A tomb effigy, usually a recumbent effigy or, in French, gisant (French, "lying"), is a sculpted figure on a tomb monument depicting in effigy the deceased. These compositions were developed in Western Europe in the Middle Ages, and continued in use through the Renaissance and early modern period; they are still sometimes used. They typically represent the deceased in a state of "eternal repose", lying with hands folded in prayer and awaiting resurrection. A husband and wife may be depicted lying side by side. An important official or leader may be shown holding his attributes of office or dressed in the formal attire of his official status or social class. 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 transi, or cadaver monument, 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. In the same period small figures of mourners called weepers or pleurants were added below the effigy to important tombs. In the Early Modern period European effigies are often shown as alive, and either kneeling or in a more active pose, especially for military figures. During the Renaissance, other non-recumbent types of effigy became more popular. Variations showed the deceased lying on their side as if reading, kneeling in prayer and even standing. The recumbent effigy had something of a vogue during the Gothic revival period of the 19th century, especially for bishops and other clerics. Many graves at Monument Cemetery in Milan have recumbent figures. Some of the best-known examples of the form are in Westminster Abbey in London, Saint Peter's in Rome, Santi Giovanni e Paolo, Venice (twenty-five Doges), and the Basilica of Santa Croce, Florence. A celebrated poem describing and reflecting on a pair of stone effigies is An Arundel Tomb by Philip Larkin. History Ancient precursors Recumbent effigies were a common tradition in Etruscan funerary art, examples are known in both ceramic and stone. The deceased was typically depicted alive as at a feast, lying sideways, propped up on one arm and sometimes holding a cup. Usually these were rather smaller than life-size. The Romans continued this tradition, though they also created many other types of funerary effigy. Their faces are often clearly portraits of