The appearance of this fanatic Cluny monk is of the greatest importance as heralding a new influence in the development and history of Spanish ecclesiastical architecture. His coming marks the introduction of a foreign style of building and a revolution in the previous national methods, known as "obra de los Godos," or work of the Goths. Further, with the gradual arrival of French ecclesiastics from Cluny and Citeaux, came also a greater interference from Rome in the management of the Spanish Church, and a radical limitation of the former power of the Peninsula's arrogant prelates. Owing to the new influence, the Italian mass-book was soon presented in place of the ancient Gothic ritual and breviary. The foreign churchmen likewise aided in uniting sovereign, clergy, and nobility in common cause against the Saracen infidels now so firmly ensconced in the Peninsula. Spanish art had previously felt only national influences; now, through the door opened by the monks, it received potent foreign elements. Spain had been far too much occupied with internal strife and political dissension to have had breathing spell or opportunity for the development of the fine arts and the building of churches. The passion for building which the French monks brought with them awoke entirely dormant qualities in the Spaniard, which in the early Romanesque, but especially in the Gothic edifices, produced beautiful, but essentially exotic fruits. First in the days of the Renaissance the architecture showed features which might be termed original and national. With the Cluniacs came not only French artisans but Flemish, German, and Italian, all taking a hand in, and lending their influences to the great works of the new art.