Johan Huizinga

In both France and the Netherlands, the connections of the passel of the bosom Ages with God were examinen as a exit of course. If career consisted of inordinate amounts of pain and suffering and was, in the terminology of Hobbes, "nasty, brutish, and short," it was nevertheless a life-time in which the ultimate buyback and union with God functioned as a beacon of hope.

In trick and architecture, Huizinga (pp. 298-300) suggests that the gothic understanding of man's situation and God's majesty was attached an opportunity to flourish. The major construction projects of the center Ages were almost all divided into either cathedrals or churches and the palaces of a small fistful of monarchs and nobles. The Medieval mind oriented itself toward the explication of the sacred in life as in art. Referring to the work of the Van Eycks, Huizinga (p. 318) maintains that "the spirit of that art is that of faith itselfa the utmost in use of the creative sight to work through and elaborate all that which belongs to faith."

In the literary as well as the visual arts, Huizinga sees the final decades of the Middle Ages as a period in which a perspicacious inflection was taking place. This

transition would later usher in humanism and a untested emphasis on the realities and potential realities of the material world. This is not to enjoin that the power and potency of faith was diminished as the Middle Ages came to an end. However, renewed interest in classical scholarship and a spirit of adventure in terms of intellectual life ultimately had the effect of leading men and women away from the relatively simple faith of the Medieval.

If the moralism, piety, charity, and industriousness of the late Middle Ages were set out to replace the more ephemeral aspects of mystical behavior, it is seen by Huizinga (p. 265) as a natural development. The new spirit that was in its constructive stage would still be submerged within the primal themes of the Middle Ages until approximately 1600, but humanism in France and in the Netherlands was most assuredly waiting in the wings for the compensate opportunity.

The Renaissance had not occurred because the sentiments and orientation of the people of France and the Netherlands were still Medieval as the fifteenth century came to an end. However, Huizinga is correct in referring to these cardinal centuries as an "autumn" because together, they represent a turning commit in which the symbolic leaves of thought and belief were beginning to substitute color to make way for a rebirth and a regeneration in which man and not the divine would take center s
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