essence of the work. The gestures of the hands by which the attention is directed to the texts are so emphatic, and there is an expression of such poignant grief on the faces, that the whole is in some danger of losing the ataraxia which marks great sculpture. It appeals too directly to the spectator. Compared with the figures of Michelangelo, those of Sluter are too expressive, too personal. If more had come down to us of the calvary supported by the prophets than the head and the torso of Christ, of a stark majesty, this expressive character would be still more evident.
The spectacular character of the calvary of Champmol also came into prominence in the luxurious decorations of the work. We must picture it in all its polychrome splendour, for Jean Malouel, the artist, and Herman of Cologne, the gilder, were not sparing of vivid colours and brilliant effects. The pedestals were green, the mantles of the prophets were gilt, their tunics red and azure with golden stars. Isaiah, the gloomiest of all, wore a dress of gold-cloth. The open spaces were filled with golden suns and initials. The pride of blazonry displayed itself not only round the columns below the figures, but on the cross itself, which was entirely gilt. The extremities of the arms of the cross, shaped like capitals, bore the coats of arms of Burgundy and Flanders. Can one ask for better proof of the spirit in which the duke conceived this great monument of his piety? As a crowning “bizarrerie,” a pair of spectacles of gilded brass, the work of Hannequin de Hacht, were placed on Jeremiah’s nose.
This serfdom of a great art controlled by the will of a princely patron is tragic, but it is at the same time exalted by the heroic efforts of the great sculptor to shake off his shackles. The figures of the “plourants” around the sarcophagus had for a long time been an obligatory motif in Burgundian sepulchral art. These weeping figures were not meant to express grief in general; the sculptor was bound to give a faithful representation of the funeral cortège with the dignitaries present at the burial. But the genius of Sluter and his pupils succeeded in transforming this motif into the most profound expression of mourning known in art, a funeral march in stone.
Is it so certain, after all, that we are right in thinking of the artist as struggling with the lack of taste and refinement of his
