DURING his ten years at Bethlehem Chapel (1402-12) John Hus revealed himself as a creative liturgical artist, fully aware that the Church's ministry of symbolism is primarily concerned with communication. This sensitive scope of Hus's vocation did not become sidetracked or covered up by the puritan "tendencies of the forerunners of his reformation who tended to suppress all artistic beauty either because of a lack of artistic sensitivity (Wyclif) or because of a onesided social zeal (Milic)."'