alike, and, for us, Sluter’s work shares this eternal identity of sculpture.
Nevertheless, on examining it more closely, we notice that especially the art of Sluter bears the marks of being influenced by the taste of the time (not to call it Burgundian taste) as far as the nature of sculpture permits. Sluter’s works have not been preserved as they were, and as the master intended them to be. We must picture the well of Moses as it was in 1418, when the papal legate granted an indulgence to whosoever should come to visit it in a pious spirit. It must be remembered that the well is but a fragment, a part of a calvary with which the first duke of Burgundy of the house of Valois intended to crown the well of his Carthusian monastery of Champmol. The principal part, that is to say, the crucified Christ with the Virgin, Saint John and Mary Magdalen, had almost completely disappeared before the French Revolution. There remains only the pedestal, surrounded by the statues of the six prophets who predicted the death of the Saviour, with a cornice supported by angels. The whole composition is in the highest degree a representation, “une œuvre pariante,” a show, closely related as such to the tableaux vivants or the “personnages” of the princely entries and of the banquets. There, too, the subjects were borrowed, for choice, from the prophecies relating to the coming of Christ. Like these “personnages,” the figures surrounding the well hold scrolls containing the text of their predictions. It rarely happens in sculpture that the written word is of such importance. We can only fully realize the marvellous art here displayed in hearing these sacred and solemn words. Immolabit eum universa multitudo filorum Israel ad vesperum; this is Moses’ sentence. Foderunt manus meas et pedes meos, dinumeraverunt omnia ossa mea; this is David’s. Jeremiah says: O vos omnes qui transitis per viam, attendite et videte si est dolor stcut dolor meus.[1] Isaiah, Daniel, Zachariah, all announce the death of the Lord. It is like a threnody of six voices rising up to the cross. Now in this feature lies the
