Church monument in the context of "List of extant papal tombs"

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⭐ Core Definition: Church monument

Funerary art is any work of art forming, or placed in, a repository for the remains of the dead. The term encompasses a wide variety of forms, including cenotaphs ("empty tombs"), tomb-like monuments which do not contain human remains, and communal memorials to the dead, such as war memorials, which may or may not contain remains, and a range of prehistoric megalithic constructs. Funerary art may serve many cultural functions. It can play a role in burial rites, serve as an article for use by the dead in the afterlife, and celebrate the life and accomplishments of the dead, whether as part of kinship-centred practices of ancestor veneration or as a publicly directed dynastic display. It can also function as a reminder of the mortality of humankind, as an expression of cultural values and roles, and help to propitiate the spirits of the dead, maintaining their benevolence and preventing their unwelcome intrusion into the lives of the living.

The deposit of objects with an apparent aesthetic intention is found in almost all cultures – Hindu culture, which has little, is a notable exception. Many of the best-known artistic creations of past cultures – from the Egyptian pyramids and the Tutankhamun treasure, to the Terracotta Army surrounding the tomb of Qin Shi Huang, the Mausoleum of Halicarnassus, the Sutton Hoo ship burial and the Taj Mahal – are tombs or objects found in and around them. In most instances, specialized funeral art was produced for the powerful and wealthy, although the burials of ordinary people might include simple monuments and grave goods, usually from their possessions.

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👉 Church monument in the context of List of extant papal tombs

A pope is the Bishop of Rome and the leader of the Catholic Church. Approximately 100 papal tombs are at least partially extant, representing fewer than half of the 266 deceased popes, from Saint Peter to Pope Francis.

For the first few centuries in particular, little is known of the popes and their tombs, and available information is often contradictory. As with other religious relics, multiple sites claim to house the same tomb. Furthermore, many papal tombs that recycled sarcophagi and other materials from earlier tombs were later recycled for their valuable materials or combined with other monuments. For example, the tomb of Pope Leo I was combined with Leos II, III, and IV circa 855, and then removed in the seventeenth century and placed under his own altar, below Alessandro Algardi's relief, Fuga d'Attila. The style of papal tombs has evolved considerably throughout history, tracking trends in the development of church monuments. Notable papal tombs have been commissioned from sculptors such as Michelangelo and Gian Lorenzo Bernini.

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Church monument in the context of Historical marker

A commemorative plaque, or simply plaque, or in other places referred to as a historical marker, historic marker, or historic plaque, is a plate of metal, ceramic, stone, wood, or other material, bearing text or an image in relief, or both, to commemorate one or more persons, an event, a former use of the place, or some other thing. Most such plaques are attached to a wall, stone, or other vertical surface.

Many modern plaques and markers are used to associate the location where the plaque or marker is installed with the person, event, or item commemorated as a place worthy of visit. A monumental plaque or tablet commemorating a deceased person or persons, can be a simple form of church monument. Most modern plaques affixed in this way are commemorative of something, but not all. There are also purely religious plaques, and some signify ownership or affiliation of some sort. A plaquette is a small plaque, but in English, unlike many European languages, the term is not typically used for outdoor plaques fixed to walls.

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Church monument in the context of Monumental sculpture

The term monumental sculpture is often used in art history and criticism, but not always consistently. It combines two concepts, one of function, and one of size, and may include an element of a third more subjective concept. It is often used for all sculptures that are large. Human figures that are perhaps half life-size or above would usually be considered monumental in this sense by art historians, although in contemporary art a rather larger overall scale is implied. Monumental sculpture is therefore distinguished from small portable figurines, small metal or ivory reliefs, diptychs and the like.

The term is also used to describe sculpture that is architectural in function, especially if used to create or form part of a monument of some sort, and therefore capitals and reliefs attached to buildings will be included, even if small in size. Typical functions of monuments are as grave markers, tomb monuments or memorials, and expressions of the power of a ruler or community, to which churches and so religious statues are added by convention, although in some contexts monumental sculpture may specifically mean just funerary sculpture for church monuments.

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Church monument in the context of Monumental brass

A monumental brass is a type of engraved sepulchral memorial once found through Western Europe, which in the 13th century began to partially take the place of three-dimensional monuments and effigies carved in stone or wood. Made of hard latten or sheet brass, let into the pavement, and thus forming no obstruction in the space required for the services of the church, they speedily came into general use, and continued to be a favourite style of sepulchral memorial for three centuries.

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