Page:The Waning of the Middle Ages (1924).djvu/267

Rh The great artists generally worked for other circles than those of the devout townspeople. The art of the brothers Van Eyck and of their followers, though it sprang up in municipal surroundings and was fostered by town circles, cannot be called a bourgeois art. The court and the nobility exercised too powerful an attraction. Only the patronage of princes permitted the art of miniature to raise itself to the degree of artistic refinement which characterizes the work of the brothers of Limburg and the artists of the Hours of Turin. The employers of the great painters were, besides the princes themselves, the great lords, temporal or spiritual, and the great upstarts with whom the Burgundian epoch abounds, all gravitating towards the court. The ground for the difference between Franco–Flemish and Dutch art in this period lies in the fact that the latter still preserves some traits of simple soberness recalling the little out-of-the-way towns, such as Haarlem, where it was born. And even Dirk Bouts went south and painted at Louvain and Brussels.

Among the patrons of fifteenth-century art may be named Jean Chevrot, bishop of Tournay, whom a scutcheon designates as the donor of that work of touching and fervent piety, now at Antwerp, “The Seven Sacraments.” Chevrot is the type of the court prelate; as a trusted counsellor of the duke, he was full of zeal for the affairs of the Golden Fleece and for the crusade. Another type of donor is represented by Pierre Bladelin, whose austere face is seen on the Middelburg altar-piece, now at Berlin. He was the great capitalist of those times; from the post of receiver of Bruges, his native town, he rose to be paymaster-general of the duke. He introduced control and economy into the ducal finances. He was appointed treasurer of the Golden Fleece and knighted. He was sent to England to ransom Charles of Orleans. The duke wished to charge him with the administration of the finances of the expedition against the Turks. He employed his wealth, which was the wonder of his contemporaries, on works of embankment and the founding of a new town in Flanders, to which he gave the name of Middelburg, after the town in Zeeland of that name.

Other notable donors—Judocus Vydt, the canon Van de Paele, the Croys, the Lannoys—belonged to the very rich, noble or burgher, ancient or new, of their time. Most famous of all