Fig. 24.—­At Hornsey.

  “To Mr John Gibson, whipmaker, died Oct.
      30, 1766, aged 44 years.”

The hand seems to be pointing to the record of a well-spent life which has won the crown of glory.

There is another of the lower jaw series at Teddington, which is also, in all probability, the only instance of a man’s nightcap figuring in such gruesome circumstances.

Fig. 25.—­At Teddington.

“To Sarah Lewis, died June 11, 1766, aged
63 years.”

The emblem of Death was quite early crowned with laurel to signify glory, and associated with foliage and flowers in token of the Resurrection.  One at Finchley is, for its years, well preserved.

Fig. 26.—­At Finchley.

“To Richard Scarlett, died July 23, 1725.”

Another at Farnborough is, considering the date, of exceptional merit.

Fig. 27.—­At Farnborough.

  “To Elizabeth Stow, died 1744, aged 75 years.”

[Illustration:  Fig. 25.  Teddington.]

[Illustration:  Fig. 26.  Finchley.]

[Illustration:  Fig. 27.  Farnborough.]

[Illustration:  Fig. 28.  Chiselhurst.]

[Illustration:  Fig. 29.  Hartley.]

[Illustration:  Fig. 30.  West Wickham.]

[Illustration:  Fig. 31.  Hornsey.]

A few others of the skull pattern with various additaments may conclude this chapter.  The cup in the Chiselhurst case is somewhat uncommon.

Fig. 28.—­At Chiselhurst.

  Name obliterated; date Nov. 1786.

The conventional symbols in the next example are clearly to be read.

Fig. 29.—­At Hartley.

“To Eliza Andersen, died 1771, aged 70 years.”

The West Wickham specimen has its prototype in the old churchyard at Hackney, and in other places.

Fig. 30.—­At west Wickham.

“To Richard Whiffen, died 1732, aged
3 years.”

In Fig. 31, from Hornsey, the two skulls present the appearance of having been pitched up from the grave.

Fig. 31.—­At Hornsey.

“To William Fleetwood, died Jan. 30, 1750,
aged 15 months.”

CHAPTER III.

Artistic gravestones.

In the later half of the eighteenth century greater pains and finer workmanship appear to have been bestowed upon the symbolic figurement of the gravestone, and the more elaborate allegorical representations of which a few sketches have been given came into vogue and grew in popular favour until the century’s end.  Nor did the opening of a new century altogether abolish the fashion; perhaps it can hardly be said