Editing Cadaver monument (section)

==Development==
[[Image:Boussu JPG00a.jpg|thumb|upright=1.3|left|"L'homme aux moulons" (man eaten by worms<ref>{{cite journal |first=Sophie |last=Oosterwijk |title=Food for worms – food for thought. The appearance and interpretation of the 'verminous' cadaver in Britain and Europe |journal=Church Monuments |volume=20 |year=2005 |pages=63, 133–140 }}</ref>), a 16th-century cadaver monument in [[Boussu]], Belgium]]
A depiction of a rotting cadaver in art (as opposed to a [[skeleton]]) is called a '''''transi'''''. However, the term "cadaver monument" can really be applied to other varieties of monuments, e.g. with skeletons or with the deceased completely wrapped in a shroud. In the "double-decker" monuments, in [[Erwin Panofsky]]'s phrase,<ref>Panofsky, ''Tomb Sculpture'' (New York) 1964:65.</ref> a sculpted stone [[bier]] displays on the top level the [[Tomb effigy|recumbent effigy]] (or ''gisant'') of a living person, where they may be life-sized and sometimes represented kneeling in prayer, and in dramatic contrast as a rotting cadaver on the bottom level, often shrouded and sometimes in company of worms and other flesh-eating creatures. The iconography is regionally distinct: the depiction of such animals on these cadavers is more commonly found on the European mainland, and especially in the German regions.<ref>{{cite journal |first=Sophie |last=Oosterwijk |title=Food for worms – food for thought. The appearance and interpretation of the 'verminous' cadaver in Britain and Europe |journal=Church Monuments |volume=20 |year=2005 |pages=40–80, 133–140 }}</ref> The dissemination of cadaver imagery in the late-medieval [[Danse Macabre|danse macabre]] may also have influenced the iconography of cadaver monuments.<ref>{{cite journal |first=Sophie |last=Oosterwijk |url=https://www.academia.edu/6367003 |title='For no man mai fro dethes stroke fle'. Death and Danse Macabre iconography in memorial art |journal=Church Monuments |volume=23 |year=2008 |pages=62–87, 166–68 }}</ref>

In [[Christian funerary art]], cadaver monuments were a dramatic departure from the usual practice of depicting the deceased as they were in life, for example recumbent but with hands together in prayer, or even as dynamic military figures drawing their swords, such as the 13th- and 14th-century effigies surviving in the [[Temple Church]], London. Cadaver monuments often acted as a portrait of the deceased in death.<ref>{{cite journal |last1=Heimerman |first1=Emily |title=A Portrait of Death: Analyzing the Transi Tomb of Guillaume de Harcigny (1300–1393 A.D.) |journal=The Coalition of Master's Scholars on Material Culture |date=April 2, 2021 |url=https://static1.squarespace.com/static/5ef9fae58544f214e0aee415/t/6065dd46ff5ae836526072b8/1617288518547/Heimerman_A+Portrait+of+Death_2021.pdf}}</ref>

[[File:Transi tomb of John FitzAlan, 7th & 14th Earl of Arundel.jpg|thumb|upright=1.5|Cadaver monument of [[John Fitzalan, 7th Earl of Arundel]] (died 1435), Fitzalan Chapel, [[Arundel Castle]], [[West Sussex]], England]]
The term can also be used for a monument which shows only the cadaver without a corresponding representation of the living person. The [[sculpture]] is intended as a didactic example of how transient earthly glory is, since it depicts what all people of every status finally become. Kathleen Cohen's study of five French ecclesiastics who commissioned ''transi'' monuments determined that common to all of them was a successful worldliness that seemed almost to demand a shocking display of transient mortality. A classic example is the "[[Cadaver Tomb of René of Chalon|Transi de René de Chalons]]" by [[Ligier Richier]], in the church of Saint Etienne in [[Bar-le-Duc]], France, pictured below right.<ref>{{cite web |first=François |last=Janvier |title=Restauration du 'Squelette' de Ligier Richier à Bar-le-Duc |work=Le Journal du Conservateur |year=2004 |url=http://caoa55.free.fr/chap5/SqueletteBlD/actualite_squeletteBlD.htm |access-date=24 August 2019 }}</ref>

Cadaver monuments were made only for high-ranking persons, usually royalty, bishops, abbots or nobility, because one had to be wealthy to have one made, and influential enough to be allotted space for one in a church of limited capacity. Some monuments for royalty were double tombs, for both a king and queen. The French kings [[Louis XII]], [[Francis I of France|Francis I]] and [[Henry II of France|Henry II]] were doubly portrayed, as couples both as living effigies and as naked cadavers, in their double double-decker monuments<!--double: king & queen; double-decker: two effigies of each--> in the [[Basilica of Saint-Denis]] near Paris. Other varieties also exist, such as cadaver imagery on incised slabs and [[monumental brass]]es, including the so-called "shroud brasses", of which many survive in England.<ref>{{Cite web |url=http://www.mbs-brasses.co.uk/page73.html |title=Picture Library – Shrouds and Skeletons |website=www.mbs-brasses.co.uk |access-date=20 April 2012 |archive-url=https://web.archive.org/web/20160304221420/http://www.mbs-brasses.co.uk/page73.html |archive-date=4 March 2016 |url-status=dead }}</ref>