patron? It is quite possible that Sluter himself considered Jeremiah’s spectacles a very happy find. In the men of that epoch artistic taste was still blended with the passion for what is rare or brilliant. In their simplicity they could enjoy the bizarre as if it were beauty. Objects of pure art and articles of luxury and curiosity were equally admired. Long after the Middle Ages the collections of princes contained works of art mixed up indiscriminately with knick-knacks made of shells and of hair, wax statues of celebrated dwarfs and such-like articles. At the castle of Hesdin, where side by side with art treasures the “engins d’esbatement” (contrivances for amusement) usual in princely pleasure-grounds were found in abundance, Caxton saw a room ornamented with pictures representing the history of Jason, the hero of the Golden Fleece. The artist is unknown, but was probably a distinguished master. To heighten the effect, a “machinerie” was annexed which could imitate lightning, thunder, snow and rain, in memory of the magic arts of Medea.
In the shows at the entries of princes inventive fancy stuck at nothing. When Isabella of Bavaria made her entry into Paris in 1389, there was a white deer with gilt antlers, and a wreath round its neck, stretched out on a “lit de justice,” moving its eyes, antlers, feet, and at last raising a sword. At the moment when the queen crossed the bridge to the left of Notre Dame, an angel descended “by means of well-constructed engines” from one of the towers, passed through an opening of the hangings of blue taffeta with golden fleurs-de-lis which covered the bridge, and put a crown on her head. Then the angel “was pulled up again as if he had returned to heaven of his own accord.” Philip the Good and Charles VIII were treated to similar descents. Lefèvre de Saint Remy greatly admired the spectacle of four trumpeters and twelve nobles on artificial horses, “sallying forth and caracoling in such a way that it was a fine thing to see.”
Time the destroyer has made it easy for us to separate pure art from all these gewgaws and bizarre trappings, which have completely disappeared. This separation which our æsthetic sense insists upon, did not exist for the men of that time. Their artistic life was still enclosed within the forms of social life. Art was subservient to life. Its social function was to
