Besides this, the organization of the company to give the play and the necessity for the display and exercise of taste in the costumes and of ingenuity in the stage settings, were of themselves of great educative value. The rivalry that naturally existed between the various companies chosen from the different guilds only added to the zest with which rehearsals were taken up, and made the play more fully occupy the minds of those actively engaged in its preparation. For several dull winter months before Easter time there was an intense preoccupation of mind with great thoughts and beautiful words, instead of with the paltry round of daily duties, which would otherwise form the burden of conversation. Gossip and scandal mongering had fewer opportunities since people's minds were taken up by so much worthier affairs. The towns in which the plays were given never had more than a few thousand inhabitants and most of them must have been personally interested in some way in the play. The Jesuits, whose acumen for managing students is proverbial, have always considered it of great importance to have their students prepare plays several times a year. Their reason is the occupation of mind which it affords as well as the intellectual and elocutionary training that comes with the work. What they do with premeditation, the old guilds did unconsciously but even more effectively, and their success must be considered as one of the social triumphs of this wonderful Thirteenth Century. Only in recent years has the idea succeeded in making way in government circles on the continent, that the giving of free dramatic entertainments for the poor would form an excellent {253} addition to other educational procedures. Such performances have new been given for nearly a score of years in Berlin. After all, the subvention allowed by government to the great theaters and opera houses in Europe is part of this same policy, though unfortunately they are calculated to affect only the upper classes, who need the help and the stimulus of great dramatic art and great music less than the lower classes, who have so little of variety or of anything that makes for uplift in their lives. In the Thirteenth Century this very modern notion was anticipated in such a way as to benefit the very poorest of the population, and that not only passively, that is by the hearing of dramatic performances, but also actively, by taking parts in them and so having all the details of the action and the words impressed upon them. [Illustration] CAPITAL (LINCOLN) {254} XVI FRANCIS THE SAINT--THE FATHER OF THE RENAISSANCE.