THE STYLES OF HENRY IV. AND LOUIS XIII. 



259 



for neither is this manner confined to ecclesiastical work, and still less 

 to that of the Jesuits, nor is it universal in their churches. Except for 

 certain features of its internal decoration, the Gesii itself is an example 

 of pure classical design. The severer side of Jesuit culture, based as 

 it was on classical studies, was more congenial, than its sensuous 

 elements, to the cool reasoning spirit of French Catholicism. In 

 France, too, the Jesuits were forced to compete in austerity with 

 Huguenots and the Jansenists, and not only their secular buildings 

 but even their churches, especially externally, were often of a severe 

 character. 



PLANS. The typical plan of the conventual church was inscribed in 

 a rectangle, and consisted of a nave and side chapels (the latter often 

 carrying galleries over them), transepts and square choir, with chapels, 

 sacristies, or vestibules on each side of it. A projecting apse was 

 sometimes added to 

 the choir, as in the 

 Jesuit church in 

 Paris (Fig. 254), 

 and less often to the 

 chapels or transepts, 

 as in the College 

 Chapel at Rouen 

 (Fig. 253). In 

 parochial churches 

 the arrangements 

 were similar, with 

 the addition of 

 aisles and ambula- 

 tories, and occa- 

 sionally of circular 

 or elliptical Lady 

 Chapels or retro- 

 choirs (Fig. 320). 



SECTIONS, IN- 

 TERIORS. The nave 

 walls were pierced 

 by an arcade spring- 

 ing from an impost 

 or from the entabla- 

 ture of a minor 

 order of pilasters. 

 Against the rectan- 

 gular piers was the 252 TouRS . CHAPEL OK THE MINIMS MONASTERY 

 principal order of ( NOW LYCEE). WEST DOORWAY (1627-30). 



