Page:The Waning of the Middle Ages (1924).djvu/148

126 Lords by adding to the series of kings, popes and princes of his time the words:

However, the wistfulness of remembrance and the thought of frailty in itself do not satisfy the need of expressing, with violence, the shudder caused by death. The medieval soul demands a more concrete embodiment of the perishable: that of the putrefying corpse.

Ascetic meditation had, in all ages, dwelt on dust and worms. The treatises on the contempt of the world had, long since, evoked all the horrors of decomposition, but it is only towards the end of the fourteenth century that pictorial art, in its turn, seizes upon this motif. To render the horrible details of decomposition, a realistic force of expression was required, to which painting and sculpture only attained towards 1400. At the same time, the motif spread from ecclesiastical to popular literature. Until far into the sixteenth century, tombs are adorned with hideous images of a naked corpse with clenched hands and rigid feet, gaping mouth and bowels crawling with worms. The imagination of those times relished these horrors, without ever looking one stage further, to see how corruption perishes in its turn, and flowers grow where it lay.

A thought which so strongly attaches to the earthly side of death can hardly be called truly pious. It would rather seem a kind of spasmodic reaction against an excessive sensuality. In exhibiting the horrors awaiting all human beauty, already lurking below the surface of corporeal charms, these preachers of contempt for the world express, indeed, a very materialistic sentiment, namely, that all beauty and all happiness are worthless because they are bound to end soon. Renunciation founded on disgust does not spring from Christian wisdom.

It is noteworthy that the pious exhortations to think of death and the profane exhortations to make the most of youth almost meet. A painting in the monastery of the Celestines at Avignon, now destroyed, attributed by tradition