As a matter of fact, the tolerance and even the encouragement granted, at the time, to an exuberant display of forms and colours and to an overloaded ornamental architecture, were not opposed to the Jesuit methods. They were determined, by all means at their disposal, to transform the Low Countries into an advance citadel of Roman Catholicism. Their policy was far more positive than negative. They were far more bent on bringing to the Church new converts and stimulating the zeal of their flock than on eradicating Protestantism. They thought that the only means to obtain such a result was to attract the people by pleasant surroundings and not to rebuke them by morose asceticism. They were the first to introduce dancing, music and games into their colleges. They organized processions and sacred pageants. They surrounded the first solemn communion with a new ceremonial. They stimulated emulation and showered prizes on all those who distinguished themselves. [_THE JESUITS_] Society was merely for them a larger school in which they used the same means in order to consolidate their position. During the first years of the seventeenth century, an enormous number of new churches were built. Never had architects been so busy since the time of Philip the Good. The church of Douai, erected in 1583, was a replica of the Gesu in Rome, and the general adoption of the Italian "barocco" by the Jesuits has encouraged the idea, in modern times, that there really existed a Jesuit type of architecture. The flowery ornaments on the facades of these churches, their columns, gilded torches, elaborate and heavy designs, cannot be compared to Rubens's masterpieces, but, from the point of view of propaganda, which was the only point of view that mattered, the glorious paintings of the Antwerp master fulfilled the same purpose. They rendered religion attractive to the masses, they combined with music and incense to fill the congregation with a sacred awe conducive to faith.