By the mid-1930s, Messiaen’s Catholic faith was already emerging as a defining feature of his compositional persona. At the same time, Messiaen was becoming increasingly attracted to the music of André Jolivet, whose innovative language influenced many of his own technical processes. Cementing their friendship through discovering a shared interest in the importance of spiritual concerns, Messiaen and Jolivet joined with Daniel-Lesur in 1935 to found the avant-garde chamber music society La Spirale, the organisation that paved the way for La Jeune France. This essay discusses the activities of La Jeune France and considers their aesthetics and ideals in the context not only of similar initiatives in the field of the visual arts but also the Catholic revival that took hold in 1930s France.