In the 16th century (c. 1500–1600), church monuments transitioned from late Gothic to Renaissance styles amid the Reformation (1530s onward). Brasses dominated for the middle classes; alabaster tombs for elites. Meanwhile religious upheaval reduced overt Catholic imagery.
16th-century brasses (c. 1500–1600) represent the final and most accomplished phase of English memorial engraving. Larger and more elaborate than earlier examples, they commemorate clergy, professionals, and merchants, recording Tudor dress, social aspiration, and changing religious beliefs shaped by the Reformation.
16th-century tombs (c. 1500–1600) combine late Gothic traditions with Renaissance formality. Alabaster effigies and architectural tomb chests emphasize lineage, status, and restraint, reflecting elite identity in an age of religious reform and artistic transition.
16th-century wall monuments (c. 1500–1600) emerge as an increasingly important form of commemoration. Tablets and architectural plaques reflect Renaissance influence and Protestant sensibilities, favoring inscription, genealogy, and heraldry over sculptural imagery.
Effigy of John Chambers (d1556) last abbot and first bishop of Peterborough. Described in the 17th century as being exquisitely carved, with a mitre and robe, and feet resting on a lion, this effigy was mutilated during the English Civil War.
Monument of Adrien Hénencourt (d1530) at Amiens Cathedral. This monument is below the choir screen (1490-1530) depicting the life of St Firmin that canon Hénencourt was responsible for commissioning.
Agnès Sorel (d1450) was the mistress of King Charles VII of France to whom she gave birth to three daughters to Charles VII.
Tomb of Sir Thomas Andrews (d1564) and his two wives, Katherine and Mary.
Completed in 1576, the Anup Talao, or peerless pool, is in the Mahal-i Khass courtyard near to the Khwabgah (Royal apartments). Made of red sandstone this square water tank, has four bridges that lead over the water to a central platform surrounded by a jali ⓘ balustrade.
Arnoult de Nimègue ⓘ was a stained-glass painter active in the early sixteenth century, whose name indicates an origin in Nimègue (Nijmegen) in the Low Countries. He is documented or attributed as working in France during a period of significant artistic transition, when Renaissance forms derived from Netherlandish and Italian sources were increasingly incorporated into French stained glass.
