Black Death: The Effect Of The Plague On Art

“Vita brevis breviter in brevi finietur, mors venit velociter quae neminem veretur, omnia mors perimit et nulli miseretur. Ad mortem festinamus peccare desistamus.”1 Humans have always had a fascination with the macabre, undoubtedly because it is one of the few things in life one will never fully understand; as beings it is very difficult to comprehend the concept of “being” no longer. This is often amplified in times of widespread devastation, which was the case during, and, following the Black Death. Art often reflects the concerns of society at that time, and this was most certainly the case in the late Middle Ages. Due to the extraordinary death toll caused by the Plague, and the essentially nonexistent understanding of the mechanism
The transi tomb, also known as a Cadaver Tomb, marks a dramatic change in the use of the effigy by using Memento Mori imagery. Medieval effigies became popular in the 12th century and most often displayed the deceased in a recumbent fashion wearing the garb that best represented their position when living. Knights were depicted wearing their armour, with their legs crossed if they had served in the crusades.11 Following the Black Death, effigies became far more macabre. This was the development of the transi tomb. Effigies on transi tomb depicted the departed at varying levels of decomposition. The tomb of Archbishop Henry Chichele, located in Canterbury Cathedral, is an example of a “double decker”12 transi tomb. This tomb has two effigies, one on top of the other. The first is a typical effigy, portraying Chichele in his robes with his hands pressed together in prayer; the second effigy shows his naked corpse. The inscription on his tomb exemplifies the concept of Memento Mori reading: “I was pauper-born, then to primate raised. Now I am cut down and served up for worms. Behold my grave.”13 Alice de la Pole Duchess of Suffolk, French doctor William of Harcigny, and Bishop Richard Flemming all have very similar