VHANCISCAN AND DoMINICAN Aar. The mon asteries of these Orders were in or near the cities, so that the menthers could take part in the daily life of the people. There were ordinarily no high eneircling cloistml walls, no arrangements for teaching the arts (except occasionally that of illuminating manuscripts or doing goldsmith work), no warehouses. The art of the mendi cant orders was especially important in Italy. At the beginning, the Cistercian style furnished models for (dowel] and cbdstral architecture, but soon these borrowed traits dropped into insig nificance, when compared with the original fea tures that were developed. The emphasis laid upon preaching in their (-bundles to the masses, and thus influencing public sentiment, led to the creation of two new types of monastic ellureh that with lofty aisles and with widely spaced supports between nave and aisles, and the hall church type with no aisles. In both eases the object was to place large eongregations within sight and hearing of the pulpit. San Francesco at Assisi, the mother monastery, was the model for the hall-elinrelt type: San Francesco and San Doinenieo at Bologna for the three-aisled type. Of the greatest of the thirteenth century in Italy. nearly all were built by monks of these two Orders—Santa :\laria Novella and Santa Croee at Florence, Santa dei Frail and Santi Giovanni e Paolo at Venice, Santa Maria supra Minerva in 'Rome, Sant' Anastasia at Verona, San Francesco at Aseoli.
While the Orders were less prominent in the arehitecture of the rest of Europe, they certainly popularized in Germany the use of the hall church, which became a very common type: hut the predominance of cathedral architecture and I he continued prosperity of the Cistercians limited their sphere.
Of even greater importance was the effect of the Orders on seulpture mid painting. The
thought. and feeling, the system and .symbolism that. lay behind the groat schools of fresco paint ing of Florence, Siena, and other Italian centres, as well as the French sellout. of cathedral sculp ture Cho rt res, hhdras. Amiens, Bourges, Paris, are due to the influence of Saint Franeis, Saint Dominic. and their such as Saint lionaventura and Thomas Aquinas. The encyclop,edie thinkers who furnished the ideas and directed the hand of sculptors and painters were the teachers of these Orders. who also directed the thought of the universities of Europe. The frescoes in the Cloireb of San Francesco :It Assisi. in the Cappelli del Spagnuoli ci Flormee. the Palazzo Pubblieo at Siena, the tower at Florenee, ;111.1 Orvieto Cathedral, are their work, in symbolism. in leaching. in all their higher value. The bold attempt to represent the origin, eh:tr ader, and history of the IlltiVerso in art. made by the decorator, of the French Gothic cathe drals, had precisely the same source. The corre sponding printed pages are to be found in Vin cent of Beauvais's Speculum I:nicer:ark and other similar literary eneyeloredias. It is by reading the life and legends of Saint Francis, by studying the important role of the preachers in the popular movements, by reading the ser mons of the great preachers, that one can realize how clearly the mystic and allegorical art of the thirteenth and fourteenth centuries is a crea tion of these Orders and merely a part of a great wave of social reform that was due largely to them. Giotto, the Gaddi, Orcagna. Andrea Pisano, and other artists, while not members of the Orders. expressed their ideals.