Summary Part III
The last in the series shows a 'clothed putto reclining without a skull'. The next two monuments are important in forming a link between the previous, nearly naked reclining putti and the last grouping of clothed reclining putti, in that they begin to adopt items of clothing. Within the same location, and within a year, we have the change from semi-clothed to clothed putto. Given the evolution of the reclining putto motif traced thus far, there can be no doubt that the figure of Kaspar is derived from this motif, despite the fact that he is no. 'clothed'. Given that this chapter is concerned with changes in the visual presentation of children on their monuments over the period 1500-1650, specifically the reclining putto, this is an appropriate point at which to consider changes in text, as opposed to image. This chapter has traced the changes in the form of the putto on child monuments over the period 1500-1650.