k: authentes], a
lord or master), a title of respect, equivalent to the English "sir," in
the Turkish empire and some other eastern countries. It follows the
personal name, when that is used, and is generally given to members of
the learned professions, and to government officials who have no higher
rank, such as Bey, Pasha, &c. It may also indicate a definite office, as
_Hakim effendi_, chief physician to the sultan. The possessive form
_effendim_ (my master) is used by servants and in formal intercourse.

EFFIGIES, MONUMENTAL. An "effigy" (Lat. _effigies_, from _effingere_, to
fashion) is, in general, a material image or likeness of a person; and
the practice of hanging or burning people "in effigy," i.e. their
semblance only, preserves the more general sense of the word. Such
representations may be portraits, caricatures or models. But, apart from
general usages of the term (see e.g. Wax Figures), it is more
particularly applied in the history of art to a particular class of
sculptured figures, in the flat or the round, associated with Christian
sepulchral monuments, dating from the 12th century. The earliest of
these attempts at commemorative portraiture were executed in low relief
upon coffin-lids of stone or purbeck marble, some portions of the
designs for the most part being executed by means of incised lines, cut
upon the raised figure. Gradually, with the increased size and the
greater architectural dignity of monumental structures, effigies
attained to a high rank as works of art, so that before the close of the
13th century very noble examples of figures of this order are found to
have been executed in full relief; and, about the same period, similar
figures also began to be engraved, either upon monumental slabs of stone
or marble, or upon plates of metal, which were affixed to the surfaces
of slabs that were laid in the pavements of churches.

Engraved plates of this class, known as "Brasses" (see BRASSES,
MONUMENTAL), continued in favour until the era of the Reformation, and
in recent times their use has been revived. It seems probable that the
introduction and the prevalence of flat engraved memorials, in place of
commemorative effigies in relief, was due, in the first instance, to the
inconvenience resulting from increasing numbers of raised stones on the
pavement of churches; while the comparatively small cost of engraved
plates, their high artistic capabilities, and their durability, combined
to