armistice between France and England. The duke of Berry had the naked walls of the old chapel, where the negotiating princes were to meet, covered with tapestry representing battles of antiquity. But John of Gaunt, duke of Lancaster, as soon as he saw them on entering, demanded that these pictures of war should be removed, because those who aspire to peace ought not to have scenes of combat and of destruction before their eyes. The tapestries were replaced by others representing the instruments of the Passion.
The importance of the subject is closely connected with the artistic value in the case of portraits, which even now preserve some moral significance, as souvenirs or heirlooms, because the sentiments determining their use are as vital as ever. In the Middle Ages portraits were ordered for all sorts of purposes, but rarely, we may be certain, to obtain a masterpiece of art. Besides gratifying family affection and pride, the portrait served to enable betrothed persons to make acquaintance. The embassy sent to Portugal by Philip the Good in 1428, to ask for the hand of a princess, was accompanied by Jan van Eyck, with orders to paint her portrait. Court chroniclers liked to keep up the fiction that the royal fiancé had fallen in love with the unknown princess on seeing her portrait—for instance, Richard II of England when courting the little Isabelle of France, aged six. Sometimes it is even said that a selection was made by comparing portraits of different parties. When a wife had to be found for the young Charles VI, according to the Religieux de Saint Denis, the choice lay between a Bavarian, an Austrian and a Lorraine duchess. A painter of talent was sent to the three courts; three portraits were submitted to the king, who chose the young Isabella of Bavaria, judging her by far the most beautiful.
Nowhere was the practical use of works of art weightier than in connection with tombs, by far the most important domain of the sculpture of the epoch. The wish to have an effigy of the deceased was so strong that it claimed satisfaction even before the construction of the tomb. At the burial of a man of rank, he is represented either by a living man or by an effigy. At the funeral service of Bertrand du Guesclin, at Saint Denis, “four men-at-arms, armed cap-a-pie, mounted on four chargers, well appointed and caparisoned, representing the dead man
