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After the funeral, the coffin portrait would often be hung on the walls of the church that the deceased had contributed to. In time, they increased in size – from 40 x 45 cm in the 17th century, to 70 x 72 cm in the 18th century. Coffin portraits on display at Poznań Cathedral, painters unknown.
Letter with a mourning border c. 1861 Back of envelope with mourning border, 1893. Mourning stationery is a letter, envelope, or calling card with a black border, used to signify that a person is experiencing mourning.
Sizes of the altars could range from miniature examples to 2 meters tall. [12] Some carried busts or statues or portraits of the deceased. [ 12 ] The simplest and most common form of a funerary altar was a base with a pediment , often featuring a portrait or epitaph, on top of the base. [ 25 ]
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Funeral lekythoi were often painted in the white ground technique. The kylix, popular at symposiums, was a stout drinking cup with a very wide bowl. A well known potter of kylikes was Exekias. After being formed separately on the potter's wheel, the bowl and stem would be left to dry. The cup would then be placed upside down to attach the handles.
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1798 broadside advertising 'Phœnomenon', stables of Maj. Thomas Leavett, Northampton, Massachusetts A broadside advertising an event on 27 November 1821 at the Westminster Pit, London, a well-known blood-sport arena, featuring a fight between the monkey, Jacco Macacco and a dog, also dog fights, badger-baiting and bear-baiting
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