The artistic temperament of the people had necessarily developed on the ruder lines, in the architectural embellishment of the city, the beautifying of its squares and streets, its churches and chapels, its municipal buildings and guild halls, its markets and canal embankments. “The squares,” we are told, “were adorned with fountains, its bridges with statues in bronze, the public buildings and many of the private houses with statuary and carved work, the beauty of which was heightened and brought out by polychrome and gilding; the windows were rich with storied glass, and the walls of the interiors adorned with paintings in distemper, or hung with gorgeous tapestry.” But of the highest forms of Art--of literature, of music, and of painting--there was slender token. The atmosphere in which the Flemings had pursued their destinies was little calculated to develop any other than the harder and more matter-of-fact side of their nature. True, here as elsewhere, and from the earliest period of her history the great monastic institutions which dotted the country had done much for the cultivation of Art, as the remains of wood sculpture, mural paintings, and numerous illuminated manuscripts amply testify. But no great school of painting had arisen or was even possible, so true is it that the development of the artistic instincts of the community require the contemplative repose and fostering inspiration of peace. In the truest sense of the term the Flemings were not a cultured artistic race: they had certainly a high standard of taste, but their artistic sense was appreciative rather than creative--even so, a notable advance for a nation of warriors and merchants. [Illustration: PLATE II.--ADORATION OF THE MAGI. This, one of the master’s finest works, was painted in 1479 for Brother John Floreins, Master of Saint John’s Hospital, Bruges, where it may be seen.]