In Medieval Europe. the ubiquitous nature of decease. which came in moving ridges that would sometimes take the better portion of an full metropolis in its aftermath. made it an object of compulsion among the elites and common mans likewise. Camille relies on Remiet and his work as a agency to exemplify this compulsion to the modern reader. much as Remiet used his lights as a agency to seek to construe the horror that was decease to his Medieval audience.
Camille’s work is scholarly. intended to appeal and inform an educated audience about an creative person whose work. while non peculiarly well-known. provides utile penetrations into the Medieval outlook environing decease. The chapters. The Face of Death and Dying good. address two of the relentless inquiries sing decease that transcend both Remiet’s clip and our ain.
In Remiet’s illustrations. decease is undeniably female. stand foring the theological misogynism that cast adult females as corruptors of both the flesh and psyche. She is a unmerciful countenance that takes pleasance in the weakness of her victims. To pull closer to her is to endure the humiliation that comes with the frailty of age and the cachexia of the organic structure. As for deceasing good. this is merely accomplished through the offices of the clergy whose rites promise the forgiveness of God.
Camille communicates good through his readings of Remiet’s work that decease was perceived as a enigma to be regarded with both awe and apprehension and that. in this age before medical specialty was accepted as a means to avoid or detain decease. one could merely trust that God would save them ageless penalty as decease was non merely inevitable. but likely really near.