, 4:247- 48. 24 For the description of the foundation stone, see Piganiol de la Force, Description historique, 5:2-3. 25 “D. O. M. S. LUDOVICO QUI TOTUM ORBEM IN TEMPLUM DEI ARMIS ANIMISQ. DESTINAVIT LUDOVICUS XIII HOC TEMPLUM EREXIT UT QUEM GALLIA COLUIT UT REGEM AMAVIT UT PATREM HIC VENERETUR UT COELITEM ANN MDCXXVII.” D. O. M., abbreviated on the print, stands for “Deo Optimo Maximo.” For help with translating all the Latin phrases in this chapter, I would like to thank Dr. Richard Emmerson and Rick Bessey. 26 The description of the king’s attire, including being dressed in armor, is found in Mazerolle, Médailleurs français, 2: no. 800. 27 “D. O. M. S. LUDOVICO LUDOVICUS XIII EXSTRUXIT AN MDCXXVII UT QUEM AUCTOREM HABET GENERIS NOMINIS AC REGNI EUNDEM HABEAT AETERNAE SALUTIS ADIUTOREM.” 28 John L. Varriano, "The Architecture of Papal Medals," in Projects and Monuments in the Period of the Roman Baroque, ed. Hellmut Hager and Susan Scott Munshower (University Park, PA: Pennsylvania State University, 1984), 69-70. 112
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FLORIDA STATE UNIVERSITY COLLEGE OF
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ACKNOWLEDGEMENTS The completion of
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Jacobins of the rue Saint-Honoré 1
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14. Clément Métezeau and Jacques
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45. Simon Vouet, Apotheosis of St.
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79. After Claude Chastillon, Carose
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ABSTRACT This study examines early
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The Buildings Of the ten newly-buil
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The Patrons: Maria de’ Medici and
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has been the focus of a wealth of a
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Although studies employing contextu
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the Society. By dedicating royal fu
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1 Marie-Laure Deschamps-Bourgeon, "
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de' Medici (Princeton, New Jersey:
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CHAPTER 2 THE HISTORICAL CONTEXT: F
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in the last twenty years as a serio
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pattern that would be repeated in e
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The Reign of Henri IV The move from
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The king’s second major accomplis
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etween Philip IV (1285-1314) and Po
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universal Church, he was recognized
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houses in Italy and Spain, these re
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Although concerns over internationa
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Although Maria never claimed to bel
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suggestions but leave the decisions
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as a double feast. 100 The king’s
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1 I use the terms Catholic Reform a
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20 Henri III was the third of four
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46 Beaune, Ideology, 176. 47 For th
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70 Hayden, "Continuity," 12. 71 Lou
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Jean Héroard, ed. Edouard de Barth
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which uses the seventeenth-century
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a more appropriate location. 11 In
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etween the Oratory’s founder and
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seventeenth century, prompting scho
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façade drew visual emphasis to the
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Page 85 and 86: 1 Fumaroli, "Cross," 88-102; Le Pas
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Page 91 and 92: 51 For twin-towered facades associa
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Page 95 and 96: 99 Archives Nationales MM 562 f. 3-
Page 97 and 98: 125 Archives Nationales MM 623 f. 9
Page 99 and 100: By examining the precise manner of
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Page 103 and 104: a halo surrounding his head. The me
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Page 123: 1 Today it is the parish church of
Page 127 and 128: 43 For Philip II as Solomon and the
Page 129 and 130: 67 The Jesuit foundations building
Page 131 and 132: 88 Laurence Brockliss, "Richelieu,
Page 133 and 134: 110 For the meaning of the central
Page 135 and 136: 135 For a discussion of Richelieu
Page 137 and 138: had exercised by the end of the reg
Page 139 and 140: King Louis XI (1461-1483) and immed
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Page 143 and 144: The queen would have also welcomed
Page 145 and 146: Like Saint-Joseph-des-Carmes the re
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Page 153 and 154: The queen certainly believed that s
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Page 159 and 160: use her support of the Religious of
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Page 163 and 164: 17 “MARIA MEDICAEA, PIENTISSIMA E
Page 165 and 166: Baptiste-Michel Renou de Chevigné
Page 167 and 168: du Roi des Rois pour la conservatri
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choir are two additional rooms. Tho
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Moreover not all foundation stones
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Additional Churches supported by Lo
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palace chapel at Versailles, design
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founding, was first supported by St
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its position within the kingdom. In
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Scholarship shows that the reasons
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with Cardinal Richelieu, who refuse
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his preoccupation with the war, Lou
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12 Barbiche, "Augustins déchaussé
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39 Jean-Pierre Camus, Premières ho
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Amos, Funerals, Politics, and Memor
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cardinal; see Paul de Musset, Puyla
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One of the key contributions of thi
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Figure 1. Philippe de Champaigne, L
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Figure 3. Frans Pourbus the Younger
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Figure 5. French School, Pierre de
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Figure 7. Jean Marot, Veue de l’
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Figure 9. Clément Métezeau and Ja
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Figure 11. Michel Etienne Turgot, P
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Figure 13. Reconstructed map of the
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Figure 15. Saint-Germer-de-Fly, vie
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Figure 17. Sainte-Chapelle, upper c
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Figure 19. Jacques Lemercier, Churc
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Figure 21. Écu d’or of Louis XII
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Figure 23. Jacques Androuet du Cerc
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Figure 25. Map of territories durin
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Figure 27. Peter Paul Rubens, Trium
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Figure 29. Philippe de Champaigne,
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Figure 31. Saint Louis, obverse (le
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Figure 33. Andrea Sacchi and Jan Mi
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Figure 35. Foundation Stone of Sain
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Figure 37. G. Bonsegni, Il Gesù, r
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Figure 39. Detail of Kings rose win
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Figure 41. Etienne Martellange and
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Figure 43. Edme Moreau, High Altar
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Figure 45. Simon Vouet, The Apotheo
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Figure 51. Michel Corneille, St. Lo
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Figure 53. Studio of Simon Vouet, L
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Figure 57. Plan of the Church of th
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Figure 59. Plan of Saint-Joseph-des
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Figure 61. Saint-Joseph-des-Carmes,
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Figure 63. After Jean Marot, Eglise
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Figure 65. Jean-Baptiste-Michel Jai
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Figure 67. Jean-Aimar Piganiol de l
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Figure 69. Michel Etienne Turgot, P
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Figure 71. Nicolas-Michel Troche, F
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Figure 73. Henri de Gisors, detail
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Figure 75. Jacques de Bie, Device f
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Figure 77. Plan of the church of No
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Figure 79. After Claude Chastillon,
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Figure 81. Notre-Dame-des-Victoires
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Figure 83. Current plan of Notre-Da
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Figure 85. Notre-Dame-des-Victoires
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Figure 87. Foundation Stone of Notr
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Figure 89. Detail of a window at th
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Figure 91. E. Viollet-le-Duc, Recon
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Figure 93. Israël Silvestre, Vue d
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Figure 95. Plan de l’eglise de No
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1589 Henri IV becomes king of Franc
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Bibliothèque nationale de France D
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BIBLIOGRAPHY Archival Sources Archi
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Théveneau, Adam. Les Précepts du
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Billot, Claudine. "La fondation de
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Brunel, Georges. Dictionnaire des
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Currier, Charles Warren. History of
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Freiberg, Jack. The Lateran in 1600
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Johnson, Géraldine A. "Imagining I
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Lonergan, Walter F. Historic Church
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Montgolfier, Bernard de, ed. Saint-
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Romier, Lucien. Les origines politi
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Turchetti, Mario. "Middle Parties i
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Education: Teaching Experience: Nat
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