An entirely different sort of colored windows was used in the churches and edifices which belonged to the Cistercian order of monks. The rule of this order was severe, and while they wished to soften the light within their churches, they believed it to be wrong to use anything which denoted pomp or splendor in the decoration of the house of God. For these reasons they invented what is called the _grisaille_ glass: it is painted in regular patterns in gray tones of color. Sometimes these windows are varied by a leaf pattern in shades of green and brown, with occasional touches of bright color; but this is used very sparingly. Some of these _grisaille_ windows are seen in France; but the finest are in Germany in the Cathedral of Heiligenkreuz: they date from the first half of the thirteenth century. THE FINAL, OR GOTHIC PERIOD. The Gothic order of architecture, which was perfected during this period, had a decided influence upon the painting and sculpture of the time; but this influence was not felt until Gothic architecture had reached a high point in its development. France was now the leading country of the world, and Paris came to be the most important of all cities: it was the centre from which went forth edicts as to the customs of society, the laws of dress and conduct, and even of the art of love. From France came the codes of chivalry, and the crusades, which spread to other lands, originated there. Thus, for the time, Paris overshadowed Rome and the older centres of art, industry, and science, with a world-wide influence. [Illustration: FIG. 23.--FIGURE OF HENRY I. IN WEST WINDOW OF STRASBOURG CATHEDRAL.] Although the painting of this period had largely the same characteristics as that of the Romanesque period, it had a different spirit, and it was no longer under the control of the clergy. Before this time, too, painters had frequently been skilled in other arts; now it became the custom for them to be painters only, and besides this they were divided into certain classes of painters, and were then associated with other craftsmen who were engaged in the trade which was connected with their art. That is, the glass-painters painted glass only, and were associated with the glass-blowers; those who decorated shields, with the shield or scutcheon makers, and so on; while the painters, pure and simple, worked at wall-painting, and a little later at panel-painting also. From this association of artists and tradesmen there grew up brotherhoods which supported their members in all difficulties, and stood by each other like friends. Each brotherhood had its altar in some church; they had their funerals and festivals in common, and from these brotherhoods grew up the more powerful societies which were called guilds. These guilds became powerful organizations; they had definite rights and duties, and even judicial authority as to such matters as belonged to their special trades.