courteous fashions with their worship of bodily strength; honours and dignities with their vanity and their pomp, and especially love;—what were they but pride, envy, avarice and lust, all condemned by religion! To be admitted as elements of higher culture all these things had to be ennobled and raised to the rank of virtue.
It was here that the path of fancy proved its civilizing value. All aristocratic life in the later Middle Ages is a wholesale attempt to act the vision of a dream. In cloaking itself in the fanciful brilliance of the heroism and probity of a past age, the life of the nobles elevated itself towards the sublime. By this trait the Renaissance is linked to the times of feudalism.
The need of high culture found its most direct expression in all that constitutes ceremonial and etiquette. The actions of princes, even daily and common actions, all assume a quasi-symbolic form and tend to raise themselves to the rank of mysteries. Births, marriages, deaths, are framed in an apparatus of solemn and sublime formalities. The emotions which accompany them are dramatized and amplified. Byzantinism is nothing but the expression of the same tendency, and to realize that it survived the Middle Ages, it is sufficient to remember the Roi-Soleil.
The court was pre-eminently the field where this æstheticism flourished. Nowhere did it attain to greater development than at the court of the dukes of Burgundy, which was more pompous and better arranged than that of the kings of France. It is well known how much importance the dukes attached to the magnificence of their household. A splendid court could, better than anything else, convince rivals of the high rank the dukes claimed to occupy among the princes of Europe. "After the deeds and exploits of war, which are claims to glory," says Chastellain, "the household is the first thing that strikes the eye, and which it is, therefore, most necessary to conduct and arrange well." It was boasted that the Burgundian court was the richest and best regulated of all. Charles the Bold, especially, had the passion of magnificence. The archaic and idyllic function of justice administered by the prince in person, even to the humblest of his subjects, was practised by the duke, who was in the habit of sitting in audience with great solemnity two or three times a week,
