An analysis of the effects that the plague or the black death had on the economic and social life of

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The life and death of Mummy Brown By Mayit had reached the thriving Italian city of Siena.

Coming on top of a series of disastrous events, including banking crises, bankruptcies, crop failures and hailstorms, the misery and mass deaths caused by the Black Death were seen as a terrible warning of the wrath of God for the moral corruption of man. For some, it even came to be regarded, quite literally, as the end of the world [2].

Painters and the Black Death In Siena, as in other places, the Black Death had immediate and devastating effects on artists. The most obvious, of course, was that many painters, prominent or otherwise, died. It is almost certain that the Black Death would also have severely depleted future numbers of potential new painters.

In the immediate aftermath of the outbreak, artistic activity virtually stopped. So, for example, major expansion projects such as the Duomo Cathedral of Siena, funded by civic authorities, were halted or drastically scaled back [4].

Traditional levels of patronage also declined, especially after when many wealthy and powerful families started to lose their influence [5 ]. This decline forced those artists who managed to survive to travel and work further afield. Bartolo di Fredi, who was only 18 at the time of the outbreak [6]was in many ways blessed with luck.

He was not himself afflicted, and survival brought its own benefits. More practically, perhaps, it meant that there were fewer artists around, and — because of deaths of younger persons during the Black Death — fewer painters coming through.

The Black Death,

For Bartolo, who was emerging as a painter afterthere would have been a sustained period in which there was a relative lack of competition. This factor alone is likely to have had a significant and positive effect on his career. This probably ensured more security for painters, including Bartolo [8].

Whatever the reasons, Bartolo does not appear to have been significantly adversely affected by a lack of commissions. It seems clear that he was able to run an extremely busy and successful workshop for many years. Indeed, he was more likely to suffer from an oversupply rather than an undersupply [9].

One of his best-known works, The Adoration of the Magi, with its depiction of Siena itself in the background, was also commissioned for the Duomo Fig 1.

Bartolo di Fredi, The Adoration of the Magi ca A further consequence of the Black Death turned out to be personally advantageous for Bartolo, and in an unexpected way.

Wainwright has noted that the dislocation caused by the Black Death was pivotal in social and political changes that took place in Siena, culminating in the fall of the government in Thereafter, members of the artisan classes could hold public office [11].

This crucial change enabled Bartolo, a mere artist, to gain significant power as a result of his association with the popular faction [12]. It seems to have been no coincidence that he also became the recipient of a series of large-scale commissions around this time [13].

The fact that many artists had to travel in order to obtain work also did not seem to have had a detrimental effect on Bartolo. It is true that many of his most important commissions were for altarpieces for provincial towns lying outside the city [14].

In an event, any travel he made to surrounding districts in the course of his political duties may actually have been beneficial. The general standard of art If then the Black Death did not have an unfavourable effect on the amount of work for Bartolo, did it affect its quality?

This is a controversial issue and one on which subjective preferences can sometimes intrude. The first question that has to be considered is as to the merits of post art in general.

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Black Death migration The plague disease, caused by Yersinia pestisis enzootic commonly present in populations of fleas carried by ground rodentsincluding marmotsin various areas including Central AsiaKurdistanWestern AsiaNorth India and Uganda.

In his influential book Painting in Florence and Siena after the Black Death, Millard Meiss argued that painting in the third quarter of the 14th century demonstrated a clear break with the art of the previous 50 years.

This break, he said, was characterised by painting that reflected a renewed religious conservatism which stressed hierarchical, spiritual, supernatural and judgmental representations. It also involved a rejection of some of the advances made by Giotto and the Lorenzettis in the early part of the century, in areas such as perspective and naturalistic representations.

Finally, Meiss argued, post art embodied a gloomy pessimism, tension and fear, including an increased obsession with death. Instead, there emerged ad hoc collaborations by individual artists who worked in their own stylistic idioms, leading to a loss of overall coherence.

Steinhoff goes further, arguing that this development actually constituted a basic change in the system of artistic production, forcing painters to form the new style collaborations to help them weather the perceived uncertainties and the accompanying economic instability [22].

Whatever the merits of these arguments, however, the impact on Bartolo does not appear to have been great. Indeed, in some ways, it is odd that van Os chose to use Bartolo as evidence of his view because, as we have seen, Bartolo in fact did run a large and successful workshop for many years.

Both Freuler and Wainwright also point out that the reason that Bartolo sometimes collaborated with other leading artists was simply that he was inundated with commissions — some he did through the workshop, others by collaboration [23].

This was not a matter of necessity, rather one of good management. How good was Bartolo?A "general statement" "intended to develop a unified conceptual scheme for theory and research in the social sciences" was published by nine USA social scientists in Theory was to be based on a "theory of action" in which "the point of reference of all terms is the action of an individual actor or collective of actors".

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The Long and Short Term Effects from the Black Death by Ella Carroll on Prezi

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The extension B—–C of the line A—–B represents the length of the surplus-labour. Transcript of The Long and Short Term Effects from the Black Death. Effects on the Church Social Changes to roam around until they perished.

Before the plague, people were paid small amounts, and prices were high. After the black plague, however, this situation reversed. Survivors were paid quite a bit of money for working on the land.

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