with figures and forms systematically arranged—all this reappears in art. There, too, we find the tendency to leave nothing without form, without figure, without ornament. The flamboyant style of architecture is like the postlude of an organist who cannot conclude. It decomposes all the formal elements endlessly; it interlaces all the details; there is not a line which has not its counter-line. The form develops at the expense of the idea, the ornament grows rank, hiding all the lines and all the surfaces. A horror vacui reigns, always a symptom of artistic decline.
All this means that the border-line between pomp and beauty is being obliterated. Decoration and ornament no longer serve to heighten the natural beauty of a thing; they are overgrowing it and threaten to stifle it. The further we get away from pure plastic art, the more this rankness of formal decorative motifs is accentuated. This may be very clearly observed in sculpture. In the creation of isolated figures this overgrowth of forms does not occur: the statues of Moses’ well and the "plourants" of the tombs are as sober as the figures of Donatello. But where sculpture is performing a decorative function we at once find the overgrowth. In looking at the tabernacle of Dijon, every one will be struck by a lack of harmony between the sculpture of Jacques de Baerze and the painting of Broederlam. The picture, painted for its own sake, is simple and sober; the reliefs, on the contrary, in which the purpose is decorative, are complicated and overloaded. We notice the same contrast between painting and tapestry. Textile art, even when representing scenes and figures, remains limited by its technique to decorative conception and expression; hence we find the same craving for excessive ornamentation.
In the art of costume, the essential qualities of pure art, that is to say, measure and harmony, vanish altogether, because splendour and adornment are the sole objects aimed at. Pride and vanity introduce a sensual element incompatible with pure art. No epoch ever witnessed such extravagance of fashion as that extending from 1350 to 1480. Here we can observe the unhampered expansion of the æsthetic sense of the time. All the forms and dimensions of dress are ridiculously exaggerated. The female head-dress assumes the conical shape of the "hennin," a form evolved from the little coif, keeping
