In 'Jesuit Art', Mia Mochizuki considers the artistic production of the pre-suppression Society of Jesus (1540-1773) from a global perspective. Geographic and medial expansion of the standard corpus changes not only the objects under analysis, it also affects the kinds of queries that arise. Mochizuki draws upon masterpieces and material culture from around the world to assess the signature structural innovations pioneered by Jesuits in the history of the image. When the question of a ?Jesuit style? is rehabilitated as an inquiry into sources for a spectrum of works, the Society?s investment in the functional potential of illustrated books reveals the traits that would come to define the modern image as internally networked, technologically defined, and innately subjective. 0Also available in Open Access.

"On September 27, 1540, an international band of ten young priests led by Ignatius of Loyola received from Pope Paul III...official approval for their new religious order, the Society of Jesus. The new order grew at an amazing pace....By the year of its centenary, 1640, the Society could boast remarkable achievements....Not surprisingly, therefore, in 1640, Jesuit provinces around the world entered enthusiastically into celebration of the centenary....This, then, was the occasion for publication at Antwerp by the Jesuits of the Flemish province of the Imago primi saeculi Societatis Iesu."--Page 11.

Through a sweeping look at Jesuit activities in Japan, China, Mughul India, and Paraguay, Bailey finds evidence of artistic hybridization as a means of communication and argues in favour of a paradigm of artistic exchange.

The Jesuit educational system, with its successful applications in all parts of the world for several centuries, is one of the most durable, influential, and far-reaching experiments in the history of education. In this monograph Aldo Scaglione explores the complex genesis of the system, which it regards essentially as a heritage of Renaissance Humanism; the impact of both Reformation and Catholic Counter-reformation on it; and its conflicts with the secular traditions and systems with which it competed through the centuries.

In Jesuit Art, Mia Mochizuki considers the artistic production of the pre-suppression Society of Jesus (1540–1773) from a global perspective. Geographic and medial expansion of the standard corpus changes not only the objects under analysis, it also affects the kinds of queries that arise. Mochizuki draws upon masterpieces and material culture from around the world to assess the signature structural innovations pioneered by Jesuits in the history of the image. When the question of a ‘Jesuit style’ is rehabilitated as an inquiry into sources for a spectrum of works, the Society’s investment in the functional potential of illustrated books reveals the traits that would come to define the modern image as internally networked, technologically defined, and innately subjective.

Between Renaissance and Baroque is a stunning achievement - the first book to be written about the original painting commissions of the Jesuits in Rome. Offering a uniquely comprehensive and comparative analysis of the paintings and stuccoes which adorned all of the Jesuit foundations in the city during their first half century of existence, the study treats some of the most crucial monuments of late Renaissance painting including the original decorations of the church of the Gesù and the Collegio Romano, and the martyrdom frescoes at S. Stefano Rotondo. Based on extensive new archival research from Rome, Florence, Parma, and Perugia, Gauvin Alexander Bailey's study presents an original, revisionist treatment of Italian painting in the last four decades of the sixteenth century, a critical transitional period between Renaissance and Baroque. Bailey relates the Jesuit painting cycles to the great religious and intellectual climate of the period, isolates the new stylistic trends which appeared after the Council of Trent, and looks at the different ways in which artists met the challenges for devotional art made by the religious climate of the post-Tridentine period. Bailey also succeeds in providing the first ever written reconstructions of the Jesuit churches of S. Tommaso di Canterbury, S. Saba, and S. Apollinare, and the original novitiate complex of S. Andrea al Quirinale, the site of the most complex and original hospital decoration in late Renaissance Italy. Through these reconstructions, Bailey sheds new light on such works as Louis Richeôme's meditation manual on the paintings at S. Andrea, Le peinture spirituelle, a lively and detailed treatise on late Renaissance art that has never before been the subject of a thorough study. Ultimately, Bailey provides us with a new understanding of the stylistic and iconographic strands which shortly afterward were woven together to form the Baroque.