Page:The Waning of the Middle Ages (1924).djvu/248

 If a man of culture of 1840 had been asked to characterize French civilization in the fifteenth century in a few words, his answer would probably have been largely inspired by impressions from Barante’s Histoire des Ducs de Bourgogne and Hugo’s Notre Dame de Paris. The picture called up by these would have been grim and dark, scarcely illuminated by any ray of serenity and beauty.

The experiment repeated to-day would yield a very different result. People would now refer to Joan of Arc, to Villon’s poetry, but above all to the works of art. The so-called primitive Flemish and French masters—Van Eyck, Rogier der Weyden, Foucquet, Memling, with Claus Sluter, the sculptor, and the great musicians—would dominate their general idea of the epoch. The picture would altogether have changed its colour and tone. The aspect of mere cruelty and misery as conceived by romanticism, which derived its information chiefly from the chronicles, would have made room for a vision of pure and naïve beauty, of religious fervour and profound mystic peace.

It is a general phenomenon that the idea which works of art give us of an epoch is far more serene and happy than that which we glean in reading its chronicles, documents, or even literature. Plastic art does not lament. Even when giving expression to sorrow or pain it transports them to an elegiac sphere, where the bitter taste of suffering has passed away, whereas the poets and historians, voicing the endless griefs of life, always keep their immediate pungency and revive the harsh realities of bygone misery.

Now, our perception of former times, our historical organ, so to say, is more and more becoming visual. Most educated people of to-day owe their conception of Egypt, Greece, or the