John Baret of Bury St Edmunds, Suffolk, died in 1467. A wealthy and well-connected merchant, he left what may well be the longest and most personally revealing will of 15th-century England. His cadaver tomb (erected by 1463) and chantry ceiling survive in his parish church of St Mary’s, Bury St Edmunds. The design of John Baret’s tomb is unusual. In most surviving English sculpted cadaver monuments, an image of the deceased in life tops the tomb, and a carving of them as a corpse is placed below, usually within some form of cage structure. John Baret’s memorial inverts this pattern. His sculpted, full-sized cadaver occupies the top of the tomb, while the image of Baret in life is much smaller, carved only in low relief and positioned low down. Similarly, the tomb inscriptions stress Baret’s sinfulness and invite prayer for his soul, but without highlighting his worldly achievements or status. Baret’s tomb thus emphasises death, unworthiness and his status as a sinner. This article considers how the wills of John Baret and his associates may provide an explanation for the unusual design of his cadaver tomb.

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银与罪恶：圣埃德蒙兹伯里的约翰·芭蕾尸体墓

萨福克郡圣埃德蒙兹伯里（Bury St Edmunds）的约翰·巴雷（John Baret）于1467年去世。他是一位富有且人脉关系丰富的商人，他离开了15世纪英格兰最长，最能揭示个人遗嘱的地方。他的尸体墓（建于1463年）和阁楼天花板在他的圣玛丽教区教堂Bury St Edmunds中生存。约翰·芭蕾墓的设计与众不同。在大多数幸存的英国雕刻尸体纪念碑中，死者的画像都位于坟墓上方，并在尸体下方雕刻它们的尸体，通常是某种形式的笼子结构。约翰·巴雷特（John Baret）的纪念馆颠倒了这种模式。他雕刻的全尺寸尸体占据了坟墓的顶部，而Baret在生活中的形象则要小得多，只雕刻成浅浮雕，并且位置低矮。同样，墓碑铭刻着巴雷特的罪孽，并为他的灵魂祈祷，但没有突出他的世俗成就或地位。因此，巴雷特的坟墓着重强调死亡，无价值以及他作为罪人的地位。本文考虑了约翰·巴雷特（John Baret）及其同事的遗嘱如何为他的尸体墓的不寻常设计提供解释。