By Anna L. DesOrmeaux
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Additional resources for THE BLACK DEATH AND ITS EFFECT ON FOURTEENTH AND FIFTEENTH-CENTURY ART
Sample text
12. ” 160 52 The stacked funerary monument of Archbishop Henry Chichele in Canterbury Cathedral (fig. 161 Along with the concern for the mortal body conveyed here, the Archbishop was concerned with the salvation of his soul. The tomb was commissioned in 1424 as part of his chantry chapel, nearly twenty years before his death in 1443. ”162 Jews Medieval people were desperate to know the origin of the Black Death so that they could take steps to protect themselves from the mortal illness. 163 Beginning in autumn of 1348, Jews were tortured until they falsely confessed to poisoning the wells.
God responds to Job: “I will make my arrows drunk with blood” (Deut. 32:41-42). ” The arrow as a 121 Louise Marshall, “Manipulating the Sacred: Image and Plague in Renaissance Italy,” Renaissance Quarterly, Vol. 47, No. 3 (Autumn, 1994), 493. 29 symbol of plague is reinforced via the absence of a bow in most plague art, as the arrow cannot be an effective weapon without its companion. 122 A vision of Saint Dominic described in the Golden Legend relates the lance to God’s punishments. God was angry with the world for the prominence of three vices: pride, avarice, and lust.
Uk. 31 10. Anonymous, English Manuscript, London, British Library. A more accurate representation of a bubo can be seen in a detail of Josse Lieferinxe’s painting St. Sebastian Intercedes during the Plague in Pavia, of 1497-1499 (fig. 11). In this painting, which will be discussed in depth later, a victim of the plague lies on the ground. With his anguished face and outstretched arms, he is clearly on the verge of death. His head is tilted to his left, revealing a cervical bubo. This characteristic tilt of the head away from the swollen lymph node was an attempt to relieve the pain 11.