The Church of the Gesù (, ) is the mother church of the Society of Jesus (Jesuits), a Catholic religious order. Officially named (), its facade is "the first truly baroque façade", introducing the baroque style into architecture. The church served as a model for innumerable Jesuit churches all over the world, especially in the Americas. Its paintings in the nave, crossing, and side chapels became models for Jesuit churches throughout Italy and Europe, as well as those of other orders. The Church of the Gesù is located in the Piazza del Gesù in Rome. First conceived in 1551 by Saint Ignatius of Loyola, the founder of the Society of Jesus, and active during the Protestant Reformation and the subsequent Catholic Counter-Reformation, the Gesù was also the home of the Superior General of the Society of Jesus until the suppression of the order in 1773. The church having been subsequently regained by the Jesuits, the adjacent palazzo is now a residence for Jesuit scholars from around the world studying at the Gregorian University in preparation for ordination to the priesthood. History Although Michelangelo, at the request of the Spanish cardinal Bartolomeo de la Cueva, offered, out of devotion, to design the church for free, the endeavor was funded by Cardinal Alessandro Farnese, grandson of Pope Paul III, the pope who had authorized the founding of the Society of Jesus. Ultimately, the main architects involved in the construction were Giacomo Barozzi da Vignola, architect of the Farnese family, and Giacomo della Porta. The church was built on the same spot as the previous church Santa Maria della Strada, where Saint Ignatius of Loyola had once prayed before an image of the Holy Virgin. This image, now adorned with gems, can be seen in the church in the chapel of Ignatius on the left side of the altar. Construction of the church began on 26 June 1568 to Vignola's design. Vignola was assisted by the Jesuit Giovanni Tristano, who took over from Vignola in 1571. When he died in 1575 he was succeeded by the Jesuit architect Giovanni de Rosis. Giacomo della Porta was involved in the construction of the cross-vault, dome, and the apse. The revision of Vignola's façade design by della Porta has offered architectural historians opportunities for a close comparison between Vignola's balanced composition in three superimposed planes and Della Porta's dynamically fused tension bound by its strong vertical