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SZ EMORIAL TABLETS: 
 {ANCIENT AND MOD- 
 WV\ERN, HONORARY AND 
 
 Ee MORTUARY, IN BRONZE 
 BRASS, MOSAIC AND MARBLE. 
 
 TIFFANY GLASS & DECORATING COMPANY, 
 
 333 TO 341 FOURTH AVENUE, 
 
 NEW YORK, 
 
COPYRIGHTED 1896 
 BY . 
 TIFFANY GLASS & DECORATING COMPANY 
 NEW YORK 
 
a ee ee 
 
MEMORIAL TABLETS. 
 
 It has been the habit of men from the 
 remote past to inscribe upon rocks, or 
 prepared stones, or walls of buildings, 
 or to engrave in metal, or imprint upon 
 some enduring material, or cast in 
 bronze, words in memory of the great 
 ones of earth, or of those they loved, or 
 to commemorate some important event 
 in the annals of war, of government, of 
 knowledge, or to perpetuate a decree or 
 a code of law. 
 
 Through this abiding practice the man- 
 ners and customs of many ancient people, 
 even the very thoughts of their hearts, 
 have been preserved for our study and 
 meditation, and in this way it has proven 
 to be a help to history, a link in the 
 
chain that binds the present to the past, 
 and is designed to continue to future 
 ages the memories so recorded. 
 
 A memorial not only serves a good 
 purpose in thus perpetuating facts for 
 the use of posterity: the name, the age, 
 the merits, the dignities, the praises of 
 body and mind, the good and bad for- 
 tune of the memorialized, but is often a 
 comfort and a solace to the living, and a 
 reminder to the reader that time is fleet- 
 ing and that eternity approaches apace. 
 
 The abundance or dearth of memorial 
 inscriptions among a people depends upon 
 their religious tendencies, natural en- 
 vironments, and race characteristics. 
 
 The Nile valley is rich in monuments, 
 aterne memorie, of its former inhabi- 
 tants, because their religion forced them 
 to provide a lasting dwelling-place for 
 the body of the dead, which they at- 
 
 4 
 
tempted to keep incorruptible, and for 
 the double—the soul that death set free, 
 but which, like a shadow, accompanies 
 the body, and is its companion in the 
 tomb. Hence, the Egyptians, fearing 
 the living might forget to do this for 
 them, erected their own tombs, and 
 inscribed their memorials on tablets, or 
 steles, or the walls of the tomb: hiero- 
 glyphic inscriptions telling who they 
 were, recounting their deeds of prowess, 
 and enumerating their possessions. 
 
 In Mesopotamia the belief, and con- 
 sequently the practice, was different; 
 nevertheless, the few funerary inscrip- 
 tions which have come down to us are 
 marked by deep religious thought, and 
 make plain that the Chaldeans and 
 Assyrians, like the rest of men, endeav- 
 ored to preserve memories from decay. 
 In Syria, among the Phoenicians, the 
 
memorial inscriptions were in keeping 
 with the gross materialism and trade 
 proclivities of the race. Their ‘‘ brevity 
 provokes rather than satisfies curiosity,”’ 
 as they give little information in addition 
 to the bare name and title of the de- 
 ceased. There is never a word of endear- 
 ment or of hope, for their religion was a 
 ** selfish positivism ’’—a kind of bargain 
 between themselves and the gods, with 
 the advantage all on the side of the 
 Phoenicians. On the other hand, among 
 the Jews, their neighbors and owning the 
 same blood, it was all the other way; 
 their steles or memorials show forth an 
 intense religious sentiment, a fervid love 
 of God, and a desire to follow the dead 
 with prayers beyond the portals of the 
 tomb. Among the contemporaneous 
 nations of Syria, such as the Phrygians 
 and others, the memorials largely con- 
 
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sisted of imprecations against those who 
 should impiously ‘* presume to disturb 
 the sacred repose of the dead.’’ The 
 Persian memorials, generally incised in 
 stone, colored or gilded, were mostly 
 honorary, often self-laudatory, even 
 where they were sepulchral, as, for ex- 
 ample, the one on the tomb of Darius, at 
 Naksh-i-Rustem: 
 
 IF YOU REFLECT HOW GREAT IS THE 
 
 NUMBER OF COUNTRIES KING 
 
 DARIUS HAS HAD UNDER HIS SWAY, 
 
 AND REPEAT IT, LOOK AT THE IMAGE 
 
 OF THOSE WHO CARRY MY THRONE 
 
 AND YOU WILL UNDERSTAND IT. THEN 
 
 YOU WILL KNOW THAT THE SPEAR 
 
 OF A PERSIAN MAN WENT AFAR ; 
 
 THEN YOU WILL KNOW THAT THE 
 
 PERSIAN MAN HAS FOUGHT BATTLES 
 
 AT GREAT DISTANCES FROM PERSIA, ETC. 
 
 But among all the ancients the 
 Greeks brought the art of epigraphy to 
 the greatest perfection. As soon as 
 
 aie 
 
they became a settled people they not 
 only erected houses for the living, but 
 also tombs for the dead and shrines to 
 the gods, and from these vast numbers 
 of inscribed tablets and _ inscriptions 
 have come down to us, upon which the 
 donors have left records of the life and 
 acts of the memorialized. Their merit 
 consists in their simplicity, together 
 with beauty of diction in union with 
 conciseness. Many of them were com- 
 posed by men of note, authors like 
 Simonides, who became famous as an 
 epitaphian, and founded a school of 
 epitaphic poetry. Yet there is some- 
 thing dreary and disheartening in their 
 memorials, they are so taken up with 
 the perishable glories of the world that 
 there is not one word about a_ better 
 life or a love that follows the soul toa 
 happy reunion beyond the grave, 
 
 8 
 
one oe —— z 7 . ee 
 ee ee ae ae . oe ea: aa ae ae ee eee Rasa 
 a ae Pile — te é os ah tet ae = ama ie let = 
 
Lie a. 
 
although once in a while there is an 
 effort made to express the love borne 
 by the survivor for the deceased, as in 
 the following Roman inscription: 
 
 ALTHOUGH A HARD LOT HAS TAKEN 
 AWAY MY HUSBAND’S LIFE, YET, SO 
 
 LONG AS THIS INSCRIPTION SHALL 
 
 LAST, THE MEMORY OF HIS PRAISE 
 
 AND GLORY SHALL REMAIN FOREVER. 
 AURELIA SABINA TO MY DEAREST, 
 SWEETEST, MOST AFFECTIONATE, 
 
 AND INCOMPARABLE HUSBAND, ETC., ETC. 
 
 The 
 tinguished 
 Greek origin and came in vogue among 
 the Romans toward the close of 300 
 BG. 
 
 CLAUDIA ANTONIA TATIANA, 
 
 THE EXCELLENT COUSIN OF 
 CLAUDIUS DIOGENES AND ATTALUS, 
 THE SENATORS, BEING A 
 DISTINGUISHED BENEFACTRESS 
 
 TO THE CITY, AS WERE HER 
 ANCESTORS. 
 
 of memorializing dis- 
 was of 
 
 custom 
 
 living personages 
 
 aie = - — 
 
 + 
 +OIKOC AIWNIO C 
 ATAQWNOCG ANA 
 Q) KAI EY 
 TN NA CY 
 
 HMIAC 
 €N AVC] OHKAIC 
 IAIA EKACTW HMUWN 
 €i AE TIC TWN IA 
 
 €! ETEPOC TIC TO (A) 
 
 MHCH CWMA KATA 
 ©ECOA! EN TAVOA 
 MAPE= TWN AVO 
 HMWN AOPFON AW 
 H TG) OEW KAI A 
 NAOQEMA HTW 
 MAPANAQAN 
 
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THE SENATE AND THE PEOPLE 
 HONOR SOCRATES, THE SON 
 
 OF THEOPHRASTUS, WHO IS 
 
 AN HONORABLE AND GOOD MAN. 
 TIBERIA JULIA ANTONIA LETOIS, 
 
 A MOTHER AND AUNT OF SENATORS, 
 ERECTS THIS IN HONOR OF 
 PUBLIUS AALIUS HILARIANUS, 
 
 HER SWEETEST SON. 
 
 The above are in Greek, cut in white 
 marble, and were erected in the city of 
 Aphrodisias. 
 
 Among the Romans a memorial was 
 little more than a catalogue of worldly 
 honors, family connections, vain regrets, 
 
 ‘} words of eternal farewell, and expres- 
 {sions of disappointment—often enig- 
 4! matical, inane, trifling, and sensual, and 
 /“ sometimes there was as much said in 
 gif praise of the person setting up the tab- 
 2 let as the one remembered. 
 
 4 When the Christians first employed 
 ROMAN memorials they were similar to those of 
 
 Io 
 
—— 
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the pagan, distinguished from them 
 ‘“not so much in what they say as in 
 what they do not say:’’ dedications to 
 the Dii Manes, allusions to the family, 
 birth, social rank of the dead, impreca- 
 tion against those who might be tempted 
 to profane the tomb are omitted, and sel- 
 dom is there recorded more than one of 
 the names of the deceased. 
 
 To the Christians death was the door 
 to life: the true life, for then ¢hzs cor- 
 ruptible shall have put on incorruption, and 
 this mortal shall have put on immortal- 
 tty—and then the memory of the just ts 
 blessed—and the righteous shall be tn ever- 
 lasting remembrance. 
 
 ‘* Offer sacrifice to the gods,’’ said the 
 heathen magistrate to Julius the Martyr, 
 ‘and you shall live with us.’’ The re- 
 ply of the Christian was: ‘* To live with 
 you would be to die, but when I shall 
 
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 have died, then I live.’’ The magis- 
 trate retorted: ‘‘ You are determined 
 then to die and not to live.’’ And the 
 martyr answered: ‘“‘ I choose to die tem- 
 porarily that I may live eternally.”’ 
 
 It is easy to understand that the me- 
 morial tablets and inscriptions of a 
 people feeling in this way and believing 
 that the hidden life and immortality of 
 the soul were alone worthy of the name 
 of life, should bear witness to their faith, 
 as the following from the Cemetery of 
 Thraso will show: 
 
 PRIMA, THOU LIVEST IN THE GLORY OF GOD, 
 AND IN THE PEACE OF THE LORD JESUS 
 CHRIST. 
 
 Or this of the second century, from the 
 Cemetery of S. Callixtus: 
 
 SWEET FAUSTINA, MAYEST THOU LIVE IN GOD. 
 Or this very early one, found near the 
 Via Latina: 
 
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Pn 
 
 5 
 
 Be ae PEF AR ST SE Bee ee 
 sees + = - 2 
 
 o% 
 
 EF ee ce we 
 
 7 i 
 
 cain 
 
THE FLESH OF EVARESTA IS 
 
 HERE, BUT HER SOUL, RENEWED BY THE 
 SPIRIT OF CHRIST, AND HAVING 
 RECEIVED AN ANGELICAL BODY, HAS 
 BEEN TAKEN UP INTO THE 
 
 HEAVENLY KINGDOM OF CHRIST 
 
 WITH THE SAINTS. 
 
 Besides lettered inscriptions the primi- 
 tive Christians employed in their memo- 
 rials a number of images and signs, such 
 as star-crosses,anchors, palms, and mono- 
 grams—secret marks and symbols which 
 were peculiar to themselves and pointed 
 to some tenet of the faith—speaking to 
 the initiated, and dumb to the pagan. 
 
 The forms and expressions they used 
 appeared with little or no variation upon 
 all memorials, in all parts of Christendom, 
 down to the Middle Ages, when they be- 
 came more lengthy by giving fuller ex- 
 positions of doctrine and detailed records 
 of the deceased. 
 
 — ng 
 
IHICIACEN’ 
 SCIETPPAE | 
 Ci P Vis CER 
 
 ee 31D ES 
 VENTS 
 
 England is particularly rich in these 
 medizval memorials, and this in spite of 
 the fact that thousands perished at the 
 time of the dissolution of religious houses 
 in the reign of King Henry VIII., or 
 were destroyed by the Commissioners of 
 the Crown under Edward VI., Elizabeth, 
 and during the great Rebellion, and the 
 many that have disappeared through neg- 
 lect. 
 
 At first the English used exclusively 
 the Latin language and characters, in- 
 troducing the Norman-French and Lan- 
 gobardic letters in the 13th century, and 
 their own language, in black letter, at 
 the beginning of the 15th century, return- 
 ing to the Latin text at the end of the 
 16th century, and Roman capitals in the 
 17th century. 
 
 Before the change of religion the me- 
 morials were marked by great simplicity 
 
 14 
 
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 SIXTH CENTURY 
 
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 Ortober31820-Juneo1is9s 
 
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 presented by dim 
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 ~ bis beloved Daughter in faw 
 aith Atlee Corlies houston 
 
 __ Rovember-30-1804- Aprilioss95 
 
 Ghe King salle say unto {Oem 
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and deep piety, but after the new learn- 
 ing came in vogue they were often marred 
 by ‘‘ fulsome flatteries of the deceased ”’ 
 or by bad verses and silly puns. 
 
 Among the English memorials there 
 are none more interesting than the one 
 in black marble, although imperfect, at 
 Lewes, in Sussex, erected to the memory 
 of William the Conqueror’s daughter, 
 Gundrada—the wife of the first Earl de 
 Warenne; it consists of two rich and 
 beautiful arabesque ornamented panels, 
 separated by and framed in a Latin in- 
 scription, which may be translated as 
 follows: 
 
 GUNDRADA, THE DESCENDANT OF DUKES, 
 THE ORNAMENT OF HER AGE, A NOBLE 
 BRANCH, BROUGHT INTO THE CHURCHES 
 OF ENGLAND THE NOBLE BALM OF 
 HEReVIRTUNSS =O MARTYR <3 6-3 1 O 
 THE POOR SHE WAS (A MARTHA): FOR 
 HER PIETY A MARY. HER MARTHA’S 
 PART IS DEAD: HER MARY’S BETTER PART 
 
 15 
 
VOMIEUAO Qt QU 
 
 pein oe 
 
 BASAULU 
 
 SURVIVES. O HOLY PANCRAS, WITNESS 
 
 OF (HER) PIETY AND JUSTICE, RECEIVE 
 MERCIFULLY A MOTHER WHO MAKES 
 
 THEE HER HEIR. THE SIXTH OF THE CALENDS 
 OF JUNE, A HOSTILE DAY, SHIVERED THE 
 ALABASTER OF HER FLESH. 
 
 The balance of the inscription is 
 lost, ‘‘ but ‘there can be no doubt that, 
 when perfect, it contained some allusion 
 to the soul, as the precious ointment con- 
 tained in the alabaster box of her body.’’ 
 This memorial was erected in 1250, and 
 probably took the place of an earlier one, 
 as Gundrada died May 27, 1085. 
 
 It has been shown conclusively by the 
 foregoing that the putting up of memorial 
 tablets is a custom to be followed, not 
 only on account of its intrinsic historical 
 value, but because it is a most appropri- 
 ate way to remember the dead, where 
 permanency is desired; moreover, it is a 
 worthy and an abiding practice, univer- 
 
 16 
 
= RN OS Sel AB a a ee Ac 
 ERA A KEE EE EHH ETH OHEPEREHE CER EK EYE FTA O ERE SHES VECTE REO R ONTO DOT Tee RETNA CED OTST AAS 
 
sally upheld by antiquity, and indorsed 
 by Christianity irrespective of denomina- 
 tional differences. 
 
 The question may be asked, of what 
 material should a memorial tablet be con- 
 structed? The answer largely depends 
 upon the environment of the tablet. 
 Stone, marble, bronze, brass, and mosaic, 
 all have their place or may be used in 
 combination with one another, provided 
 they are in harmony artistically and archi- 
 tecturally with their surroundings. The 
 accompanying cuts will give the reader a 
 very good idea of the durable materials 
 that may be used and the effects obtain- 
 able. 
 
 Of all forms of memorials the tablet is 
 by far the least expensive, more especial- 
 ly where permanence is desired in union 
 with good taste. 
 
 17 
 
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 “Certo: seit 
 
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 (imo: 
 
The Tiffany Glass & Decorating Com- 
 pany invite correspondence with all those 
 contemplating the erection of memorials. 
 
 A FEW OF THE MORE COMMON 
 a ABBREVIATIONS SOMETIMES 
 USED IN MEMORIAL TABLETS. 
 
 A.@. I am AupHa and OMEGA, the first 
 and the last.—Rev. I, 71. 
 A.M.D.G. AD MAJOREM DEI GLORIAM. 
 To the greater glory of God. 
 A.Q.T.C. ANIMA QUIESCAT IN CHRISTO. 
 May his (or her) soul rest tin 
 Christ. 
 A.R.T.M. ANIMA REQUIESCAT IN MANU 
 DEI. 
 May hts soul rest in the hand 
 of God. 
 B.M. BON#Z MEMORIA, 
 Of good memory. 
 
 18 
 
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 BYVS.V. BONUS VIR. 
 A good man. 
 1 Oe CARISSIMA CONJUX. 
 Dearest spouse. 
 CH: CHRISTUS. 
 Christ. 
 CHeL. Si. -CORPUS:-HOG LOCO. SEPUT- 
 TUM EST. 
 The body ts buried here. 
 DE. DeEuM. 
 God. 
 DIAC. DIACONUS. 
 Deacon. 
 DMS. DoMINUS. 
 Lord. 
 Do. DEo. 
 
 With God. 
 EPC.EPVS. EPIscopus. 
 
 Lrishop. 
 
 FF, FILII—MFRATRES. 
 Sons—brothers. 
 
 H.A.C. AVE ANIMA CARISSIMA. 
 
 Hail dearest soul. 
 
 _ 
 
[.D.N. 
 
 Lotde 
 
 Thu-IH. 
 
 THS-THC, 
 
 Pigs: 
 
 103 
 
 I. X. 
 
 MA-MAR. 
 
 M.B. 
 
 In DEI NOMINE. 
 Ln the name of God. 
 
 HEC JACHET. 
 
 Flere tes. 
 
 Ingovs 
 
 Jesus. 
 
 IH > OTS—IHCOTC. 
 Jesus. 
 
 JESUS HOMINUM SALVATOR. 
 Jesus the Saviour of men. 
 LAZOTLS. 
 
 Jesus. 
 
 1H OTS: ATISL OS: 
 Jesus Christ. 
 
 In CHRISTO. 
 
 In Christ. 
 
 MEMORIA. 
 
 In memory. 
 
 MiaRTYR. 
 
 Martyr. 
 
 MEMORIZ BONA, 
 
 Of good memory. 
 
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OB. 
 
 OBIIT. 
 Fle or she died. 
 
 OBIN.XPO.Osut CHRISTO. 
 
 Pp. 
 
 He or she died in Christ. 
 Pax, 
 
 Peace. 
 
 PATER. 
 
 Father. 
 
 PONTIFIX. 
 Pontiff. 
 
 PRESBYTER. 
 Priest. 
 
 QUIESCAT IN PACE. 
 
 May he or she rest in peace. 
 REQUIESCAS IN PACS: ANIMA. 
 May thy soul rest in peace. 
 SACERDOS. 
 
 Priest or clergyman. 
 SANCTUS. 
 
 Saint—fHoly. 
 
 ViTA—VIVUS. 
 
 Life—Living. 
 
 21 
 
X PlOT OS. 
 Christ. 
 
 AFICT OC. 
 Christ. 
 
 ZESU (FOR JESU). 
 With Jesus. 
 
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 - TIFFANY: CLASS %6:DECORATING: COMPANY: 
 * FVRNISHERS 6 CLASS: WORKERS: DOMESTICS ECCLESIASTICAL * 
 “DECORATIONS: GIP) MEMORIALS: 
 - 333 T0341 FOVRTH-AVENVE: NEWYORK 
 
 The Company embrace in their line of 
 work all forms and materials that are 
 used in the decorative arts, and so large 
 is the field covered and so excellent is 
 their work, that they received at the Co- 
 lumbian Exposition, at Chicago, fifty-four 
 separate and distinct awards, the largest 
 number granted to any single exhibitor. 
 
 Their designs are always original and 
 made to meet the architectural and 
 artistic conditions of the place in which 
 the decorations are to go. 
 
 23 
 
The selections of all the materials 
 used are invariably made by trained 
 artisans, but always under the supervision 
 
 Of an artist: 
 
 24 
 
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