Page:The Waning of the Middle Ages (1924).djvu/219

Rh Foolish show), and the rest, are represented in the miniatures illustrating the work like noblemen of the age. Time himself does not require a beard or a scythe, and appears in doublets and hose. The very commonplace aspect of these allegories is precisely what shows their vitality.

We can understand that a human shape is ascribed to virtues or to sentiments, but the spirit of the Middle Ages does not hesitate to extend this process to notions which, to us, have nothing personal. The personification of Lent was a widely known type from 1300 onward. We find it in the poem, La Bataille de Karesme et de Charnage, a theme which Peter Breughel was to take up much later and illustrate with his mad fancy. A current proverb said: Quaresme fait ses flans la nuit de Pasques. In certain towns of North Germany a doll, called Lent, was suspended in the choir of the church and taken down during mass on the Wednesday before Easter.

Was there a difference between the idea which people formed of saints and that of purely symbolic personages? Undoubtedly, the former were acknowledged by the Church, they had a historical character and statues of wood and stone, but the latter were in touch with living fancy, and, after all, we may ask ourselves if to popular imagination Bel-Accueil or Faux Semblant did not appear as real as Saint Barbara and Saint Christopher.

On the other hand, there is no real contrast between medieval allegory and Renaissance mythology. There is rather a fusion. The mythological figures are older than the Renaissance. Venus and Fortune, for instance, had never completely died, and allegory, on the other hand, kept its vogue for a long time after the fifteenth century, nowhere stronger than in English literature. In the poetry of Froissart, Doux Semblant, Refus, Dangier and Escondit are seen contending, as it were, with mythological figures like Atropos, Clotho, Lachesis. At first the latter are less vivid and coloured than the allegories; they are dull and shadowy and there is nothing classic about them. Gradually Renaissance sentiment brings about a complete change. The Olympians and the nymphs get the better of the allegorical personages, who fade away, in proportion as the poetic glory of Antiquity is more intensely felt.