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When a family chooses an image of Jesus for a gravestone, they are really answering one question: what do we want to say to ourselves at this grave for the decades to come? That death has been conquered – then the Risen Christ looks upon us. That no one here was left alone – then the Good Shepherd with a lamb in His arms. That suffering had a Companion – then the Face in the crown of thorns. Each of these images is a different answer and a different everyday conversation.
In this category you will find all our images of Christ cut from stainless steel: from the iconic Pantocrator with the book of Alpha and Omega, through three different resurrection scenes and four Faces of Christ, to biblical scenes from Gethsemane and the Upper Room, and Jesus knocking at the door. The designs are available in two sizes and four steel finishes, for dark and light granite.
The guide below takes you through our entire Christological collection: from scenes of triumph, through images of care, to Passion images. You will also find advice on matching a scene to the life of the deceased, on combining the image with a cross and letters, and answers to the questions asked most often when making this choice – because while a symbol is chosen with the eye, an image of Christ is chosen with the whole story of a family.
The resurrection scenes are the most triumphant part of the collection: Christ at the rolled-away stone, in a great glory of rays, or with the Easter banner on the sarcophagus – three views of the morning that changed everything. They are chosen by families for whom the gravestone should proclaim victory, not loss; on black granite the radiant steel literally lights up the plot.
A gentler tone is carried by the images of care: the Good Shepherd in three views – from an intimate portrait with the lamb held close to His heart to a full figure on the road – and Christ blessing, whose raised hand embraces everyone who stands at the slab. The Faces in the crown of thorns and the Passion scenes, such as the prayer in Gethsemane or the way of the cross, speak to families who wish to honor a loved one's perseverance in suffering – without pathos, with compassionate gravity.
A paper picture of Merciful Jesus behind glass, laminated holy cards, painted medallions – all of them lose to cemetery weather within a few seasons. We cut our images from a single sheet of stainless steel: the lines of the face, the rays of the glory and the folds of the garments stay sharp for decades, without fading, corrosion or maintenance. That is the difference between a picture at the grave and a sign that becomes part of the gravestone.
You choose the finish to suit the meaning of the scene: polished intensifies the light of the resurrection and the glory, satin suits the contemplative Faces and prayer scenes, gold gives the images an iconic depth close to church paintings, and black turns them into expressive, refined graphics on light stone. Mounting on a plaque or on the wall of a tomb is invisible and resistant to every season.
Two devotions have shaped Polish piety over the last century more strongly than any others: devotion to the Sacred Heart of Jesus, with the enthronement of the image in thousands of homes, and the cult of Divine Mercy, with the image of Merciful Jesus and the chaplet recited at three o'clock. Both are reflected in our collection: the burning heart appears on the ribbon “Jezu Ufam Tobie” – the inscription that Christ Himself asked to be placed beneath the image of Mercy – and Christ blessing with His hand on His heart carries the essence of the enthronement image onto granite.
For families who for years observed the first Fridays, took part in the Hour of Mercy or made pilgrimages to Łagiewniki, such an image is not a decoration but a continuation of a lifelong practice. It is worth taking this into account when choosing: if an image of Merciful Jesus hung in the home of the deceased, a ribbon with a burning heart above the inscription will tell visitors exactly what is needed – and exactly as he or she would have wished.
We offer the Face of Christ alone in as many as four versions – and the differences between them are not a whim but four different tones of prayer. The classic version in a teardrop outline lifts its gaze toward heaven with painterly softness; its graphic sister cuts the same motif with a sharp, stained-glass line for modern slabs. The frontal face looks straight at the visitor with the gravity of an icon, and the bowed head with closed eyes remains in the silence after the words “It is finished.” Choosing between them means choosing the gaze that the family wants to meet at every visit.
It is also worth knowing how to read halos: a plain circle signifies holiness, but a nimbus with the arms of a cross inscribed in it – the so-called cruciform halo – is reserved for Christ alone and distinguishes Him from the saints even in the most simplified drawing. We reproduce this detail consistently on our images; thanks to it even a minimalist scene remains theologically precise, and visitors are never in doubt about whom they are looking at.
The greatest strength of this category lies in being able to tell the life of the deceased in a single scene. A person of service will find their portrait in the washing of feet in the Upper Room; one who was ill for a long time, in Jesus carrying the cross with a circle of light at the end of the road; a person of prayer, in the night of Gethsemane; someone who spent a whole life waiting for loved ones at the door of the home, in Christ knocking at a door with no handle. Such a choice makes the gravestone speak of a particular person, not of death in general.
The scenes in this category combine beautifully into narratives on large tomb walls: Gethsemane, the way of the cross and the resurrection together form a paschal cycle like the stations of a chapel story. For single plaques, one strong image above the inscription works better – and if you are looking for a sign more condensed than a scene, see our religious symbols, where you will find the IHS monograms, the Lamb of God and the crown of thorns.
Jesus for a gravestone most often appears in three forms – three motifs prevail: the Risen Christ, as hope stated outright; the Good Shepherd, as an image of care for the deceased; and the Face in the crown of thorns, as a sign of shared suffering. The choice is usually decided by the character of the farewell: triumphant, tender or contemplative.
It can – especially scenes with a cross in the background, such as the Way of the Cross, and our crucifixes that join the cross and the corpus in a single appliqué. Many families, however, choose a pairing: a plain cross on the centerline of the slab with an image beside it, which gives the plaque a classic hierarchy of symbols.
Best of all by the story of the deceased's life: their profession, passions, and the way they lived their faith and illness suggest a scene more fittingly than fashion does. The second consideration is the people who will visit: the scene should bring comfort to those who will come most often, so it is worth choosing it together, as a whole family.
A proven rule: the image should take up between a quarter and a third of the height of the field above the inscription, so that it dominates with dignity without overwhelming the letters. For single plaques the smaller of the two sizes is usually enough; leave the larger one for double slabs and tomb walls. If in doubt, send us a photo of the gravestone.
Tradition suggests three directions: the Good Shepherd, as an image of the ministry to which the priest gave his life; Christ washing the feet in the Upper Room, as a sign of priesthood as service; and Christ Pantocrator holding a book, to emphasize the ministry of the Word. The choice is often discussed with the parish, which is sometimes the donor of such a decoration.
It is the cruciform halo: a nimbus with three arms of a cross inscribed within it, which in iconography is reserved exclusively for Christ. It distinguishes Him from the saints and angels at first glance, which is why we preserve it faithfully in all our depictions, including those with the most contemporary line work.
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