the hair under the kerchief. High and bombed foreheads are in fashion, with the temples shaved. Low-necked dresses make their appearance. The male dress had features still more bizarre—the immoderate length of the points of the shoes, called "poulaines," which the knights at Nicopolis had to cut off, to enable them to flee; the laced waists; the balloon-shaped sleeves standing up at the shoulders; the too long "houppelandes" and the too short doublets; the cylindrical or pointed bonnets; the hoods draped about the head in the form of a cock’s comb or a flaming fire. A state costume was ornamented by hundreds of precious stones.
The taste for unbridled luxury culminated in the court fétes. Every one has read the descriptions of the Burgundian festivities at Lille in 1454, at which the guests took the oath to undertake the crusade, and at Bruges in 1468, on the occasion of the marriage of Charles the Bold with Margaret of York. It is hard to imagine a more absolute contrast than that of these barbarous manifestations of arrogant pomp and the pictures of the brothers Van Eyck, Dirk Bouts and Rogier van der Weyden, with their sweet and tranquil serenity. Nothing could be more insipid and ugly than the “entremets,’’ consisting of gigantio pies enclosing complete orchestras, full-rigged vessels, castles, monkeys and whales, giants and dwarfs, and all the boring absurdities of allegory. We find it difficult to regard these entertainments as something more than exhibitions of almost incredible bad taste.
Yet we must not exaggerate the distance separating the two extreme forms of the art of the fifteenth century. In the first place, it is important to realize the function of festivals in the society of that time. They still preserved something of the meaning they have in primitive societies, that of the supreme expression of their culture, the highest mode of a collective enjoyment and an assertion of solidarity. At epochs of great renovations of society, like that of the French Revolution, we see that festivals resume this social and æsthetic function.
Modern man is free, when he pleases, to seek his favourite distractions individually, in books, music, art or nature. On the other hand, at a time when the higher pleasures were neither numerous nor accessible to all, people felt the need of such collective rejoicings as festivals. The more crushing
