carrying fruit in baskets and birds in cages….” I should be ready to give more than one mediocre church-picture to see them.
We may go further, at the risk of being thought paradoxical, and affirm that we have to take this art of show-pieces, which has disappeared without leaving a trace, into account, if we would thoroughly understand the art of Claus Sluter.
Of all the forms of art, sepulchral sculpture is most fettered by the exigencies of its purpose. The sculptors charged with making the ducal tombs were not left free to create beautiful things; they had to exalt the glory of the deceased prince. The painter can always give free rein to his imagination; he is never obliged to limit himself strictly to commissioned work. It is probable, on the other hand, that the sculptor of this epoch rarely worked except on specified tasks. The motifs of his art, moreover, are limited in number and fixed by a rigorous tradition. It is true that painters and sculptors are equally servants of the ducal household; Jan van Eyck, as well as Sluter and his nephew, Claus de Werve, bore the title of “varlet de chambre,” but for the two latter, the service is far more real than for the painters. The two great Dutchmen whom the irresistible attraction of French art life drew for good from their native country were completely monopolized by the duke of Burgundy. Claus Sluter inhabited a house at Dijon which the duke placed at his disposal; there he lived as a gentleman, but at the same time as a servant of the court. His nephew and successor, Claus de Werve, is the tragic type of an artist in the service of princes: kept back at Dijon year after year, to finish the tomb of Jean sans Peur, for which the financial means were never forthcoming, he saw his artistic career, so brilliantly begun, ruined by fruitless waiting.
Thus the art of the sculptor at this epoch is a servile art. On the other hand, sculpture is generally little influenced by the taste of an epoch, because its means, its material and its subjects are limited and little subject to change. When a great sculptor appears, he creates everywhere and always that optimum of purity and simplicity which we call classic. The human form and its drapery are susceptible of few variations. The masterpieces of carving of the different ages are very much
