The task of art was to adorn all these concepts with charm and colour; it is not desired for its own sake, but to decorate life with the splendour which it could bestow. Art was not yet a means, as it is now, to step out of the routine of everyday life to pass some moments in contemplation; it had to be enjoyed as an element of life itself, as the expression of life’s significance. Whether it served to sustain the flight of piety or to be an accompaniment to the delights of the world, it was not yet conceived as mere beauty.
Consequently, we might venture the paradox that the Middle Ages knew only applied art. They wanted works of art only to make them subservient to some practical use. Their purpose and their meaning always preponderated over their purely æsthetic value. We should add that the love of art for its own sake did not originate in an awakening of the craving for beauty, but developed as a result of superabundant artistic production. In the treasuries of princes and nobles, objects of art accumulated so as to form collections. No longer serving for practical use, they were admired as articles of luxury and of curiosity; thus the taste for art was born which the Renaissance was to develop consciously.
In the great works of art of the fifteenth century, notably in the altar-pieces and tombs, the nature of the subject was far more important than the question of beauty. Beauty was required because the subject was sacred or because the work was destined for some august purpose. This purpose is always of a more or less practical sort. The triptych served to intensify worship at the great festivals and to preserve the memory of the pious donors. The altar-piece of the Lamb by the brothers Van Eyck was opened at high festivals only. Religious pictures were not the only ones which served a practical purpose. The magistrates of the towns ordered representations of famous judgments to decorate the law courts, in order to solemnly exhort the judges to do their duty. Such are the judgment of Cambyses, by Gerard David, at Bruges; that of the Emperor Otto, by Dirk Bouts, at Louvain; and the lost pictures by Rogier van der Weyden, once at Brussels.
The following example may serve to illustrate the importance attached to the subjects represented. In 1384 an interview took place at Lelinghem for the purpose of bringing about an
