In the succeeding century these elements of poetic art, expanded and animated by an awakened observation of nature, and a sympathy with her external manifestations, were most especially directed by the increasing influence of the worship of the Virgin, a worship at once religious and chivalrous. The title of "Our Lady"[1] came first into general use in the days of chivalry, for she was the lady "of all hearts," whose colours all were proud to wear. Never had her votaries so abounded. Hundreds upon hundreds had enrolled themselves in brotherhoods, vowed to her especial service;[2] or devoted to acts of charity, to be performed in her name.[3] Already the great religious communities, which at this time comprehended all the enthusiasm, learning, and influence of the Church, had placed themselves solemnly and especially under her protection. The Cistercians wore white in honour of her purity; the Servi wore black in respect to her sorrows; the Franciscans had enrolled themselves as champions of the Immaculate Conception; and the Dominicans introduced the rosary. All these richly endowed communities vied with each other in multiplying churches, chapels, and pictures, in honour of their patroness, and expressive of her several attributes. The devout painter, kneeling before his easel, addressed himself to the task of portraying those heavenly lineaments which had visited him perhaps in dreams. Many of the professed monks and friars became themselves accomplished artists.[4] [Footnote 1: _Fr._ Notre Dame. _Ital._ La Madonna. _Ger._ Unser liebe Frau.] [Footnote 2: As the Serviti, who were called in France, _les esclaves de Marie_.] [Footnote 3: As the order of "Our Lady of Mercy," for the deliverance of captives.--_Vide_ Legends of the Monastic Orders.] [Footnote 4: A very curious and startling example of the theological character of the Virgin in the thirteenth century is figured in Miss Twining's work, "_The Symbols of early Christian Art_;" certainly the most complete and useful book of the kind which I know of. Here the Madonna and Child are seated side by side with the Trinity; the Holy Spirit resting on her crowned head.] At this time, Jacopo di Voragine compiled the "Golden Legend," a collection of sacred stories, some already current, some new, or in a new form. This famous book added many themes to those already admitted, and became the authority and storehouse for the early painters in their groups and dramatic compositions. The increasing enthusiasm for the Virgin naturally caused an increasing demand for the subjects taken from her personal history, and led, consequently, to a more exact study of those natural objects and effects which were required as accessories, to greater skill in grouping the figures, and to a higher development of historic art.