were changed into supporting pillars, and became a magnificent framework for the display of ingenious window architecture. A rich stone structure rose upon the cruciform ground plan, and the powerful arches towered up into airy heights. Tall tapering pillars symbolized the heavenward strivings of the soul. The rose window over the portal as the symbol of silence teaches that nothing worldly has a voice there. The gigantic peaked windows send through their beautifully painted glass a richly coloured light full on the vast area. Everything in the structure points upward, and this symbolism is finally expressed in the lofty towers, which lose themselves in giddy heights. The victory over the kingdom of darkness is depicted in the repulsive reptiles, demonic forms, and dragon shapes which are made to bear up the pillars and posts, and to serve as water carriers. The wit of artists has made even bishops and popes perform these menial offices, just as Dante condemned many popes to the infernal regions.[314] § 104.13. The most famous architects were Benedictines. The master builder along with the scholars trained by him formed independent corporations, free from any other jurisdiction. They therefore called themselves “=Free Masons=,” and erected “=Lodges=,” where they met for consultation and discussion. From the 13th century these lodges fell more and more into the hands of the laity, and became training schools of architecture. To them we are largely indebted for the development of the Gothic style. Their most celebrated works are the Cologne cathedral and the Strassburg minster. The foundation of the former was laid under Archbishop Conrad of Hochsteden in A.D. 1248; the choir was completed and consecrated in A.D. 1322 (§ 174, 9). Erwin of Steinbach began the building of the Strassburg minster in A.D. 1275.