fragment. Together the frescoes marked the start of a pervasive presence of Death in art, not yet the cult it was to become by the end of the century, but its beginning.
A strange personification of Death emerged from the plague years on the painted walls of the Camposanto in Pisa. The figure is not the conventional skeleton, but a black-cloaked old woman with streaming hair and wild eyes, carrying a broad-bladed murderous scythe. Her feet end in claws instead of toes. Depicting the Triumph of Death, the fresco was painted in or about 1350 by Francesco Traini as part of a series that included scenes of the Last Judgment and the Tortures of Hell. The same subject, painted at the same time by Traini’s master, Andrea Orcagna, in the church of Santa Croce in Florence, has since been lost except for a fragment. Together the frescoes marked the start of a pervasive presence of Death in art, not yet the cult it was to become by the end of the century, but its beginning.
