Transi

A cadaver tomb or transi (or memento mori tomb, Latin for "reminder of death") is a type of gisant (recumbent effigy tomb) featuring an effigy in the form of a decomposing corpse. The topos was particularly characteristic of the later Middle Ages.

A depiction of a rotting cadaver in art (as opposed to a skeleton) is called a transi. However, the term "cadaver tomb" 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" tombs, in Erwin Panofsky's phrase, a carved stone bier displays on the top level the recumbent effigy or gisant of a person as they were before death or soon after their death, where they may be life-sized and sometimes represented kneeling in prayer, and as a rotting cadaver on the bottom level, often shrouded and sometimes complete with worms and other flesh-eating wildlife. The iconography is regionally distinct: the depiction of vermin on these cadavers is more commonly found on the European mainland, and especially in the German regions. The dissemination of cadaver imagery in the late-medieval Danse Macabre may also have influenced the iconography of cadaver monuments.

In monumental architecture, cadaver tombs were a departure from the usual practice of showing an effigy of the person as they were in life. An early example is the famous effigy on the multi-layered wall-tomb of Cardinal Jean de La Grange (died 1402) in Avignon.

The term can also be used for a monument that shows only the cadaver without the live person. The sculpture is intended as a didactic example of how transient earthly glory is, since it depicts what all people finally become. Kathleen Cohen's study of five French ecclesiastics who commissioned transi tombs 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 "Transi de René de Chalons" by Ligier Richier, in the church of Saint Etienne in Bar-le-Duc, France.

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