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I’d rather travel on an art historical pilgrimage to Volterra, Italy, to see Rosso Fiorentino’s “Deposition” or an excursion beyond the center of Dijon, France, into the psychiatric hospital to admire Claus Sluter’s “Well of Moses” than spend hours in a museum seeing dozens of works that I may not remember.

The striking sculptures of the pit of Moses, at Dijon, were executed by Claus Sluter of Zeeland.

These statues, which bear comparison with those of Ghiberti and Donatello, Sluter's contemporaries, suffice to explain the sense of form and of line in the draperies revealed by the early FlemishPg 138 masters.

In the North, as in the South, sculpture developed earlier than painting, and, just as Pisano precedes Giotto, Sluter precedes, and to a certain extent explains, the brothers Van Eyck.

Sluter had a great influence upon art, and, in fact, may be said to have established a school the effects of which endured long after his time.