The earliest church monuments, dating from the early 12th century,
were simple stone coffin-shaped grave coverings incised with a cross
or similar design. The first attempts at commemorative portraiture emerged
soon afterwards, executed in low relief, horizontal but as in life.
Gradually these became full high-relief effigies, usually recumbent,
as in death, and, by the 14th century, with hands together in prayer.
In general, such monumental effigies were carved in stone, marble
or wood, or cast in bronze or brass. Often the stone effigies were painted
to resemble life, but on the vast majority of medieval monuments, this
has long since disappeared. The crossed-legged attitude of numerous
mail-armoured knights was long supposed to imply that the deceased had
served in the Crusades, but this supposition is unfounded. By the early
13th century, the effigies became raised on tomb-style chests (or tomb
chests) decorated with foliage, heraldry or architectural detailing.
By the end of the century, these often had architectural canopies and
figured 'weepers' (often friends or relatives identified by their coats
of arms) were popular decorative features. In the 15th century these
often became angels or saints and the chest might include a cadaver.
The best monuments were made of alabaster. Around the 13th century,
smaller two-dimensional effigies incised in plates of brass and affixed
to monumental slabs of stone became popular too. These memorial brasses
were somewhat cheaper and particularly popular with the emerging middle
class.
In the 16th century, church monuments became increasingly influenced
by Renaissance forms and detailing (pilasters, wreaths, strapwork, skulls,
coffered arches, obelisks, etc), particularly in France, the Netherlands
and, eventually, England. There were major innovations in effigial posture,
the deceased often being shown reclining or kneeling in prayer and surrounded
by the whole family, as in life. Cadavers were replaced by skeletons.
The 'hanging' mural or wall monument also became popular, sometimes
with half-length 'demi-figures'; and also the floor-bound heraldic ledger
stone. The 17th century saw an increase in classicism and the use of
marble.Effigies might be sitting or standing, grief-stricken, shrouded
or, unusually, rising from the grave. Busts and relief portraits were
popular.
High Baroque monuments were some of the grandest ever constructed.
Decoration turned to cherubs, urns, drapery, garlands of fruit and flowers.
In the 18th century, church monuments became more restrained, placed
before two-dimensional pyramids, but more Roman-like, with the deceased
often depicted in Roman dress or as a cameo-like 'medallion portrait'.
The Rococo style gave more movement to these figures.