The oldest is a stone recumbent effigy in the south aisle, apparently of a 14th century woman.

The recumbent effigy only returned to favour during the Gothic revival of the 19th century.

There are two recumbent effigies with much carving.

In the south chapel are three recumbent effigies.

Both are in yellow sandstone, date from the medieval period, and include weathered recumbent effigies.

He pre-deceased his own father John Giffard, whose recumbent effigy is above.

Her recumbent effigy, next to that of her husband, exists in Wolborough parish church.

Her recumbent effigy lies on the tomb.

This consists of recumbent effigies on a sarcophagus, with bronze sea horses at the bottom corners.

Below them, a series of tombs bears lively though recumbent effigies of their occupants.

In 1886 a recumbent effigy was erected to his memory, and his supposed grave was opened.

The gisants (recumbent effigies) of the deceased couple are lying prostrate with hands raised in prayer.

It includes the recumbent effigies in marble of Sir Thomas and his wife, Elizabeth.

The monument shows recumbent effigies of himself and his first wife with two tablets above inscribed as follows:

His tomb and his recumbent effigy are one of the chief works of Burgundian sculpture.

Gothic Revival followed, with the obvious return to alabaster, tomb chests and recumbent effigies.

On the tomb are two recumbent effigies, each lying on their right side, propped on an elbow.

His recumbent effigy is shown fully armed in a suit of Almain rivets and his feet rest on a dog.

This consists of a recumbent effigy on a tomb chest with an elaborate surround enclosed in wrought iron railings.

Recumbent effigies were a common tradition in Etruscan funerary art, examples are known in both ceramic and stone.

This is a tomb-chest featuring his recumbent effigy and a kneeing figure of his wife, Lady Alice.

It consists of an alabaster tomb chest on which lie the recumbent effigies of Sir Henry and his wife.

In the north chapel is the chest tomb dated 1578 of the parents of Archbishop Sandys, with recumbent effigies.

Effigies are common elements of funerary art, especially as a recumbent effigy (in a lying position) in stone or metal placed on a tomb.

The recumbent effigy is described in "The Buildings of Lothian" as "chilling but pathetic nobility".

Her eyes appeared to be turned toward the gisant.

The gisant had something of a vogue during the Gothic revival period of the 19th century.

As Sorokin watched, the gisant accelerated in its downward passage, a doomed ship sinking into water.

When Ramachandra reached out one of his suit's metal hands toward the carven woman, the entire gisant and its bubble instantaneously disappeared at the first touch.

When Ramachandra casually pulled the cover aside, Sorokin saw that the stone was carved in the form of a gisant, a larger-than-life mortuary sculpture.

The hero is represented kneeling on a catafalque beneath which the gisant appears as a naked, emaciated corpse, "such as death has made it for us".

A particular type of gisant was the transi, or cadaver tomb, in which the effigy is in the macabre form of a decomposing corpse.

He also carved Le Gisant, a tribute to the French Resistance and martyrs, which would be exhibited in the Salon de la Libération.

Shortly afterward he caught sight of the gisant moving ahead of him through blue-white space, gliding in the direction from which the transverse bands of light seemed to flow.

A few paces away, the gisant drifted almost buoyantly, only one corner of it dragging along the mirror surface of the star that was a neutron solid with billions of times the rigidity of steel.