It was natural that the monasteries, well regulated as they were, and encouraging all kinds of industries, should speedily grow rich. But it would be difficult to imagine how wealth could have been better made available for the benefit of the community at that time, and under the conditions then existing, than it was in the hands of the Benedictines. The history of the Cistercian monasteries is similar to that of the Clunisiens. In the end of the eleventh century some monks of Molesmes, whose monastery had fallen into the greatest laxity, obtained from the Papal Legate permission to found an Abbey on rules of great strictness. Twenty monks established themselves in the forest of Citeaux, in the diocese of Châlon, on a desert territory surrendered to them by the Viscount of Beaune. The monks built an Oratory and established Rules--one of which was that they should live by the work of their hands. These monks were soon afterwards joined by St Bernard and his companions, when the rule of Citeaux took a great start. In less than twenty-five years after these twenty men began their labours in the marshy forest by reclaiming and cultivating a small patch of ground, they were represented by 60,000 Cistercian monks spread over every part of Europe. They were called in by feudal lords from all countries to clear the land, to establish industries, to rear flocks and herds, to drain the marshes, and cultivate the soil. In a short time Citeaux ruled over the incredible number of 2000 houses of both sexes, each house possessing 5 or 6 granges. Nothing can better illustrate the immense strides made in the West during the eleventh century than the great development of these establishments, and no part of the progress then made had greater influence on Architecture. It is from this time that we may date the revival of our art, after the almost total extinction of the Dark Ages. It is evident that the very large number of new monasteries and churches now required would have a great effect in stimulating the growth of Architecture. The position of this and every other art was at that time necessarily in the hands of the monks, who alone had sufficient knowledge for the designing and decorating of any building. Under the monastic influence, however, the designs naturally became subject to rule and tradition, and tended to assume fixed forms, although these varied somewhat under the regulations of the different orders, and in different localities.