Tomb effigy - Knowledge

1609: 969: 903: 1831: 482: 751: 1385: 1667: 470: 1800: 1569: 771: 786: 1637: 1432: 1078: 1512:(or slab) began in France and Germany in the late 13th century and spread across northern Europe in the late 14th century. They can be categorised into two basic types: those where the effigies were created separately (at different dates of death) and later placed together on a single plinth, and those created at the same time from a single block of stone. In the former type, the tomb would often have been commissioned and built before the death of the remaining spouse. The practice may have begun as a device for legitimising controversial or contested royal marriages. In the same way, early Gothic double-tombs were not necessarily intended to celebrate the love between the couple, but to both reinforce the political aspect of their union. 451: 923: 1271: 1096: 1360: 1589: 943: 1855: 1871: 1301: 1409: 313: 703: 633: 505: 1231: 723: 1247: 1353:. In France, cemeteries began to be seen as secular places where all –regardless of class– could visit their dead, and were managed by local government rather than the church. Thus effigies became commemorative rather than funerary and lost most of their religious associations. According to the art historian Suzanne Lindsay, individual French examples came to be regarded as "among the highest representations of modern...sculpture" and helped increase the reputations of many individual sculptors in a period when the craft had significantly less prestige than painting or architecture. 336: 536: 33: 1448: 1740:) shows the tiered (double or "two-body") tomb of a fashionable English lady, with her shown in life above the slab, and as a decayed corpse within the tomb chest. The verse below the illustration reads: "Take hede un to my fygure here abowne, And se how sumtyme I was fresche and gay, Now turned to wormes mete and corrupcoun, Bot fowle erthe and stynkyng slyme and clay". However, the art historian Kathleen Cohen notes some important differences to memento mori, primarily that Transi represent specific deceased individuals, and not death itself. 1115: 286: 1744: 259: 581:"enlivened" representation of the dead above their grave is "too intuitive and too obvious to be read that ancient analogues were necessarily sources of inspiration." According to the English historian Alfred C. Fryer, a "hastily made and lively effigy" of the deceased "in his very robes of estate" became part of the funeral procession, after which the representation was left either above or near the burial spot. They were placed on many types of tombs; at first on 853:" given they show the deceased reaching for their sword as if about to enter battle or struggling against death. The larger-scale production of effigies began in Britain in the middle of the 13th century, following the emergence of the knightly class. The 13th-century knightly effigies are less rigid and statuesque than French examples, reflecting what the historian H. A Tummers describes as a "more worldly and less spiritual outlook". Those in the 64: 1489: 1922:. Panofsky acknowledged the challenge of scope in his introduction, admitting his reserve on impinging on the "preserves of many adjacent disciplines" in which he is not expert. Although broader than any earlier publications on the topic, the lectures often stray into descriptions of specific works, and its scope ends in the 17th century. In a very positive contemporary review, the art historian 685:(also known as tumba) decorated with heraldry and architectural detailing. The earliest examples showing armour date from the 1240s, with the most numerous surviving examples in England. The two most common poses from these English types are knights pulling out their sword, or lying cross-legged; particularly English motifs although there are some Polish and French examples. 210:) are unknown but are usually assumed by modern archeologists to have commemorated either fallen Gods or members of royalty. Their meaning can only be guessed at: modern archeologists see them as depictions intended to house the souls of the dead, intended to identify them as they travel through the realm of the dead. The earliest known tomb effigy is that of 1950:

those surveying many examples from a given region or that are connected stylistically. Thirdly she mentions publications that detail the sources of particular iconographical elements. The fourth type are those that categorise tombs into particular typologies, while lastly, and more rarely are the books and papers that give broad and sweeping overviews.

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are always recumbent—as if dead, and by the 14th century with hands clasped in prayer. The most common material is carvings on marble, alabaster or wood, with some examples cast in bronze or brass. The faces and hands of the wooden effigies, of which very few survive, are made from wax or plaster. The effigies were usually

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in Germany. These early effigies show the deceased (usually a royal, senior cleric or aristocrat) dressed in contemporary clothing. The format proliferated across Northern Europe in the late 12th century as it became popular amongst a growing class of wealthy elites who often commissioned their tombs

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were added to important tombs below the effigy. Non-recumbent types of effigy became popular during the Renaissance. In the early Modern period, European effigies were often shown as alive, either kneeling or in a more active pose, especially for military figures. Variations showed the deceased lying

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discusses the difficulties in providing a full and contextualised history of English tomb art. Writing in 2023, the art historian Joan Holladay noted that the literature on tomb art had "exploded" in the previous quarter century. She categorised publications into five main types; the first two being

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This change followed the general loss in religious belief following the revolution; Panofsky referred to European tombs after the 17th century as a "sceptical affair", while other art historians, including Fred Licht, describe a change in attitudes towards death marked by an indifference to funerary

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Art-historical studies of tomb sculpture and sepulchral iconography tend to focus on case studies of single examples or regionally associated groups rather than on a broad overview of the type's origins, development, and sociological contexts. The main hindrance is the wide interdisciplinary nature

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Romanesque effigies were typically carved from white marble and depict the deceased's body and face as they appeared in life, with no marks of illness or death. The faces are idealised rather than accurate portrayals and often show the deceased much younger than they had been at death. The effigies

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or naked (but with their hands arranged to preserve modesty). The format is in stark contrast to gisants, which are always in full dress, with open eyes and often with hands clasped and raised in prayer. The best-known examples were produced by members of the first rank of contemporary sculptors,

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Several 16th-century Polish tombs contained cross-legged effigies. However, the iconography is believed to differ from English examples, and rather than denoting a knight killed on the battlefield, the pose instead probably symbolizes either the princely status of the deceased or according to the

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The art historian Marisa Anne Bass summed up the function of medieval effigies by writing that "to represent death is to make present an absence." Historians differ as to the historical influences behind their designs. Writing in 1964, in the first major general survey of tomb sculptures, the art

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The spread of Christianity throughout Europe introduced new attitudes to death and to the dead, and for the first time tombs were built in places of worship, that is churches. The first medieval recumbent effigies (or gisants) were produced in the 11th century, with the earliest surviving example

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viewed the dead as no less complete than the living and existing in a realm where they were forever either in despair or enjoying material comfort. From 500 BC, the effigies show the deceased as they looked while alive. They are often lavishly dressed and enjoying food and drink as if at a feast.

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Over the centuries, the depictions became more realistic and gruesome, while the early tendency to line the tombs with moralising inscriptions on the vanities of life was abandoned. The convention reached a peak in the late 16th century, with the more extreme effigies depicting putrefied corpses

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In her (incomplete but representative) 1973 survey of extant cadaver monuments, Cohen lists 200 examples, of which 82 are English (produced between 1424–1689), 61 are French (produced 1391–1613), 36 are German (1456–1594), and 20 are in the Lowlands (1387–1645). Considerable differences in style

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Many late 14th- and early 15th-century examples show the couples holding hands. While the motif was undoubtedly used to reflect the affection between the couple, it also needs to be seen in contemporaneity ritual and legal context. Writing in 2021, the art historian Jessica Barker said that the

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would entomb the body. Eventually, the two practices merged, wherein the actual body was entombed, and an effigy of the deceased was burned. The Romans adopted the Etruscan tomb formats, maintaining the practice of showing the deceased as they were while alive. Roman sarcophagi were built from

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on medieval developed in the early 15th century in Italy and later in Spain. While the structural format of the tombs stayed largely faithful to the earlier Romanesque and Gothic traditions, the iconography began to reflect the societal shift in attitude towards the dead; particularly in the

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or wood. The early "chest tombs£ were typically built from several stone panels, with a cavity (often filled with rubble) to support the effigy. They were designed to give the impression that the body had been placed within it, but the corpse was usually buried in a vault below or beside the

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from North African and Spanish tombs, with other art historians arguing that the primary influence was from Classical funerary monuments, particularly those from Etruscan culture. The historian Shirin Fozi recognises the influence of earlier formats, but thought that the idea of placing an

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Britain's periods of iconoclasm were not as severe or extensive as those in northern continental Europe, and so the surviving number of examples exceeds even that of France. However a great number were destroyed during iconoclasm waves from the 14th century and the

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Tomb effigies are the most numerous type of surviving medieval statuary in Britain. The early examples are usually secular, below life-sized and show the deceased with their legs crossed, a pose long thought to indicate that the deceased had participated in the

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monument. Recent excavations indicate that some 14th-century chests did act as containers for the body. However, relatively few medieval tomb monuments have been opened. Notable examples where the body was placed inside the chest include the tombs of

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Cadaver monuments were a dramatic change from the typical practice of depicting the deceased either in life or in a more idealised form. The impulse toward graphic expression of mortality in part reflects the societal shock and trauma following the

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In 1954, Henriette s' Jacob published "Idealism and Realism: A Study of Sepulchral Symbolism", which focused on the various iconographical aspects of tomb imagery. The broadest and most comprehensive survey is Panofsky's influential 1964 monograph

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and England), as a shrivelled corpse with tightly pulled skin (especially popular in England), or a decomposing body covered by frogs and snakes (Germany and Austria). The practice of showing the body crawling with worms became popular in France.

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The recumbent effigy returned to vogue in Europe during the early 19th century, when attitudes towards the dead changed again, and a series of major new cemeteries were founded, usually just outside the city bounds; the largest being

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Due to the relative scarcity of appropriate stone material, especially in London and its surrounding counties, wooden effigies became common during the Romanesque period. Given wood's perishability, only five examples survive, all in

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European tomb monuments adapted innovations from other forms of sculpture during the early modern period, including from non-European influence. However, in part driven by new attitudes towards death established during the

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which gives a natural pallor. His head rests on a cushion, and he has an angel on each side to watch over him, presumably guiding him into the afterlife. The open eyes are intended as an affirmation of the

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Most significantly, non-recumbent effigies became more popular, with variations including the deceased lying upwards on their side, kneeling in prayer, or even standing. The upper portion of the

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They are typically reclining (as if alive) rather than recumbent (as if dead), with open eyes turned towards the viewer, and are often propped up on a pillow while leaning on their arm or elbow.

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in the 17th century. There are around 250 extant secular centuries effigies from each of the 13th and 14th centuries. The main period of destruction was in the 16th century, during the

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years before their death; often seeking to cement their historical or spiritual legacy or —especially in early examples— restore a reputation tarnished by political or military defeat.

504: 1408: 994:, who ruled in present-day Belgium, Luxembourg and northern France, were recognised throughout Europe as patrons of the arts. Through their cultivation of artists such as the sculptor 942: 312: 148:, in which the effigy is in the macabre form of a decomposing corpse, or such a figure lies on a lower level, beneath a more conventional effigy. Mourning or weeping figures, known as 1891:

of writing about the sculptures. As Barker points out, comprehensive and authoritative knowledge of such a large topic would necessitate "trespass on the preserves of archaeology,

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Medieval Copper, Bronze and Brass: history, archaeology and archaeometry of the production of brass, bronze and other copper alloy objects in medieval Europe (12th–16th centuries)

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The Burgundian effigies are characterised by naturalistic faces, open eyes, angels above their heads, and animals (either dogs or lions) at their feet. Philip's is made from

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The life-size recumbent effigy was first found in the tombs of royalty and senior clerics, and then spread to the nobility. A particular type of late medieval effigy was the

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The first secular examples appeared in the 12th century following the establishment of the knightly class. These tombs were usually placed on flat marble slabs supported by

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gesture should be seen as analogous to a modern handshake that "both symbolised and effected an agreement between two parties." An early example is the now-lost tomb for

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Oosterwijk, Sophie; Badham, Sally F. (2018). "Relief copper alloy tombs in medieval Europe: image, identity and reception". In Thomas, Nicolas; Dandridge, Pete (eds.).

428:(stone or wooden slabs usually built as funerary markers) format. Any aspects of the style were adapted by the Romans, and eventually spread as far as Western Asia. 335: 444:

marble, and over time took on a more a contemplative, spiritual and redemptive iconographical tone, emphasising the deceased's former hierarchical role in society.

1725:, they show the human body's transition from life to decomposition, highlighting the contrast between worldly riches and elegance and the degradation of death. A 688:

While the Romanesque and Gothic tombs were produced in great numbers —especially in France and England— it is estimated that over half were destroyed during the

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Palozzi. Luca. "Petrarch and Memorial Art: Blurring the borders between art theory and art practice in Trecento Italy". In: Adams, Ann; Barker, Jessica (eds).

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Hebblethwaite, Rob. "The Good, the Bad and the Rotten: How the Living Dealt With the Dead in England c.600-1200". PhD thesis, University of East Anglia, 2017

1198:, and Roman-style profile heads. The tombs and their effigies incorporated and merged recent sculptural and painterly innovations with classical traditions. 1682:

The practice of showing the deceased as a decomposing corpse began in France in the late 14th century and soon spread across Northern Europe. Known as

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Covi, Dario. "Reviewed Work(s): Metamorphosis of a Death Symbol: The Transi Tomb in the Late Middle Ages and the Renaissance. by Kathleen Cohen".

1036:) is probably the earliest example; its rows of mourners positioned below the slab were reproduced in later Burgundian tombs, including those of 285: 3625:

Welch, Christina. "For Prayers and Pedagogy: Contextualising English Carved Cadaver Monuments of the Late-Medieval Social and Religious Elite".

3455: 3154: 258: 248:. Whether in a funerary or religious context, the purpose of a mask was the same: to transform the wearer from a mortal to a divine state. The 1114: 252:

continued this tradition of idolatry, and also created many other types of effigies. The faces are often clearly portraits of individuals.

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on their side as if reading, kneeling in prayer, or even standing. The recumbent effigy had something of a revival during the 19th-century

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cultures, and appear most frequently in Western European tombs from the late 11th century, in a style that continued in use through the

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that developed in central Italy before 700 BC and flourished until the late second century BC. Their effigies were typically carved in

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and that only the most general outlines of tomb sculpture's development, both in the field of iconography and style, are given."

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for cremation and near life-sized rectangular sarcophagi for burials, with cremation becoming more popular over the centuries.

1317:, by the 1750s effigies had largely fallen out of use across Europe. They became especially rare in France in the wake of the 3609: 3592: 3569: 3448: 3431: 3417: 3403: 3329: 3292: 3257: 3243: 3198: 3177: 1806: 1551: 1540:(d. 1415), which Barker describes as "placing extraordinary emphasis on the love between the king and queen". The well known 1493: 866: 858: 109:

of a deceased person usually shown lying recumbent on a rectangular slab, presented in full ceremonial dress or wrapped in a

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sarcophagi, with an image of the deceased reclining on the lid alone or with a spouse. The Etruscan style influenced late

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developed across regions and time. The early examples show the deceased either covered in a shroud (popular in France,

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Cadaver monuments first appeared in the 1380s and remained popular for 200 years. Usually intended as a form of

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The earliest medieval examples are German; the style was significantly developed by French sculptors during the

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Badham, Sally. "Book Review: Jessica Barker, Stone Fidelity, Marriage and Emotion in Medieval Tomb Sculpture".

1346: 709: 169: 1040:, constructed between 1475 and 1476. and the mourners on her tomb were directly copied from Joan's monument. 3616:

Depicting Death in Late-medieval British funerary sculpture; English and Welsh carved cadavers, c1420/5-1588

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Bass, Marisa Anne. "The transi tomb and the genius of sixteenth century Netherlandish funerary sculpture".

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Catalogue of the Etruscan Gallery of the University of Pennsylvania Museum of Archaeology and Anthropology

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of a Lady in a Tomb from "The Dawnce of Makabre" folios in the Additional manuscript 37049 (now in the

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While many of the innovations in medieval tomb effigies occurred in Northern Europe, the influence of

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praises Panofsky's examination as a breakthrough but clarifies that its "treatment of the subject is

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The religious beliefs of the societies that produced the earliest Egyptian effigies (which date to

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Norman, A. "The Effigy of Alexander Stewart, Earl of Buchan and Lord of Badenoch (?1343 - ?1405)".

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Art from the Court of Burgundy: The Patronage of Philip the Bold and John the Fearless, 1364-1419

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Funerary masks were used throughout the Egyptian periods. Examples range from the gold masks of

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Dressler, Rachel. "Cross-legged Knights and Signification in English Medieval Tomb Sculpture".

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The most influential publications following Panofsky's survey are mostly in German and include

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Tomb of Sir Thomas Berkeley (d. 1365) and his wife Joan, lady de Berkeley. St Giles's Church,

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Harris, O. D. "Antiquarian attitudes: crossed legs, crusaders and the evolution of an idea".

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outside of the funerary monument context, and taking centre stage as stand-alone sculptures.

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Metamorphosis of a Death Symbol: The Transi Tomb in the Late Middle Ages and the Renaissance

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and memento mori, indicating a pre-occupation with the brevity and fragility of human life.

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in the next four years. Its aftermath saw, in 15th- and 16th-century literature, painting,

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Das mittelalterliche Grabbild: figürliche Grabmäler des 11. bis 15. Jahrhunderts in Europa

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Effigial slab for Sir William de Bayous (d. c. 1327) and his wife. Church of St Stephen,

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of Burgundian tombs develops forms and motifs found on monuments for French Kings in the

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Many of the 11th- and early 12th-century English effigies of knights produced during the

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A Portrait of Death: Analyzing the Transi Tomb of Guillaume de Harcigny (1300-1393 A.D.)

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The vast majority of medieval effigies were made from stone, usually either marble or

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Tomb Sculpture: Four Lectures on its Changing Aspects from Ancient Egypt to Bernini

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The joint tomb of João I of Portugal (d. 1433) and Philippa of Lancaster (d. 1415)

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The practice of showing the effigies of a married couple side by side on the same

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Tomb effigy of Jean d'Aluye (foreground), French, 13th century. Originally in the

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Fryer, Alfred Cooper. "Wooden Monumental Effigies In England And Wales". London:

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The Changing Meaning of the Transi Tomb in Fifteenth and Sixteenth-Century Europe

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The architectural settings became more elaborate, incorporating elements such as

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imagery as earlier the religious imperatives behind tomb design, desire to licit

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The state of play: Reflections on the state of research into church monuments

1541: 1521: 1366: 1280: 862: 854: 790: 757: 589:) became the standard. Later, wall tombs became popular in France and Spain. 440: 432: 416:

urns. When they started to bury their dead in the late 6th century they used

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Romanesque Tomb Effigies: Death and Redemption in Medieval Europe, 1000–1200

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Tomb Sculpture: Four Lectures on its Changing Aspects from Ancient Egypt to

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to simulate life, but in most cases, this paint has long since worn away.

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Funerary Arts and Tomb Cult: Living with the Dead in France, 1750–1870

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Journal of Medieval Art and Architecture Medieval Art and Architecture

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Tomb effigies of Joseph Crocé-Spinelli and Théodore Sivel, after 1875

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historian Jan Białostocki, "their state of quiet and blessed repose".

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Tummers, H.A. "The medieval effigial tombs in Chichester Cathedral".

3266:. Berkeley and Los Angeles (CA): University of California Press, 1968 1908: 1837: 1647: 1468: 1217: 1180: 1087: 839: 597: 397: 393: 265: 149: 63: 3456:

Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture

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Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture

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on the tomb's base shows her decomposed corpse in the transi style.

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Precious-metal effigial tomb monuments in medieval Europe 1080-1430

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Fully armed in plate of war’: making the effigy of the Black Prince

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prayer from the viewers to quicken the passage of the soul through

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as "one of the most magnificent tombs of the Late Middle Ages".

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Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture

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By the 7th century the Etruscans were depicting human heads on

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type shows the deceased alive but alone, lying on their back.

3604:. Philadelphia (PA): University of Pennsylvania Press, 2005. 3303:. NY: Metropolitan Museum of Art, 2004. Retrieved 5 July 2024 1350: 1187: 1056: 779: 495: 425: 327: 245: 3324:. University Park (PA): Penn State University Press, 2021. 2455:

Knights in Shining Armour: Funerary Art of Medieval England

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tombs, especially in France and the former Burgundy lands.

1067:(d. 1424). Philip's tomb is described by the art historian 850: 436: 401: 2805:. Namur: Institut du Patrimoine Wallon. pp. 365–375. 1047:(d. 1404), built over 30 years from 1381 by the sculptors 3584:

Early Secular Effigies in England: The Thirteenth Century

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Tomb of Augustine Trochery, 1856–1887. Cimetière Carnot,

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were involved in their design and construction including

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The Mourners: Tomb Sculpture from the Court of Burgundy

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Holladay, Joan. "Tombs and Memory: Some Recent Books".

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Journal of the Royal Society of Antiquaries of Ireland

2789:". Metropolitan Museum of Art. Retrieved 28 April 2023 1982:), which in its abbreviated form means to "pass away". 1646:(d. 1610) and Margaret Devereux, St Michael's church, 692:

in the early modern period, and more again during the

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Sarcophagus in the Villa Corsini, Florence. 300-275 BC

225:. The effigies were typically smaller than life-size. 113:, and shown either dying or shortly after death. Such 3389:

Idealism and Realism: A Study of Sepulchral Symbolism

3252:. Los Angeles: University of California Press, 1973. 3220:. "Reviewed Work: Tomb Sculpture by Erwin Panofsky". 2544:

Proceedings of the Society of Antiquaries of Scotland

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The style became influential across Europe with the

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Medieval knightly monumental brasses & effigies

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Barker, Jessica; Mcarthur, Graeme; Pegues, Emily. "

160:Some of the best-known examples of the form are in 3641:The Royal Tombs of England with Prof. Aidan Dodson 3300:Playing With Fire: European Terracottas, 1740-1840 2916:". Church Monuments Society. Retrieved 18 May 2024 1308:, where an estimated 6 million people are interred 774:Wooden effigies in St Peter and St Paul's church, 364:Recumbent effigies were a common tradition in the 756:Tomb of Ozanne, 13th century. Crypte Saint-Paul, 3665: 3172:. Seattle (WA): University of Washington, 2005. 2798: 1398:, Paris. Completed 1847 by the French sculptor 3620:Mourning & Morbidity: British Death and Art 3412:. New Haven (CT): Yale University Press, 2010. 520:BC. Painted terracotta, British Museum, London 345:; c. 1500 BC; linen, plaster, gold and paint. 2007:The Thames and Hudson Dictionary of Art Terms 530: 3524:Funeral Lights in Roman Sepulchral Monuments 3459:. London: Courtauld Institute of Art, 2016. 3158:. London: Courtauld Institute of Art, 2016. 2590:Weepers from the tomb of Isabella of Bourbon 1776:and sculpture, a pronounced emphasis on the 1086:(1475–1476) displayed with its 10 surviving 157:, especially for bishops and other clerics. 3508:. "Cadaver Effigial Monuments in Ireland". 3205:Netherlands Yearbook for the History of Art 2736: 2734: 2377: 2375: 732:(d. 1230), Queen of England as the wife of 592:Medieval effigies are typically built from 322:, c. 1355–134 BC. The originals are in the 3391:. University of Michigan: E.J. Brill, 1954 3358:Miscellaneous Tracts relating to Antiquity 2461:, 20 December 2023. Retrieved 14 July 2024 1236:Tomb of Martín Vázquez de Arce (d. 1486), 1190:and ancient decorative elements including 3236:Medieval Death: Ritual and Representation 1809:, a French doctor and court physician to 1059:, which also houses the tombs of his son 221:BC), found in the worship chamber of the 3125: 3123: 2731: 2372: 1742: 1665: 1487: 1299: 1051:(d. 1389) and Sluter (d. 1405?) for the 967: 784: 769: 631: 534: 195:Art of ancient Egypt § Funerary art 62: 31: 3095: 3093: 3083: 3081: 2963: 2961: 2933: 2931: 2787:Tomb Effigy of Elizabeth Boott Duveneck 2649: 2647: 2481:Tomb Effigy 1853 (made), 1260-80 (made) 2365: 2363: 2361: 2183: 2181: 1860:Transi of Guillaume Lefranchois, 1446, 1415:Tomb Effigy of Elizabeth Boott Duveneck 1329:, where the dead were interred without 511:Sarcophagus of Seianti Hanunia Tlesnasa 14: 3666: 3238:. London: British Museum Press, 2001. 2851: 2849: 2688: 2686: 2575: 2573: 2233: 2231: 2229: 2126: 2124: 2061:Hemingway, Colette; Hemingway, Seán. " 2057: 2055: 1672:Church of St John the Baptist, Burford 627: 435:often cremated their dead (usually on 3562:Sculpture in Britain: The Middle Ages 3512:, volume 99, No. 1, 1969. p. 4. 3384:, volume 78, nr 28, 2003. pp. 440–450 3132: 3120: 3051: 2863: 2861: 2635: 2499: 2342: 2340: 2303: 2301: 2299: 2289: 2287: 2114: 2112: 2102: 2100: 2081: 2079: 2077: 2075: 1807:Cadaver Tomb of Guillaume de Harsigny 859:Geoffrey de Mandeville, Earl of Essex 3653:; overview of English effigies with 3224:, volume 49, no. 3, September 1967. 3090: 3078: 3060: 3024: 3015: 3006: 2997: 2958: 2928: 2919: 2779: 2761: 2644: 2608: 2490: 2411: 2358: 2249: 2178: 2169: 2151: 2142: 2069:, October 2004. Retrieved 5 May 2023 2019: 2017: 2015: 1655: 3622:, University of York, 10 March 2015 3474:L'Europe Gothique XIIe XIVe siècles 3152:Adams, Ann; Barker, Jessica (eds). 3069: 2970: 2949: 2846: 2722: 2704: 2683: 2665: 2656: 2617: 2570: 2561: 2447: 2429: 2420: 2393: 2349: 2226: 2199: 2160: 2133: 2121: 2052: 1766:killed up to half of the population 24: 3398:. Paris: Ediciones El Viso, 2019. 3342:, volume 90, no. 1, January 2015. 3042: 3033: 2988: 2979: 2858: 2743: 2582: 2558:. In the preface to Antoine (2005) 2337: 2319: 2296: 2284: 2275: 2190: 2109: 2097: 2072: 2043:Coffin of Nesykhonsu c. 976–889 BC 1820:. Musée d'art et d'archéologie de 1123:, 1501. Church of Our Lady, Bruges 716:, England. 12th and 13th centuries 624:coffin placed on a bed of rubble. 576:suggested that they were based on 25: 3705: 3634: 3502:. NJ: Pearson Prentice-Hall, 2009 3500:Roman Art: Romulus to Constantine 3273:, volume 28, no. 3, Autumn 1975. 2599: 2246:Adams; Barker (2016), pp. 117–119 2012: 1885: 1878:St Mary's Church, Bury St Edmunds 1520:(d. 1368) and her second husband 1148: 494:BC. Museo archeologico nazionale 178:Basilica of Santa Croce, Florence 3689:Types of monuments and memorials 3111: 3102: 1869: 1853: 1829: 1798: 1635: 1607: 1587: 1567: 1446: 1430: 1407: 1383: 1358: 1269: 1245: 1229: 1113: 1094: 1076: 941: 930:Tomb of Edward, the Black Prince 921: 901: 749: 721: 701: 503: 480: 468: 449: 360:Etruscan art § Funerary art 334: 311: 284: 257: 3674:Burial monuments and structures 3587:. Leiden: Brill Archive, 1980. 3564:. London: Penguin Books, 1972. 3547:. London: Phaidon Press, 2004. 3498:Ramage, Nancy; Ramage, Andrew. 3287:. London: Pallas Athene, 2018. 3193:. London: Boydell Press, 2020. 2940: 2906: 2897: 2888: 2879: 2870: 2837: 2828: 2819: 2792: 2770: 2752: 2713: 2695: 2674: 2626: 2549: 2536: 2517: 2508: 2473: 2464: 2438: 2402: 2384: 2328: 2310: 2258: 2240: 2217: 2208: 1970:is derived from the Latin verb 1960: 1764:, which hit Europe in 1346 and 1483: 869:(d. 1219), a benefactor of the 3443:. London: Harry Abrams, 1964. 2546:, volume 92, 1961. pp. 104–113 2266:A Knight of the d'Aluye Family 2088: 2035: 2026: 1996: 1943:Grabmonumente des Mittelalters 1157: 710:St John the Baptist, Tideswell 170:Santi Giovanni e Paolo, Venice 13: 1: 1989: 1876:Tomb of John Baret (d 1467), 1814: 1726: 1700: 1284: 1030: 984:Musée des Beaux-Arts de Dijon 976: 660: 653: 606: 585:before table or chest tombs ( 544: 539:Bronze grave plate effigy of 514: 488: 296: 215: 200: 49: 3021:Adams; Barker (2016), p. 115 2825:Barker (2020), pp. 4, 19, 21 2596:. Retrieved 23 December 2022 2255:Adams; Barker (2016), p. 120 1953: 1862:Musée des beaux-arts d'Arras 1374:, 1753. Cappella Sansevero, 1104:(d. 1493) with armour and a 1084:Isabella of Bourbon's effigy 949:Tomb of the Wolf of Badenoch 814:. They include the tombs of 353: 183: 7: 3645:Churches Conservation Trust 3426:. Farnham: Ashgate, 2012. 3099:Adams; Barker (2016), p. 11 2417:Tommers (1980), pp. 113–115 2223:Panofsky (1964), pp. 24, 53 1614:Drawing of the effigies of 1462: 1025:, near Paris. The now lost 963: 928:The cast gilt copper-alloy 640:in Northern France, now in 525: 318:Replicas of the coffins of 188: 10: 3710: 3629:, Equinox Publishing, 2012 3482:French Ministry of Culture 3396:Le Tombeau de Philippe Pot 3145: 3129:Białostocki (1967), p. 258 2758:Lindsay (2012), pp. 40, 41 2614:Morganstern (2000), p. 211 2485:Victoria and Albert Museum 2369:Białostocki (1967), p. 260 2270:Metropolitan Museum of Art 2148:Białostocki (1967), p. 259 2067:Metropolitan Museum of Art 2009:, Thames and Hudson, p. 89 1945:(1996). Nigel Llewellyn's 1805:The early and influential 1659: 1277:Tomb of Valentina Balbiani 1203:Tomb of Valentina Balbiani 1063:(d. 1419) and John's wife 886:Wars of the Three Kingdoms 861:(d. 1144) and that of the 849:reign are known as "dying 765: 708:Effigies in the Church of 531:Origin and characteristics 457:Sarcophagus of the Spouses 357: 192: 3422:Lindsay, Suzanne Glover. 3186:, volume 7, issue 3, 2021 2946:Heimerman (2021), pp. 3–4 2894:Tummers (1988), pp. 31–36 2876:Barker (2020), pp. 11, 16 2719:Panofsky (1964), p. 68–78 2680:Barker (2020), pp. 11, 16 2487:. Retrieved 14 March 2024 2408:Harris (2010), pp. 401–40 2175:Bass (2017), pp. 163, 181 2049:. Retrieved 28 April 2023 1941:(1976) and Hans Körner's 1295: 910:Tomb of John De Pitchford 105:("lying")) is a sculpted 3545:The Northern Renaissance 3528:Journal of Roman Studies 3360:, 1909, republished 1924 3108:Barker (2020), pp. 16–17 2767:Lindsay (2012), pp. 9–10 2740:Lindsay (2012), pp. 7, 9 2641:Nash (2008), pp. 262–263 2605:Perkinson (2002), p. 696 2505:Dondon (2018), pp. 24–25 2032:Wilkinson (2008), p. 144 1706:). A variation known as 1478: 1121:Tomb of Mary of Burgundy 461:National Etruscan Museum 374:civilisation and culture 121:were first developed in 3365:The Antiquaries Journal 3138:Holladay (2003), p. 440 2530:The Burlington Magazine 2444:Tummers (1980), pp. 1–2 2390:Tummers (1980), pp. 1–2 2381:Tummers (1980), pp. 1–2 2334:Fryer (1909), pp. 18–19 2272:. Retrieved 10 May 2023 2047:Cleveland Museum of Art 1774:manuscript illustration 1045:tomb of Philip the Bold 1027:tomb of Joan of Brabant 1023:Basilica of Saint-Denis 1008:Early Netherlandish art 973:Tomb of Philip the Bold 638:Abbey of La Clarté-Dieu 431:Pre-historic Romans of 304:Cleveland Museum of Art 238:Roman "mummy portraits" 57:Basilica of Saint-Denis 27:Statue on top of a tomb 3308:Studies in Iconography 3075:Heimerman (2021), p. 8 3039:Heimerman (2021), p. 6 2994:Heimerman (2021), p. 7 2985:Heimerman (2021), p. 3 2728:Panofsky (1964), p. 76 2710:Panofsky (1964), p. 81 2692:Panofsky (1964), p. 68 2653:Scholten (2007), p. 14 2632:Antoine (2005), p. 419 2623:Panofsky (1964), p. 62 2496:Tummers (1980), p. 133 2399:Panofsky (1964), p. 56 2355:Dressler (2000), p. 91 2237:Panofsky (1964), p. 67 2139:Panofsky (1964), p. 30 2130:Panofsky (1964), p. 27 2106:Panofsky (1964), p. 29 2085:Panofsky (1964), p. 28 1756: 1751:(d. 1547). Convent of 1679: 1505: 1455:Père Lachaise Cemetery 1309: 1053:Chartreuse de Champmol 987: 794: 782: 645: 555: 439:), while those of the 88: 60: 3627:Fieldwork in Religion 3598:Turfa, Jean Macintosh 3541:Smith, Jeffrey Chipps 3487:Oosterwijk, Sophie. " 3297:Draper, James David. 3271:Renaissance Quarterly 2903:Badham (2021), p. 215 2885:Barker (2020), p. 273 2834:Badham (2021), p. 216 2776:Draper (2004), p. 134 2701:Badham (2021), p. 212 2435:Tummers (1980), p. 30 2426:Tummers (1980), p. 15 2316:Fozi (2021), pp. 2, 4 2023:Panofsky (1964), p. 9 1746: 1734:illuminated miniature 1669: 1620:Philippa of Lancaster 1538:Philippa of Lancaster 1526:Richard II of England 1491: 1419:Cimitero degli Allori 1303: 1164:Renaissance sculpture 1004:Rogier van der Weyden 971: 788: 773: 734:Richard the Lionheart 730:Berengaria of Navarre 635: 561:Rudolf of Rheinfelden 541:Rudolf of Rheinfelden 538: 77:Isabella of Angoulême 73:Richard the Lionheart 66: 35: 3387:s'Jacob, Henriette. 3168:Antoine, Elisabeth. 3117:Tummers (1980), p. 1 3087:Barker (2020), p. 16 3003:Cohen (1973), p. 179 2976:Lindsay (2012), p. 9 2855:Barker (2020), p. 21 2843:Barker (2020), p. 19 2749:Lindsay (2012), p. 9 2470:Stone (1972), p. 114 2346:Tummers (1980), p. 4 2307:Tummers (1980), p. 2 2281:Tummers (1980), p. 3 2118:Ramage (2009), p. 51 1749:Philippa of Guelders 1644:Sir Edward Littleton 1560:Chichester Cathedral 1556:Eleanor of Lancaster 1518:Blanche of Lancaster 1502:Chichester Cathedral 1498:Eleanor of Lancaster 1252:Tomb of the sons of 1102:Tomb of Philippe Pot 1012:Northern Renaissance 934:Canterbury Cathedral 789:Effigy of a knight, 603:Henry III of England 69:Richard I of England 42:Catherine de' Medici 3614:Welch, Christina. " 3522:Rushforth, G. McN. 3373:Heimerman, Emily. " 3310:, volume 21, 2000. 3285:British Royal Tombs 3207:, volume 67, 2017. 3057:Welch (2013), p.134 3030:Cohen (1973), p. 10 3012:Bass (2017), p. 166 2967:Covi (1975), p. 385 2937:Bass (2017), p. 163 2925:Welch (2013), p.135 2867:Barker (2020), p. 6 2671:Jugie (2010), p. 31 2662:Jugie (2019), p. 47 2579:Jugie (2010), p. 51 2567:Jugie (2010), p. 39 2556:Lee Reid, Katherine 2214:Fryer (1909), p. 18 2187:Bass (2017), p. 162 2157:Fozi (2015), p. 158 2094:Turfa (2005), p. 55 2003:Lucie-Smith, Edward 1901:history of religion 1811:Charles V of France 1396:Montmartre Cemetery 1372:Giuseppe Sanmartino 1065:Margaret of Bavaria 1038:Isabella of Bourbon 836:Salisbury Cathedral 628:Romanesque (France) 616:(d. 1307), both in 565:Merseburg Cathedral 552:Merseburg Cathedral 166:St Peter’s Basilica 135:early modern period 3694:Types of sculpture 3659:Wallace Collection 3530:, volume 5, 1915. 3465:978-1-9074-850-6-0 3164:978-1-9074-850-6-0 3066:Cohen (1974), p. 2 2955:Cohen (1973), p. 9 2459:Daily Art Magazine 2205:Fozi (2021), p. 13 2166:Fozi (2021), p. 12 1757: 1680: 1616:John I of Portugal 1534:John I of Portugal 1506: 1392:Godefroy Cavaignac 1310: 1306:Catacombs of Paris 1238:Sigüenza Cathedral 988: 824:William de Valence 795: 783: 646: 556: 117:and commemorative 89: 61: 38:Henry II of France 3610:978-1-9317-0752-7 3593:978-9-0040-6255-9 3570:978-0-3000-5300-5 3470:Pevsner, Nikolaus 3449:978-0-8109-3870-0 3432:978-1-4094-2261-7 3418:978-0-3001-5517-4 3404:978-8-4948-2447-0 3367:, volume 90, 2010 3330:978-0-2710-8917-1 3293:978-1-8436-8118-2 3262:Cohen, Kathleen. 3258:978-0-5200-1844-0 3248:Cohen, Kathleen. 3244:978-0-7141-0561-1 3199:978-1-7832-7271-6 3189:Barker, Jessica. 3178:978-2-7118-4864-5 2533:, 19 October 2021 2514:Oosterwijk (2014) 2325:Fozi (2021), p. 1 2293:Fozi (2021), p. 2 2196:Fozi (2021), p. 6 1684:cadaver monuments 1656:Cadaver monuments 1624:Batalha Monastery 1347:Monument Cemetery 1167:incorporation of 1061:John the Fearless 998:and the painters 992:dukes of Burgundy 957:Perth and Kinross 953:Dunkeld Cathedral 832:William Longespée 828:Westminster Abbey 816:John de Pitchford 694:French Revolution 683:tomb-style chests 618:Westminster Abbey 272:from his pyramid 223:Pyramid of Djoser 162:Westminster Abbey 16:(Redirected from 3701: 3578:, volume 3, 1988 3576:Church Monuments 3222:The Art Bulletin 3218:Białostocki, Jan 3139: 3136: 3130: 3127: 3118: 3115: 3109: 3106: 3100: 3097: 3088: 3085: 3076: 3073: 3067: 3064: 3058: 3055: 3049: 3048:Roe (1969), p. 1 3046: 3040: 3037: 3031: 3028: 3022: 3019: 3013: 3010: 3004: 3001: 2995: 2992: 2986: 2983: 2977: 2974: 2968: 2965: 2956: 2953: 2947: 2944: 2938: 2935: 2926: 2923: 2917: 2910: 2904: 2901: 2895: 2892: 2886: 2883: 2877: 2874: 2868: 2865: 2856: 2853: 2844: 2841: 2835: 2832: 2826: 2823: 2817: 2816: 2796: 2790: 2783: 2777: 2774: 2768: 2765: 2759: 2756: 2750: 2747: 2741: 2738: 2729: 2726: 2720: 2717: 2711: 2708: 2702: 2699: 2693: 2690: 2681: 2678: 2672: 2669: 2663: 2660: 2654: 2651: 2642: 2639: 2633: 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980: 1381–1410 978: 945: 925: 905: 776:Little Horkesley 753: 725: 705: 665: 662: 658: 655: 650:Romanesque style 611: 608: 549: 548: 1080–1084 546: 519: 516: 507: 493: 490: 484: 472: 453: 406:Etruscan culture 338: 315: 301: 298: 288: 261: 234:Psusennes I 220: 219: 2686–2613 217: 205: 204: 2700–2200 202: 146:cadaver monument 123:Ancient Egyptian 81:Fontevraud Abbey 54: 53: 1561–1573 51: 21: 18:Recumbent effigy 3709: 3708: 3704: 3703: 3702: 3700: 3699: 3698: 3664: 3663: 3637: 3632: 3558:Stone, Lawrence 3437:Panofsky, Erwin 3408:Jugie, Sophie. 3394:Jugie, Sophie. 3283:Dobson, Aidan. 3148: 3143: 3142: 3137: 3133: 3128: 3121: 3116: 3112: 3107: 3103: 3098: 3091: 3086: 3079: 3074: 3070: 3065: 3061: 3056: 3052: 3047: 3043: 3038: 3034: 3029: 3025: 3020: 3016: 3011: 3007: 3002: 2998: 2993: 2989: 2984: 2980: 2975: 2971: 2966: 2959: 2954: 2950: 2945: 2941: 2936: 2929: 2924: 2920: 2911: 2907: 2902: 2898: 2893: 2889: 2884: 2880: 2875: 2871: 2866: 2859: 2854: 2847: 2842: 2838: 2833: 2829: 2824: 2820: 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Louvre, Paris 1287: 1274: 1265: 1262:Tours Cathedral 1250: 1241: 1234: 1160: 1151: 1124: 1118: 1109: 1106:heraldry shield 1099: 1090: 1081: 1033: 979: 966: 959: 946: 937: 926: 917: 906: 871:Knights Templar 867:William Marshal 768: 761: 754: 745: 726: 717: 706: 663: 656: 630: 609: 547: 533: 528: 521: 517: 508: 499: 491: 485: 476: 473: 464: 454: 362: 356: 349: 339: 330: 324:Egyptian Museum 316: 307: 299: 289: 280: 278:27th century BC 262: 218: 206:BC, during the 203: 197: 191: 186: 67:Double tomb of 52: 28: 23: 22: 15: 12: 11: 5: 3707: 3697: 3696: 3691: 3686: 3681: 3676: 3662: 3661: 3655:Tobias Capwell 3648: 3636: 3635:External links 3633: 3631: 3630: 3623: 3612: 3595: 3581:Tummers, H.A. 3579: 3572: 3555: 3553:978-0714838670 3538: 3520: 3503: 3496: 3485: 3467: 3451: 3434: 3420: 3406: 3392: 3385: 3378: 3371: 3368: 3361: 3350: 3334:Fozi, Shirin. 3332: 3320:Fozi, Shirin. 3318: 3304: 3295: 3281: 3267: 3260: 3246: 3234:Binski, Paul. 3232: 3215: 3201: 3187: 3180: 3166: 3149: 3147: 3144: 3141: 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and 1536:(d. 1433) and 1528:(d. 1400) and 1496:(d. 1376) and 1485: 1482: 1480: 1477: 1464: 1461: 1460: 1459: 1452: 1445: 1443: 1436: 1429: 1427: 1413: 1406: 1404: 1389: 1382: 1380: 1364: 1357: 1297: 1294: 1293: 1292: 1275: 1268: 1266: 1251: 1244: 1242: 1235: 1228: 1159: 1156: 1150: 1149:Eastern Europe 1147: 1126: 1125: 1119: 1112: 1110: 1100: 1093: 1091: 1082: 1075: 1069:Frits Scholten 1010:and the wider 965: 962: 961: 960: 947: 940: 938: 932:, after 1376, 927: 920: 918: 907: 900: 804:Knight Templar 802:or had been a 767: 764: 763: 762: 755: 748: 746: 727: 720: 718: 707: 700: 629: 626: 574:Erwin Panofsky 559:being that of 532: 529: 527: 524: 523: 522: 518: 150–130 509: 502: 500: 487:Funerary urn, 486: 479: 477: 474: 467: 465: 459:, 530–510 BC. 455: 448: 372:, an advanced 355: 352: 351: 350: 347:British Museum 340: 333: 331: 317: 310: 308: 300: 945-715 290: 283: 281: 263: 256: 190: 187: 185: 182: 155:Gothic revival 26: 9: 6: 4: 3: 2: 3706: 3695: 3692: 3690: 3687: 3685: 3682: 3680: 3677: 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1931: 1929: 1925: 1921: 1920: 1912: 1910: 1906: 1902: 1898: 1894: 1879: 1872: 1867: 1863: 1856: 1851: 1847: 1846:Boussu Castle 1843: 1839: 1832: 1827: 1823: 1812: 1808: 1801: 1796: 1795: 1794: 1790: 1787: 1781: 1779: 1775: 1771: 1767: 1763: 1754: 1750: 1745: 1741: 1739: 1735: 1724: 1719: 1717: 1713: 1709: 1698: 1693: 1689: 1685: 1677: 1673: 1668: 1663: 1649: 1645: 1638: 1633: 1629: 1625: 1621: 1617: 1610: 1605: 1601: 1597: 1590: 1585: 1581: 1577: 1570: 1565: 1564: 1563: 1561: 1558:(d. 1372) in 1557: 1553: 1549: 1548: 1543: 1542:Philip Larkin 1539: 1535: 1531: 1527: 1523: 1522:John of Gaunt 1519: 1513: 1511: 1503: 1499: 1495: 1490: 1476: 1474: 1470: 1456: 1449: 1444: 1440: 1433: 1428: 1424: 1420: 1416: 1410: 1405: 1401: 1400:François Rude 1397: 1393: 1386: 1381: 1377: 1373: 1369: 1368: 1367:Veiled Christ 1361: 1356: 1355: 1354: 1352: 1348: 1345:in Paris and 1344: 1338: 1334: 1332: 1328: 1324: 1320: 1316: 1315:Enlightenment 1307: 1302: 1282: 1281:Germain Pilon 1278: 1272: 1267: 1263: 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463:, Rome, Italy 462: 458: 452: 447: 446: 445: 442: 441:Quirinal Hill 438: 434: 433:Palatine Hill 429: 427: 423: 422:Ancient Greek 419: 415: 410: 407: 403: 399: 395: 391: 387: 383: 379: 375: 371: 367: 361: 348: 344: 337: 332: 329: 325: 321: 314: 309: 305: 294: 287: 282: 279: 275: 271: 267: 260: 255: 254: 253: 251: 247: 243: 239: 235: 231: 226: 224: 213: 209: 196: 181: 179: 175: 172:(twenty-five 171: 167: 163: 158: 156: 151: 147: 143: 138: 136: 132: 128: 124: 120: 116: 112: 108: 104: 103: 98: 94: 86: 82: 78: 74: 70: 65: 58: 47: 46:Germain Pilon 43: 39: 34: 30: 19: 3679:Funerary art 3626: 3619: 3601: 3582: 3575: 3561: 3544: 3527: 3523: 3509: 3499: 3493:Academia.edu 3473: 3454: 3440: 3423: 3409: 3395: 3388: 3381: 3364: 3357: 3354:Archaeologia 3353: 3339: 3335: 3321: 3307: 3298: 3284: 3270: 3263: 3249: 3235: 3221: 3204: 3190: 3183: 3169: 3153: 3134: 3113: 3104: 3071: 3062: 3053: 3044: 3035: 3026: 3017: 3008: 2999: 2990: 2981: 2972: 2951: 2942: 2921: 2908: 2899: 2890: 2881: 2872: 2839: 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386:terracotta 358:See also: 343:Sitdjehuti 291:Coffin of 264:Limestone 193:See also: 3684:Sculpture 3476:. Paris: 1966:The word 1954:Footnotes 1928:synthetic 1909:philology 1880:, England 1864:, France 1848:, Belgium 1838:mausoleum 1686:(French: 1678:, England 1650:, England 1648:Penkridge 1602:, England 1582:, England 1504:, England 1469:alabaster 1323:ossuaries 1218:Donatello 1181:purgatory 1088:pleurants 914:Pitchford 840:Wiltshire 760:, France. 598:alabaster 554:, Germany 398:alabaster 394:limestone 370:Etruscans 354:Classical 266:Ka statue 184:Antiquity 168:in Rome, 150:pleurants 3518:25509699 3480:and the 3382:Speculum 3348:43577275 3340:Speculum 3316:23924216 3213:26593102 2065:". 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