The modo nostro followed by the Jesuits required them to send the designs or plans of the buildings built in each province to Rome for review. This required a degree of coordination and standardization in terms of building typologies. In Andalusia, the churches built in the 16 th century mainly follow the model of a single nave, transport, vaults and hemispherical dome [4]. Notable examples of this model are the church of Santa Catalina in Cordoba (1564-1589), the Anunciacion in Seville (1565-1579), and the Encarnacion in Marchena (Seville) (1584-1593). As a result, of the centralizing tendencies of the Jesuits, throughout the 17 th century churches with central typologies were introduced, especially for those cases which required churches with a smaller capacity. In Andalusia the first example of this model was the church of San Hermenegildo in Seville (1614-1620), with an elliptical plan. This was followed by the church of the College of San Sebastian in Malaga (1626-1630), with a circular plan, churches with the Greek cross floor plan, as seen in the churches of the College of San Torcuato de Guadix (Granada) (1626) and that of the Novitiate of San Luis de los Franceses in Seville (1699-1731). This study focuses on the Baroque church of San Luis de los Franceses, considered a jewel both among the churches of the city of Seville and those built by the Order in the province of Andalusia (Figure 1). Archaeoacoustics, as a method of analysis of historical heritage, makes it possible to study the complex relationship established between architecture and acoustics, introducing as an aspect of analysis the characteristics of the sound field of the analysed spaces, as well as the relationship between people and sound [5,6]. Ecclesial spaces from different historical periods have been analysed from this point of view: Byzantine [7]; Romanesque, such as the Cathedral of Santiago de Compostela [8] or the Abbey of Cluny [9]; Gothic, such as the Spanish cathedrals [10]; and Baroque, such as the Church of Santa Maria Magdalena [11], as well as unique spaces such as the Mosque Cathedral of Cordoba [12]. Figure 1: Jesuit church. (**a**) Single nave. Church of the Anunciacion (Seville). (**b**) Central plan. Church of Santo Cristo de la Salud (Malaga). The conditions of the sound field in Baroque central spaces have been studied by [PERSON] et al. [13] for the churches of [PERSON] (Rome), [PERSON] in Agone (Rome), [PERSON] (Turin) and the Basilica of Superga (Turin), where in situ measurements were carried out based on the statement that in all cases _\"the small dimension of the church (in plan) allow short source-receiver distance with relatively high \(C_{80}\) values\"_. Furthermore, [PERSON] analysed the church of Dos Clerigos in Porto [14], presenting the main monaural parameters derived from impulse responses together with the RASTI index, conducting subjective studies in relation to the evaluation of intelligibility and live music performances. Spaces with large domes can give rise to unexpected acoustic phenomena [15; 16; 17] and focalizations that can increase the sound pressure level or cause colorations in the sound or echoes [18; 19]. These aspects have been studied by [PERSON] et al. in the church of San Luis de los Franceses [20], where the Bayesian analysis performed showed the presence of double slopes in the energy decay curves, for the different frequencies, especially when the source is located under the dome or near a lateral altar. The double slope phenomenon could be associated with an uneven distribution of sound energy due to acoustic coupling between different sub-volumes, as confirmed by directional intensity maps. The receivers under the dome receive the early reflections mainly from the side walls, while reflections that are more delayed in time do so from the hemispherical surfaces delimiting the volume of the central dome. The main aim of this research is the evolutionary analysis of the acoustic conditions of the church of San Luis de los Franceses from its inauguration in 1731 to the present day.