vessels used in religious worship, sacerdotal dress and church furniture, but of secular work, except woodwork and chimneys, scarcely anything is left. How much more should we know of the art of the fifteenth century if we could compare the bath- ing and hunting pieces of Jan van Eyck and Rogier van der Weyden with their piefds and madonnas. It is not only profane pictures we lack. There are whole departments of applied art of which we can hardly even form a conception. For this we lack the power to compare with the priestly vestments that have been preserved, the court costumes with their precious stones and tiny bells, that have perished: we lack the actual sight of the brilliantly decorated war-ships of which miniatures give us but a conventional and clumsy representation. Froissart, who, as a rule, is little susceptible to impressions of beauty, fairly exults in his descriptions of the splendours of a decked-out fleet, with its streamers, gay with blazonry, floating from the mast-heads, and some reaching to the water. The ship of Philippe le Hardi, decorated by Broederlam, was painted azure and gold; large heraldic shields surrounded the pavilion of the castle; the sails were studded with daisies and the initials of the duke and the duchess, and bore the motto I] me tarde. The nobles vied with each other in lavishing money on the decoration of their vessels. Painters had a good time of it, Bays Froissart; there were not enough of them to go round, and they got whatever prices they asked. According to him, many nobles had their ship-masts entirely covered with gold- leaf. Guy de Trémouille spent £2,000 on decorations. ‘“ And all this was paid by the poor people of France. . . .”
These lost products of decorative art would have revealed to us, above all, extravagant sumptuousness. This trait is characteristic of the epoch; it is to be found equally in the works which we do possess, but as we study these only for the sake of their beauty, we pay little attention to this element of splendour and of pomp, which no longer interests us, but which was just what people of that time prized most.
Burgundo-French culture of the expiring Middle Ages tends to oust beauty by magnificence. The art of this period exactly reflects this spirit. All that we cited above as characteristic of the mental processes of the epoch: the craving to give a definite form to every idea, and the overcrowding of the mind
