both artists are intent on forcing us to confront the dead body of Christ in
these works.
Such profound pessimism could not last, and toward the end of the century,
a new spirit arose throughout Europe, called the International Gothic style.
This style may be seen as a reaction against the severe religiosity that
followed the Black Death. It seems to be a
rebirth of courtly late-Gothic art—in fact,
a reprise of the waning Gothic style might
have been instinctive for artists.
Our example shows an anonymous work,
the Wilton Diptych, (c. 1395–1399).
This magni¿ cent but small diptych was
commissioned for the private devotions
of Richard II of England. The tempera
technique is Italian, and the style is close
to Sienese art; it was probably painted by
an Italian, a Frenchman, or even a central
European Bohemian artist working at the
English court. The image of Richard is probably a real portrait, not idealized.
Richard’s patron saint was St. John the Baptist, and he touches the king’s
shoulder; the other saints are English: King Edmund and King Edward
the Confessor. Note the right-hand panel, where the Virgin and Child are
glori¿ ed amid angels. All the angels have a white hart (deer) embroidered
on their robes; the personal device of Richard, seen also on his costume.
The contrast of the gold-dominated left wing with the blue-dominated right
wing and the simplicity of the symmetrical design are strong and charming.
This new International style is less symbolic; it ¿ nds more beauty in actual
observations than in symbols.
The Limbourg Brothers were famous manuscript painters, and their most
famous work is probably Très Riches Heures du Duc de Berry (“Very Rich
Hours of the Duke of Berry”). The duke was one of the Burgundian dukes
who dominated northern Europe at this time, and his passion was books. A
book of hours is a prayer book often, as here, attached to a calendar decorated
with miniatures of the months of the year. Our example shows the Limbourg
In the cloistered burial
ground called the
Campo Santo in Pisa,
a fresco attributed
to Francesco Traini,
Triumph of Death,
summed up the
prevailing pessimism.