Chapter
1 Introduction: A Time without Art?
The Jesuits and the Visual Arts, and Art and ‘Counter-Reformation’
The Debate over ‘Mannerism,’ and Art in Rome before the Jesuits
The Directors of the Jesuit Painting Programs
2 The Novitiate of S. Andrea al Quirinale
The Foundation and Construction of the Novitiate
The Chronology and Authorship of the Novitiate Decorations
Louis Richeôme’s Guide to the Novitiate Paintings
The Novitiate Chapel of S. Andrea al Quirinale
The Lavatory and Galleries
3 The Novitiate Infirmary
Rooms Eleven to Thirteen, and the Infirmary Refectory
The Novitiate Infirmary Cycle in Context: Hospital Decoration in Renaissance Italy
4 The Jesuit Collegiate Foundations of the Collegio Romano, the Seminario Romano, and the German-Hungarian College
Jesuit Teaching and a Brief History of the Roman Collegiate Institutions
The Paintings of the Collegio Romano and the Church of SS. Annunziata
The Paintings of the Seminario Romano
The Paintings of the German-Hungarian College and the Palaeochristian Revival Movement
The Church of S. Apollinare
The Church of S. Stefano Rotondo: Paintings by Niccolò Circignani and Matteo da Siena
The Subjects of Circignani’s Paintings at S. Stefano
The Church of S. Stefano Rotondo: Paintings by Antonio Tempesta
The Church of S. Stefano Rotondo: The Balustrade
5 The Collegiate Church of S. Tommaso di Canterbury and the Novitiate Church of S. Vitale
The Venerable English College and S. Tommaso di Canterbury
The Novitiate Church of S. Vitale
6 The Church of the Gesù in Rome: Documents
Overview of the Scholarship of the Gesù
The Foundation and Construction of the Gesù
The General Scheme of the Gesù Paintings
The Artists of the Gesù Decorations
The Nave Chapels: Left Side
The Nave Chapels: Right Side
The Apse and Crossing Area
The West Wall, Sacristy, Confraternity Chapels, and Miscellaneous Minor Commissions
7 The Church of the Gesù in Rome: Description and Interpretation
The Nave Chapels: Left Side
The Nave Chapels: Right Side
The Apse and Crossing Area
The Sacristy and the Tomb of Ignatius
The Legacy of the First Gesù Decorations
8 Conclusion: A New Sacred Art for a New Era
Between Renaissance and Baroque
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