A memento mori is a symbolic reminder of the inevitability of death. The Latin term means ‘remember that you must die’. They can take the form of a range of images and symbols to inspire reflection on mortality, including skulls, hourglasses, or decaying objects.

Memento mori symbols can often be found in British churches dating from the medieval and early modern periods. They were part of Christian teachings on the transient nature of life and the need to prepare for the afterlife.

The skull or skeleton is by far the most common memento mori to be found. Such images might strike us today as very stark reminders of death and decay, but in the past, death was often discussed more openly. Human life was more precarious in this country than it is today, with far fewer illnesses and diseases being treatable. 

Wall paintings like this were often placed in prominent positions within the church to serve as a visual prompt for worshippers. This example is on the back wall of All Saints’ Church in Salperton, Gloucestershire, so would have acted as a reminder for the congregation preparing to leave the building and return outside to their normal lives.

While religious symbolism associated with Catholicism declined after the Reformation, memento mori symbols persisted. As forms of moral instruction and reminders of the ultimate Christian hope of salvation, they likely fitted the Protestant emphasis on personal reflection over the elaborate imagery and iconography of Catholic saints.

The Christian faith has clear teaching on what will happen after death. Most Christians accept that there will be a ‘judgement’ before God, whether immediately or on a future ‘Day of Judgement’ to determine whether souls are sent to Hell or to Heaven. Memento mori were therefore seen as helpful and important reminders of the consequences of behaviour on Earth. 

Reflecting on the shortness of human life on Earth is encouraged in the Christian Bible. The Book of Genesis includes the line ‘Remember that you are dust, and to dust you will return’ (Genesis 3:19) and the Psalmist asks ‘So teach us to count our days that we may gain a wise heart’ (Psalm 90). During a period of time when fewer people were able to read and write, visual imagery like this served as an important way to communicate messages.

The large skeleton is shown holding an arrow, and a scythe can also be seen. The arrow represents the suddenness of death and the scythe points to the idea that human life is like a crop which is eventually chopped down. 

Lime plaster was a common base for wall paintings, providing a smooth, durable surface. In the 17th century, the artist would have been working with a limited range of natural pigments. However, these would have allowed him to create a bright, vibrant wall painting.

Red ochre, made from iron oxide, was widely available. Lime and chalk were standard for creating bright, white pigments. Charcoal and burnt bones were common sources of carbon for creating bold black hues. (Some colours, such as blue, were reserved for higher-status commissions, since Lapis lazuli remained extremely expensive.)

It can be difficult for us to get a sense of the original vibrancy of the images since the passage of hundreds of years has caused them to fade.