870 Sentences With "sarcophagi" | Random Sentence Generator

Many of the extravagant sarcophagi are damaged, victims of looting.

Sarcophagi were painted and gilded, tombs with heavy lids were built.

They opened the sarcophagi on Saturday to reveal perfectly preserved mummies inside.

In addition to fresco, elaborate marble sarcophagi could relate well-known stories.

Down the 30-meter-deep shaft lie several mummies, wooden coffins and sarcophagi.

On Saturday they opened the sealed sarcophagi to reveal perfectly preserved mummies inside.

Black marble sarcophagi lie in rows 18 deep and up to 25 across.

Wooden sarcophagi of the Middle Kingdom's grandees were primarily painted on the inside.

For one number, the containers look like sarcophagi; in another, they are mirrored doors.

It's a reminder of why these sarcophagi are here, in this park outside Paris.

Egyptologist Zahi Hawass and an Egyptian team opened three sealed sarcophagi from the 26th Dynasty.

In that discovery, officials announced that they had found 10 colorful sarcophagi and numerous figurines.

More than 1,000 funerary figurines, several wooden sarcophagi and mummies were among the artifacts discovered.

I wanted to tour the museum of my antiquities and look at the sarcophagi there.

Spectra was entombed, blinds drawn across the floor-to-ceiling windows, our cubicles small, silent sarcophagi.

The Ancient Egyptians used to immaculately decorate coffins/sarcophagi to ensure safe passage into the afterlife.

It also included a burial shaft that had three mummies with skulls were exposed, and sarcophagi.

Standing up, the sleeping bags resemble nothing so much as sarcophagi, likewise made from the scarves.

The objects include two life-size Etruscan sarcophagi believed to date from the 246nd century BCE.

And five mummies, exhumed from the sarcophagi, are unceremoniously flattened on the road by a large vehicle.

Egyptian catacombs are filled with mummified animals, from tiny wrapped scarab beetles to baboons enshrined in sarcophagi.

The museum housed an impressive collection of ancient Egyptian artifacts, including mummies, sarcophagi, statues and stone carvings.

Unfinished marble is a common occurrence in sarcophagi meant to be placed against a wall as well.

Some of the mummies were found wrapped in linen while others were placed in stone coffins or wooden sarcophagi.

Archaeologists found mummies, sarcophagi and funerary masks carved in wood, along with statuettes of the goldsmith and his wife.

The sarcophagi were unearthed in the Asasif necropolis of the ancient town of Thebes, on the west bank of the Nile.

So far, Egyptian officials say they found eight mummies, ten sarcophagi, which are ancient coffins, hundreds of statues and skeletons and paintings.

The tomb, at the Draa Abul Nagaa necropolis, contains "mummies, sarcophagi, statuettes, pots and other artifacts," according to Egypt's Ministry of Antiquities.

Bodies were encased in wooden or stone sarcophagi, while others were tucked in sand or laid on the floor, wrapped in linen.

A dig team stumbled upon the sarcophagi in the Asasif necropolis of the ancient town of Thebes, the Egyptian government announced on Tuesday.

The wooden sarcophagi were found in the Asasif necropolis of the ancient town of West Thebes, on the west bank of the Nile.

Most museums and art history textbooks contain a predominantly neon white display of skin tone when it comes to classical statues and sarcophagi.

Cairo (CNN)Egyptian officials unearthed eight mummies, 10 colorful sarcophagi and numerous figurines in 3,500-year-old tombs, the Ministry of Antiquities announced Tuesday.

"I really believe that this site needs excavation maybe for the coming 50 years," Hawass told Reuters a day before the sarcophagi were opened.

The inner chamber of the main tomb houses a collection of sarcophagi from the 21st Dynasty and mummies wrapped in linen, according to the ministry.

The team also opened two other sarcophagi, one containing a female mummy decorated with blue beads and another with a father in a family tomb.

The burial ground included sarcophagi made of limestone and clay, animal coffins, and papyrus with Demotic script, not the hieroglyphs found in earlier Egyptian tombs.

The tomb appears to have been reused, as sarcophagi from the 22nd and 21st dynasties were found as well, said Minister of Antiquities Khaled el-Enany.

At a site in Egypt's Asasif necropolis, where the ancient city of Thebes once stood, diggers uncovered 30 ancient wooden sarcophagi with perfectly preserved mummies inside.

The opening of three Egyptian sarcophagi, or stone coffins, shown live on an American reality-TV program, created a sensation on some social-media and news outlets.

In addition to the bodies, the archaeologists unearthed stuccoed body covers painted with gold, a funerary bed, a stretcher for the mummies, pottery vessels, and sarcophagi fragments.

There are Roman sarcophagi from the fourth century which show the baby Jesus in a manger surrounded by animals or receiving gifts from the Magi or wise men.

The actor, who holds that job as the reckless Nick Morton in Universal's upcoming reboot of The Mummy, joked on Twitter Saturday about the danger of opening sarcophagi.

If you know someone who has a key, you can stroll among its sarcophagi, which look like marble but are papier-mâché, an impressive feat of trompe l'oeil.

Back in April, they uncovered the tomb of an 18th Dynasty magistrate named Userhat within the same necropolis, along with a thousand figurines, eight mummies, and 10 wooden sarcophagi.

MINYA, Egypt (Reuters) - Egyptian archaeologists have discovered an ancient necropolis containing 40 stone sarcophagi, about 1,000 small statues and a necklace charm bearing the hieroglyphic inscription "happy new year".

In addition to fragments of the lion, archaeologists found beheaded busts, smashed sarcophagi, and statues lying around the building, which the terrorists had converted into a court and dungeon.

The handset can peer inside sarcophagi to reveal mummified bodies, visualize lost architecture like the six-story Babylonian Ishtar Gate, and restore ancient limestone reliefs to their original, bright coloring.

Through these busts, epigraphs and sarcophagi, the museum hopes to recount "the passage of conversion to the new faith" from paganism and the "gradual Christianization of Rome," said the Rev.

The team also found painted wooden cobra and crocodile sarcophagi, a collection of gilded statues depicting animal features, as well as objects including amulets, canopic jars, writing tools and papyri baskets.

"Two ancient sarcophagi, unearthed during the remodeling, were visible through a glass floor leading to a wine cellar," Sean McLain, Phred Dvorak, Sam Schechner, and Patricia Kowsmann wrote for the Journal.

There are the rare Etruscan sarcophagi discovered in Geneva by the Italian police two years ago, found among 45 crates of looted antiquities, some still wrapped in Italian newspapers from the 1970s.

Advertise on Hyperallergic with Nectar Ads Modern technology has revealed an irrefutable, if unpopular, truth: many of the statues, reliefs, and sarcophagi created in the ancient Western world were in fact painted.

Wagdi Ramadan, who the ministry said headed the mission, said Saturday that some of the sarcophagi were tucked into niches in one large chamber, a burial style common at Tuna el-Gebel.

A silver face mask gilded with gold, a mummification workshop, mummies and sarcophagi have all been discovered at a tomb complex in Saqqara, Egypt , an Egyptian-German team announced this morning (July 14).

The funerary site, uncovered eight meters below ground in Minya, a province about 22016 km (150 miles) south of Cairo, contained limestone and clay sarcophagi, animal coffins, and papyrus inscribed with Demotic script.

Sarcophagi are much more than simple containers for the departed, and the pictorial script on this one records that it belonged to a man named Amenrenef, who once served as a royal court advisor.

Advertise on Hyperallergic with Nectar Ads Running through the Egyptian Wing of the Brooklyn Museum, the two voices in my headphones instruct me to regard the seated scribe, the bust of ancient nobility, and the sarcophagi of deceased pharaohs.

Advertise on Hyperallergic with Nectar Ads My main thesis is that despite our knowledge of the prevalence of polychromy on ancient statuary, there is a predominantly neon white display of skin tone in respect to classical statues and sarcophagi.

If you're in the mood for a beautiful yet spooky maze, spend some time in the Recoleta Cemetery, with more than 6,400 statues, sarcophagi, coffins, and crypts, and the grave site of famed first lady of Argentina Eva Peron.

For years, sections of the Cinquantenaire Museum and the main building of the Royal Museums of Fine Arts of Belgium have been victim to serious water damage from rainfall, threatening priceless artworks, from ancient Egyptian sarcophagi to paintings by Rubens.

Marshaling a highly original medley of sources, from arcane legal documents to sarcophagi, mosaics, coins, ivory book covers and architectural flourishes, Kantorowicz proposed that the king's natural body in the early Middle Ages was doubled with a spiritually invested superbody.

The first lot acquired by the family, at public auction, belonged to the 18th-century restorer and sculptor Bartolomeo Cavaceppi, and included ancient statues and sarcophagi, along with terra cotta vases and bronzes that ended up decorating some of the Torlonia family villas.

The noun πορφύρα (porphyra) was frequently used to refer to purple cloth, and is still the root of the name for the purple-hued porphyry stone that Greeks and Romans prized for sculpture, sarcophagi, and even the bath tubs of the ancient world.

Abdel-Gawad told The Associated Press that Egypt was informed two months ago about the seizure by police in the Italian city of Napoli of pottery vessels from different pharaonic eras, sarcophagi parts, coins, as well as artifacts from the Islamic period.

Image: Berthold WernerThe lone author of the new study, Alessandro Pierattini from the University of Notre Dame, claims this lifting machine was originally invented by the Corinthians, who used the device to build ships and for lowering heavy sarcophagi into narrow, deep pits.

This building is above a large shaft that leads down to several burial chambers holding mummies , sarcophagi, alabaster vessels (used to hold the organs of the deceased) and shabti figurines — the Egyptians believed these figures could act as servants for the deceased in the afterlife.

Their adventure in luxury squatting lasts for three days, during which they do all the illegal things that most museum visitors only fantasize about, like lounging in Marie Antoinette's lounge chair, bathing in the Fountain of the Muses, and using Roman sarcophagi as personal storage units.

What the mummies from Peru and Egypt have in common is the care that went into their preparation, and their placement in cloth bundles or elaborate sarcophagi, to be put on display for life after death, whether that meant for family members or for the gods.

The room is equipped with comfortable seating, a large wraparound desk housing three monitors, countless books — most of them strategy guides — lining floor to ceiling shelves on one wall, and various macabre knick-knacks, from Lovecraftian posters to the crown jewel: Two replica Egyptian sarcophagi flanking the flatscreen like golden guardian deities.

But hadn't Cecilia caught, while her father unzipped pockets inside his bag, retrieving the passports and a printout of their reservation one by one from where they'd been meticulously stowed, a momentary flash on the Signora's face—vividly swarthy and brooding, like the faces on Coptic sarcophagi—of suppressed impatience or distaste?

The scientists allowed their subjects to deposit some eggs inside some pupae, then took the fly sarcophagi, removed the eggs, and injected the future wasps with the custom gene as part of the CRISPR/Cas-9 system, the popular and easy-to-use tool that's essentially scissors and a glue stick for DNA.

Its collections date from prehistory to the Middle Ages and include several hundred locally discovered Bronze-Age objects such as leggings decorated with etched geometric motifs; household items, jewelry and weapons from the ancient Celts; a Gallo-Roman frieze representing the mother-goddesses of Alesia; and Merovingian sarcophagi from the fifth and sixth centuries.

In reality the necropolis, or ancient cemetery, where they are located was discovered a year ago; the burials look unusually clean; the objects seem detached from the mummies, as if they had been moved and cleaned; there is a conspicuous amount of sand inside the sarcophagi and the mummy wrappings do not seem consistent with the dates of each sarcophagus.

The Algonquin is overflowing with beautiful things: a pair of novelty castle keys ("I really wanted a castle until I saw how big castles were," she said); pieces of an enormous shattered amethyst arranged by the in-ground swimming pool ("It was a gift"); framed photographs of the sarcophagi of old Egyptian royalty (she senses she was one of them in a past life; Didier was there too); a sword-wielding pre-Columbian idol she picked up just as she was leaving America for good ("I liked him, at the time").

The Sarcophagi of Helena and Constantina are two fourth century porphyry sarcophagi in Rome.

Most Roman sarcophagi are rectangular in shape, and as such, as a god known for ignoring conventions in his mythology, Dionysian sarcophagi sometimes fittingly go against even this most basic convention of the art. Sarcophagi with Dionysian imagery often feature ends that are curved and rounded off, rather than squared off. Sarcophagi with this shape are called lenos Sarcophagi, named after Greek and Roman term for a wine vat, i.e., the tub in which grapes were crushed and fermented during the process of creating wine.

Antikensammlung at Berlin. Detail of the headpiece, with a homoerotic scene involving aristocratic youths. Klazomenian Sarcophagi (also Clazomenian Sarcophagi or Klazomenai Sarcophagi) are a type of ancient Greek sarcophagus named after the Ionian Greek city of Klazomenai, where most examples were found. They are made of coarse clay in shades of brown to pink.

The large clay sarcophagi were manufactured and fired as a single piece. The workshops were probably near the cemeteries. It is assumed that the firing kilns were built over the unfired sarcophagi. Due to the relatively complex and time-consuming method of manufacture, it is unlikely that the sarcophagi were only ordered after the death of their intended occupants.

Bmahray contains the remains of Roman monuments and rock sarcophagi.

Letters from A to I were the sarcophagi or loculi with inscriptions. The tomb is now empty except for facsimiles; the remains were discarded or reinterred, while the sarcophagi fragments ultimately went to the Vatican.

Sarcophagi of Helena and Constantina, daughter of Constantine I, from her mausoleum at Santa Costanza (now in Vatican Museums). Detail of the central panel of the Sarcophagus of Stilicho, Basilica of Saint Ambrose, Milan. Early Christians sarcophagi are those Ancient Roman sarcophagi carrying inscriptions or carving relating them to early Christianity. They were produced from the late 3rd century through to the 5th century.

The Portonaccio sarcophagus Sarcophagi personalization is the customization of a sarcophagus to display the attributes, achievements, or history of the deceased through art and/or inscriptions. The key way in which sarcophagi were personalized was through portraiture of a mythological character that would be carved with the facial features of the deceased. Because many sarcophagi were made in advance of being bought, several examples of unfinished portrait heads remain.

Under one of the arches on the north side there are two Roman sarcophagi that the canons once used as lavabos. The sarcophagi are one above the other, with the upper one being decorated, and the lower one plain. Water flowed from the upper to the lower, and then out a channel to the cloister garden. Behind the sarcophagi there is a door that leads to the canons' refectory.

Such as sarcophagus of, Sidamara, Silifkeh, Seleukeia, Eudocia, Heraclius....several hundreds sarcophagi were constructed.

The town includes stone tombs and sarcophagi from the Ancient Roman era with engraved inscriptions.

Sarcophagi in the Museum This room contains finds from the excavations in Hierapolis and Laodiceia, including sarcophagi, statues, gravestones, pedestals, pillars and inscriptions. Among these artifacts there are statues of Tyche, Dionysus, Pan, Asklepios, Isis, Demeter and Trion which, although executed by the Romans, were inspired by the Hellenistic tradition. The representations of local customs on family tombs are particularly interesting. The most beautiful examples of baked earth sarcophagi are specific to this area.

It is often assumed that the popularity for sarcophagi began with the Roman aristocracy and gradually became more accepted by the lower classes. However, in the past, the most expensive and ostentatious grave altars and ash chests were commissioned more frequently by wealthy freedmen and other members of the emerging middle class than by the Roman elite. Due to this fact and the lack of inscriptions on early sarcophagi, there is not enough evidence to make a judgment on whether or not the fashion for sarcophagi began with a specific social class. Surviving evidence does indicate that a great majority of early sarcophagi were used for children.

Although they were divided into regions, the production of sarcophagi was not as simple as it might appear. For example, Attic workshops were close to Mount Pentelikon, the source of their materials, but were usually very far from their client. The opposite was true for the workshops of Metropolitan Rome, who tended to import large, roughed out sarcophagi from distant quarries in order to complete their commissions. Depending on distance and customer request (some customers might choose to have elements of their sarcophagi left unfinished until a future date, introducing the possibility of further work after the main commission), sarcophagi were in many different stages of production during transport.

It is often assumed that the popularity for sarcophagi began with the Roman aristocracy and gradually became more accepted by the lower classes. However, in the past, the most expensive and ostentatious grave altars and ash chests were commissioned more frequently by wealthy freedmen and other members of the emerging middle class than by the Roman elite. Due to this fact and the lack of inscriptions on early sarcophagi, there is not enough evidence to make a judgment on whether or not the fashion for sarcophagi began with a specific social class. Surviving evidence does indicate that a great majority of early sarcophagi were used for children.

Although they were divided into regions, the production of sarcophagi was not as simple as it might appear. For example, Attic workshops were close to Mount Pentelikon, the source of their materials, but were usually very far from their client. The opposite was true for the workshops of Metropolitan Rome, who tended to import large, roughed out sarcophagi from distant quarries in order to complete their commissions. Depending on distance and customer request (some customers might choose to have elements of their sarcophagi left unfinished until a future date, introducing the possibility of further work after the main commission), sarcophagi were in many different stages of production during transport.

Jacques de Morgan: Fouilles a Dahchour, Mars-Juin 1894. Vienna 1895, p. 56 Here were small chambers along the gallery containing the sarcophagi and stone canopic chest of the princesses. Only two of the sarcophagi were inscribed, naming the king's daughter Menet and the king's daughter Senetsenebtysy.

Burton Brown excavated two sarcophagi and a Roman burial in 1947. Beschi excavated two tombs in 1963.

Although grave altars and ash chests virtually disappeared from the market in the second century, aspects of their decoration endured in some stylistic elements of sarcophagi. The largest stylistic group of early sarcophagi in the second century is garland sarcophagi, a custom of decoration that was previously used on ash chests and grave altars. Though the premise of the decoration is the same, there are some differences. The garland supports are often human figures instead of the animal heads used previously.

The Dokimeion workshops in Phrygia specialized in architecturally formed large-scale Asiatic sarcophagi. Many featured a series of columns joined together by an entablature on all four sides with human figures in the area between the columns. The lids were often made in the gabled-roof design in order to complete the architectural-style sarcophagi so the coffin formed a sort of house or temple for the deceased. Other cities in Asia Minor produced sarcophagi of the garland tradition as well.

Although grave altars and ash chests virtually disappeared from the market in the second century, aspects of their decoration endured in some stylistic elements of sarcophagi. The largest stylistic group of early sarcophagi in the second century is garland sarcophagi, a custom of decoration that was previously used on ash chests and grave altars. Though the premise of the decoration is the same, there are some differences. The garland supports are often human figures instead of the animal heads used previously.

The Dokimeion workshops in Phrygia specialized in architecturally formed large-scale Asiatic sarcophagi. Many featured a series of columns joined together by an entablature on all four sides with human figures in the area between the columns. The lids were often made in the gabled-roof design in order to complete the architectural-style sarcophagi so the coffin formed a sort of house or temple for the deceased. Other cities in Asia Minor produced sarcophagi of the garland tradition as well.

The rooms contain 21 sarcophagi and nine wooden coffins. The crypt was relocated to the palace in 1819.

Their sarcophagi lie in the crypt. Throughout the church, there are ornaments and inscriptions associated with the family.

Elaborately carved marble and limestone sarcophagi are characteristic of the 2nd to the 4th centuriesNewby, Zahra (2011) "Myth and Death: Roman Mythological Sarcophagi," in A Companion to Greek Mythology. Blackwell. p. 301. with at least 10,000 examples surviving.Elsner, p. 1. Although mythological scenes have been most widely studied,Elsner, p. 12.

Several sarcophagi have been preserved here, some beautifully decorated. Below the first church are remains of late Republican houses.

Egyptian elite burials still made use of stone sarcophagi. Books of the Dead and amulets were also still popular.

Their sculptural style was far different from that of the Golden Idol, as shown by the sarcophagi at Carajía.

On the upper level, there are a total of nine graves, 5 of which are sarcophagi on an open-air higher platform (nearly 3 feet from bottom), two are sarcophagi on a separate nearby open-air lower platform (less than 1 foot from bottom) and two are brick shrines inside a brick structure that no longer has a roof. Total seven of them are sarcophagi while the other two are brick shrines. All of them belong to 17th or 18th century Mughal empire era.

Room 59. Sarcophagi Egyptology section Two rooms are located off the lobby, the level-1 is devoted to antiquities from ancient Egypt, with particularly beautiful sarcophagi. One room is devoted to Roman antiquities, and another room to Greek antiquities. The city of Grenoble is linked to the story of Champollion and that of Egyptology.

This indicates that the mosque and the türbe were built with a 3–5 year gap. The sarcophagi are covered with 16th century tiles. On the front side of the sarcophagi there are inscriptions on the tiles. The inscriptions being written in the same type shows that they are all written after March 1552.

In addition, specific mythological scenes fill the field, rather than small birds or other minor scenes. The inscription panel on garland ash altars and chests is also missing on garland sarcophagi. When a sarcophagus did have an inscription, it seemed to be an extra addition and usually ran along the top edge of the chest or between the decorations. The fact that early garland sarcophagi continued the tradition of grave altars with decorated garlands suggests that the customers and sculptors of sarcophagi had similar approaches to those who purchased and produced grave altars.

In 1981, the Alyscamps was classified a UNESCO World Heritage Site, as part of the Arles, Roman and Romanesque Monuments group. The better of the remaining sarcophagi are now on display in the Musée de l'Arles et de la Provence antiques, which has one of the best collections of Roman sarcophagi to be found anywhere outside Rome itself.

Crusader fortress in Afula. Note the spolia; Roman sarcophagi as the top layer. At the centre of Tell 'Afule stand the remains of a 19 metres square fortress from the Mamluk period, possibly first built during the Crusader period. The lower four courses are made of rough boulders, while the top remaining layer is made of reused Roman sarcophagi.

Elsner, Life, Death and Representation: Some New Work on Roman Sarcophagi, p.p.31&46 Licinia may have had another sister called Licinia.

The Ludovisi sarcophagus, an example of the battle scenes favored during the Crisis of the Third Century: the "writhing and highly emotive" Romans and Goths fill the surface in a packed, anti-classical compositionFred S. Kleiner, A History of Roman Art (Wadsworth, 2007, 2010, enhanced ed.), p. 272. 3rd- century sarcophagus depicting the Labours of Hercules, a popular subject for sarcophagi Sarcophagus of Helena (d. 329) in porphyry In the burial practices of ancient Rome and Roman funerary art, marble and limestone sarcophagi elaborately carved in relief were characteristic of elite inhumation burials from the 2nd to the 4th centuries AD.Zahra Newby. "Myth and Death: Roman Mythological Sarcophagi" in A Companion to Greek Mythology (Blackwell, 2011), p. 301. At least 10,000 Roman sarcophagi have survived, with fragments possibly representing as many as 20,000.

The other 24 sarcophagi of the bulls had been robbed.Farag, Sami (1975). Two Serapeum Stelae: Egypt Exploration Society. JEA, 61, pp 165-167.

Within the tomb, the twin sarcophagi of Grant and his wife Julia are based on the sarcophagus of Napoleon Bonaparte at Les Invalides.

The third century AD saw new types of sarcophagi arise that focused on nature. These moved away from the portrayal of Greek myths that had dominated Roman sarcophagi of the preceding (second) century, preferring instead to depict the abundance and tranquility that the natural world around them had to offer. This was expressed in two different categories of Roman Sarcophagi: those that depicted the seasons; and those that depicted [bucolic] imagery. The season imagery shows the cycle of life and the cosmic order of things, while the bucolic imagery portrays an idyllic world removed from the hustle and bustle of the city.

A rendering of the tomb NRT V, showing the two sarcophagi. Excavation work in the looted NRT V Tanite tomb of Shoshenq III revealed the presence of two sarcophagi: one inscribed for Usermaatre-setepenre Shoshenq III and the other being an anonymous sarcophagus. The unmarked sarcophagus, however, ‘was clearly a secondary introduction’ according to its position in the tomb.A. Dodson, op.cit.

There were no other major finds of grave goods in the vicinity. Throughout the Aleutian Islands, gravesites have been found that are above-ground sarcophagi. These sarcophagi are left exposed, with no attempt to bury the dead in the ground.Corbett 2001 These burials tend to be isolated and limited to the remains of adult males, which may indicate a specific ritual practice.

By 1754 the small rectangular Ducal Crypt was overcrowded with 12 sarcophagi and 39 urns, so the area was expanded with an oval chamber being added (directly beneath the present location of the Archbishop's Throne) beyond the east end of the rectangular one. New sarcophagi were made for some of the bodies. In 1956 the crypt was renovated and the contents were rearranged.

Sarcophagi from the Roman period from Pamphilia and Sidemara are displayed here. The most beautiful of these are the Domitias sarcophagus, and the one showing the twelve labors of Hercules. The list of sarcophagi includes the Heracles Sarcophagus, the Sarcophagus of Domitias Julianus and Domita Philiska, the Sarcophagus of Aurelia Botiane and Demetria and the Dionysus Sarcophagus of the Attic Type.

Since there are no inscriptions on the sarcophagi, the occupants and the date of construction are not known. As it is only away from the mausoleum of Ulu Camii, it is thought that the sarcophagi may belong to members of Ramadanid family. The mausoleum is built in the baroque style indicating that it dates from towards the end of the 18th century.

Sarcophagus of Gaius Bellicus Natalis Tebanianus, 110 The production of marble sarcophagi adorned with mythological reliefs began in this era. The sarcophagi could be decorated on four or, more often, on three sides, depending on whether they were leaning against a wall (traditionally an Italian placement) or placed in the center of a sepulcher (as was traditional in Asia Minor).

Doge Tommaso Mocenigo, of 1423. The Baptistry already contained three sarcophagi: those of Bishop Ranieri (d. 1113) and two reused Roman sarcophagi.Lightbown, 1980, p.

Several marble sarcophagi are placed within it. As a whole, this complex represents a notable example of the middle and late Byzantine Architecture in Istanbul.

He was buried on 22 September 869 in the crypt of Notre-Dame des Grâces in Arles, between the sarcophagi of saints Genesius and Concordius.

Airmadidi means boiling water and the area is home to mineral springs.Indonesia by Justine Vaisutis page 745 There are also waruga sarcophagi in the area.

Cupids in multiples appeared on the friezes of the Temple of Venus Genetrix (Venus as "Begetting Mother"), and influenced scenes of relief sculpture on other works such as sarcophagi, particularly those of children.Janet Huskinson, Roman Children's Sarcophagi: Their Decoration and Its Social Significance (Oxford University Press, 1996), p. 41ff. Tiepolo As a winged figure, Cupido shared some characteristics with the goddess Victoria.Clark, Divine Qualities, p.

Glenys Davies, "Before Sarcophagi," in Life, Death and Representation, p. 20ff. The Sarcophagus of Lucius Cornelius Scipio Barbatus is a rare example from much earlier. A sarcophagus, which means "flesh-eater" in Greek, is a stone coffin used for inhumation burials. Sarcophagi were commissioned not only for the elite of Roman society (mature male citizens), but also for children, entire families, and beloved wives and mothers.

Roman sarcophagus showing Dionysus approaching Ariadne. Ca. 230–240 AD. Louvre, Paris Sarcophagi featuring Dionysus and Ariadne show the drunken Dionysus propped up by a satyr as he gazes upon his beloved Ariadne for the first time. He stands before her sleeping form as she faces the viewer, her body exposed. The remainder of the sarcophagi depicts the procession of Dionysiac revelers celebrating with song and dance.

Crypt containing the sarcophagus of a saint. The original crypt was located in a 5th-century building. Its later use as a funerary basilica is attested to by the presence of sarcophagi which supposedly contained the remains of early bishops. In 1635, the Carolingian apse in the basilica was removed to allow for the creation three recesses for the sarcophagi and the cenotaph of Saint Fort.

Afterwards, he took a study trip to Greece and Italy, during which time, he conducted extensive studies of ancient sarcophagi. In 1870 he was tasked by the Central Directorate of the German Archaeological Institute to create a register of ancient sarcophagi. During the same year, he obtained his habilitation at the University of Göttingen.Friedrich Matz Catalogus Professorum HalensisADB:Matz, Friedrich In: Allgemeine Deutsche Biographie (ADB).

Mortimer thus regains his own body and proves it thanks to his writing. The sarcophagi are then thrown into the sea, never to be found again.

Elsner, Life, Death and Representation: Some New Work on Roman Sarcophagi, p. 57 Galerianus was executed in 70 for opposing the emperor Vespasian.Anne Publie. "Les Cneuius".

Sarcophagi were commissioned not only for the elite of Roman society (mature male citizens), but also for children, entire families, and beloved wives and mothers. The most expensive sarcophagi were made from marble, but other stones, lead, and wood were used as well. Along with the range in production material, there existed a variety of styles and shapes, depending on where the sarcophagus was produced and whom it was produced for.

The sarcophagi seem to have been produced by workshops who also created pieces with pagan or Jewish iconography. The techniques are the same, but Christian sarcophagi developed a rather different style of layout, with framed scenes, later arranged on two tiers. The images of Christ move in an iconic direction, very unlike the depiction of gods in pagan equivalents, where deities are normally shown, if at all, in narrative scenes.

It also has several incomplete parts on its four sides, suggesting the work was interrupted or it was needed on short notice. Athens was the main production center for Attic style sarcophagi. These workshops mainly produced sarcophagi for export. They were rectangular in shape and were often decorated on all four sides, unlike the Metropolitan Roman style, with ornamental carvings along the bottom and upper edge of the monument.

The necropolis includes 133 stećci. When the Čapljina-Stolac road was built during the Austro-Hungarian period in 1882, it ran through the necropolis and destroyed at least 15-20 tombstones. Out of nine types of stećci, 36 slabs, 1 slab with pedestal, 27 chests, 24 chests with pedestal, 4 tall chests, 5 tall chests with pedestal, 2 sarcophagi (i.e. ridge/gable), 31 sarcophagi with pedestal, and 3 of cruciform.

Three sarcophagi, largely unadorned except for some non-figurative stone relief, have been uncovered on neighbouring Jebel Qat, near one of a number tombs discovered around the village.

Richer people placed these wooden cases in stone sarcophagi that provided further protection. The family placed the sarcophagus in the tomb upright against the wall, according to Herodotus.

Some smaller, mostly clay exhibits and amphorae, some of which are used as urns or sarcophagi for toddlers, are exhibited. The museum is not open to the public yet.

The chapel suffered damage during World War II, and was reconsecrated as a church in 1989. Presently, the sarcophagi are located in the adjoined Silesian Piasts Brzeg Castle Museum.

The Ishak Çelebi Mosque is the inheritance of the kadi Ishak Çelebi. In its spacious yard are several tombs, attractive because of the soft, molded shapes of the sarcophagi.

There were several different ways Roman citizens approached self-representation on sarcophagi. Some sarcophagi had actual representations of the face or full figure of the deceased. In other cases, mythological portraits were used to connect characteristics of the deceased with traits of the hero or heroine portrayed. For example, common mythological portraits of deceased women identified them with women of lauded traits in myth, such as the devoted Selene or loyal Alcestis.

Such sarcophagi are found today in Hagia Sophia and in the Istanbul Archaeological Museum. Subsequently, many Ottoman mosques incorporated verd antique columns and other material, as at the Süleymaniye Mosque.

Passages are about . Burial niches (loculi) were carved into walls. They are high and long. Bodies were placed in chambers in stone sarcophagi in their clothes and bound in linen.

The village dates back to the Roman era. Gallo-Roman sarcophagi are still visible in the town. During the 19th century Tartarus was in the heart of a coal basin.

In 1935, the Ehrentempel ("Honor Temples") were erected at Königsplatz in Munich to house the sarcophagi of Scheubner-Richter and the other Blutzeuge that died in the Beer Hall Putsch.

This wall has a total of five sarcophagi, four in Romanesque style (13th century) and one in Gothic style. Cloister, with the northern Gothic wing (left) and eastern Romanesque (right) wing.

Since 1933, it houses the Ingauni Museum. The latter, established in 1933 by Nino Lamboglia, collects objects and medieval Roman (sculptures, inscriptions, sarcophagi and 15th-century frescoes), archaeological and epigraphic collections.

The mausoleum contains 40 marble sarcophagi, most with photographs and names. A section of the wall against which they were killed remains.Association of the Family of the 40 Martyrs], official site.

She is buried in the crypt at Jouarre in one of three well-preserved sarcophagi. It is of particular interest to scholars because of its stonework following the Roman burial tradition.

Egypt’s Minister of Tourism and Antiquities announced the discovery of the collective graves of senior officials and high clergies of the god Thoth in Tuna el-Gebel in Minya in January 2020. An archaeological mission headed by Mostafa Waziri reported that 20 sarcophagi and coffins of various shapes and sizes, including five anthropoid sarcophagi made of limestone and carved with hieroglyphic texts, as well as 16 tombs and five well-preserved wooden coffins were unearthed by their team.

Famous tombs include the Tomb of the Bulls, Tomb of the Augurs and the Tomb of the Leopards. During the second half of the 4th century sculpted and painted sarcophagi of nenfro, marble and alabaster came into use. They were deposited on rock-carved benches or against the walls in the by then very large underground chambers. Sarcophagi continued until the second century and are found in such numbers at Tarquinia that they must have been manufactured locally.

Since the reliefs was often very deep and intricate the sarcophagi were shipped with only a rough carving blocked out to prevent damage. The sculptor would either travel with the sarcophagi, or finish the carving in their permanent workshop in Italy. The Ludovisi sarcophagus came shortly after a trend where reliefs would be made in the same style of Marcus Aurelius’ column, with very deep cutting. This was the trend of pictorial reliefs in the 2nd century.

It is located close to the tomb of Tutankhamun. KV63, as it is known, appears to be a single chamber with seven sarcophagi, and about 20 large funerary jars. The chamber is from the 18th dynasty and it appears to have been a deposit of funerary preparation materials, rather than a tomb. As yet, no mummies have been discovered in the sarcophagi, and it is now thought of as a mummification chamber rather than a tomb.

It was repeatedly restored and enriched with new works of art, frescoes, statues and ornate stone sarcophagi, made by renowned artists of the 19th century. The last member of the family buried there was Archduchess Klotild in 1927. The crypt survived the war unscathed and was spared during the post-war reconstruction. The crypt was looted in 1966 and 1973 (during the construction works), when some corpses were thrown out of the sarcophagi by the thieves.

Mons Porphyrites produced black porphyry as well as the imperial porphyry for which it is most famous. The latter was used in Rome and Constantinople for decorative purposes, especially in imperial sarcophagi.

In the second half of the 3rd century, especially due to increased demand from this group of wealthy Christians, the use of sarcophagi spread widely, with plastic treatments following trends in contemporary sculpture.

The two sarcophagi with the outfit, together with the doll and its kit are now permanently displayed at the Centrale Montemartini museum (part of the Capitoline Museums) at the via Ostiense in Rome.

In both ancient and later art, Cupid is often shown riding a dolphin. On ancient Roman sarcophagi, the image may represent the soul's journey, originally associated with Dionysian religion.Janet Huskinson, Roman Children's Sarcophagi: Their Decoration and Its Social Significance (Oxford University Press, 1996), passim; Joan P. Alcock, "Pisces in Britannia: The Eating and Portrayal of Fish in Roman Britain," in Fish: Food from the Waters. Proceedings of the Oxford Symposium on Food and Cookery 1997 (Prospect Books, 1998), p. 25.

In general, the sarcophagi were decorated on either three or four sides, depending on whether they were to be displayed on a pedestal in an open-air setting or against the walls inside tombs.

Lycae or Lykai () was a town of ancient Lycia, located 60 stadia (11 km) from Kitanaura. Its site is located on a hill near Ovacık, Asiatic Turkey. Ancient remains include a tower and sarcophagi.

Eva D'Ambra, "Racing with Death: Circus Sarcophagi and the Commemoration of Children in Roman Italy" in Constructions of Childhood in Ancient Greece and Italy (American School of Classical Studies at Athens, 2007), p. 351.

His doctoral research and early concentration involved Phrygian tombstones and sarcophagi. He identified the workshop at Dokimeion near Afyon, and tried to identify the provenance of the types of stone used and the production patterns.

But his use of several nude putti at the flanks of the tomb clearly shows the classical influence of the Roman sarcophagi at Camposanto (Pisa). This is a first, a harbinger of the incipient Renaissance.

Manilius, Astronomica 251–269 (edition of Houseman), as noted by Michael Murrin, "Renaissance Allegory from Petrarch to Spenser," in The Cambridge Companion to Allegory (Cambridge University Press, 2010), p. 172, with reference to the influence of the passage on Edmund Spenser, Faerie Queene 6.10.14. Dionysian scenes were common on Roman sarcophagi, and the persistence of love in the face of death may be embodied by attendant Cupids or Erotes.Janet Huskinson, Roman Children's Sarcophagi: Their Decoration and Its Social Significance (Oxford University Press, 1996), p.

Built in the 1st century AD, the road was wide, with rows of shops, forges and arsenals, while Romans were buried along the road in stone sarcophagi. Archeological remnants of the Roman road can still be seen below the "Depo", former depot of the city's public transportation company. Majority of boulevard's course is part of the "Ancient Singidunum" archeological locality. The Romans were extracting stone from the quarry located in the modern neighborhood of Tašmajdan, using it for the building of Singidunum, and for many surviving sarcophagi.

Helios and Selene are often pictured on opposite ends of these sarcophagi representing the cycle of night and day that continues eternally. The depiction of Tellus, the personification of the Earth, as sometimes seen as a background character to these sarcophagi, also displays the cosmic significance of their love. The cupids, as well as loosely draped clothing on Selene, convey an erotic tone. Endymion is often exposed and has suggestively draped clothing either pointed out or further accentuated by cupids or extra characters such as Hypnos.

These marble panels, decorated with carved animal figures and faces, were used to create a low wall which was placed close to the outer perimeter of the cathedral and which created an enclosure that provided space for the numerous sarcophagi from the Roman period. During the Middle Ages, these panels were reused for burials of nobles (among them Beatrice of Lorraine) and other well known persons. Some fragments are still visible in the cathedral museum, while the sarcophagi were all moved inside the fence of the Camposanto.

Lantern Slide Collection: Views, Objects: Egypt. - Apis Tombs, passage showing Sarcophagi Recess, Sakkara., n.d., Brooklyn Museum Archives During the New Kingdom Memphis was an important administrative and military centre, being the capital after the Amaran Period.

At Taman Purbakala Waruga-Waruga, the sarcophagi have been collected from surrounding areas and at a nearby museum porcelain, armbands, axes and bone fragments are exhibited. Most of the waruga have been looted for valuable contents.

A uniquely prestigious use of porphyry was its choice as material for imperial sarcophagi in the 4th and early 5th centuries CE. That tradition appears to have been started with Diocletian's porphyry sarcophagus in his mausoleum, which was destroyed when the building was repurposed as a church but of which probable fragments are at the Archaeological Museum in Split, Croatia. The oldest and best-preserved ones are now conserved at the Vatican Museums and known as the Sarcophagi of Helena and Constantina. Nine others imperial porphyry sarcophagi were long held in the Church of the Holy Apostles in Constantinople. They were described by Constantine VII Porphyrogenitus in the De Ceremoniis (mid-10th century CE), who specified them to be respectively of Constantine the Great, Constantius II, Julian, Jovian, Theodosius I, Arcadius, Aelia Eudoxia, Theodosius II, and Marcian.

Together with the Dogmatic sarcophagus in the same museum, this sarcophagus is one of the oldest surviving high-status sarcophagi with elaborate carvings of Christian themes, and a complicated iconographic programme embracing the Old and New Testaments.

The sarcophagus was made in the first quarter of the 3rd century AD in a workshop in the city of Rome, from carrara marble. There are many more Roman sarcophagi with depictions of the Rape of Persephone.

During the expansion of Izmir-Çanakkale highway, a beautiful mosaic and necropolis area was found with sarcophagi. Today there has been no construction in the local area and the ruins can easily seen from a great distance.

The WPA installed five busts in the circular wall of the atrium surrounding the sarcophagi. After the many contributions of the WPA, the Grant Monument Association held a re-dedication of the tomb on April 27, 1939.

The Cappella Corsini of Santa Maria del Carmine, Florence, and Santa Maria Maggiore and Santa Susanna in Rome all have verd antique decoration. Thirteen Roman imperial sarcophagi of the Byzantine period were of verd antique, according to the Patria Constantinopoleos and the works of Constantine VII Porphyrogenitus. Nine emperors and eight other imperial figures, mostly empresses, are known to have been buried in such sarcophagi. Zeno, Justin II, Constantine V, Michael I Rangabe, Theophilus and his co-emperor son Constantine, Michael III, Basil I, and Alexander were all entombed in this way.

They were placed directly above the pit, often in cardinal direction West-East, therefore so were the deceased. Seemingly it was related to the Sun path and was of importance that the dead watch the rising Sun. Stećci in Bosnia and Herzegovina can be roughly divided on two stonemasonry schools Herzegovian (sarcophagi with arcades, figurative scenes, a wealth of motifs) and East Bosnian (sarcophagi in the form of chalets, floral motives). The leading position had schools on the territory of Herzegovina, with center around Stolac, in area of Trebinje and Bileća, Gacko and Nevesinje.

The Sarcophagus with the Triumph of Dionysus is a good example of a Metropolitan Roman style sarcophagus with its flat lid, three-sided decoration, and Dionysian scenes from Greek mythology. Sarcophagi production of the Ancient Roman Empire involved three main parties: the customer, the sculpting workshop that carved the monument, and the quarry-based workshop that supplied the materials. The distance between these parties was highly variable due to the extensive size of the Empire. Metropolitan Roman, Attic, and Asiatic were the three major regional types of sarcophagi that dominated trade throughout the Roman Empire.

These workshops mainly produced sarcophagi for export. They were rectangular in shape and were often decorated on all four sides, unlike the Metropolitan Roman style, with ornamental carvings along the bottom and upper edge of the monument. The lids were also different from the flat metropolitan Roman style and featured a pitched gable roof, or a kline lid, which is carved in the style of couch cushions on which the form of the deceased reclines. The great majority of these sarcophagi also featured mythological subjects, especially the Trojan War, Achilles, and battles with the Amazons.

Scenes featuring the figures of Meleager and Achilles expressed bravery and were often produced on sarcophagi holding deceased men. Biographical scenes that emphasize the true virtues of Roman citizens were also used to commemorate the deceased. Scholars argue that these biographical scenes as well as the comparisons to mythological characters suggest that self-portrayal on Roman sarcophagi did not exist to celebrate the traits of the deceased, but rather to emphasize favored Roman cultural values and demonstrate that the family of the deceased were educated members of the elite that could understand difficult mythological allegories.

Instead, they were either acquired already during their lifetimes, or simply produced in such amounts as to have stocks available when needed. The sarcophagi, with their weight of about 350 kg, then had to be transported only a short distance to the grave. The deceased was carried to the cemetery in a procession and then placed in his or her sarcophagus, which had already been inserted into the ground up to the height of its rim. For this reason, only the top parts of the sarcophagi bear decoration (if any).

The Sarcophagus with the Triumph of Dionysus is a good example of a Metropolitan Roman-style sarcophagus with its flat lid, three-sided decoration, and Dionysian scenes from Greek mythology. Sarcophagi production of the ancient Roman Empire involved three main parties: the customer, the sculpting workshop that carved the monument, and the quarry-based workshop that supplied the materials. The distance between these parties was highly variable due to the extensive size of the Empire. Metropolitan Roman, Attic, and Asiatic were the three major regional types of sarcophagi that dominated trade throughout the Roman Empire.

Scenes featuring the figures of Meleager and Achilles expressed bravery and were often produced on sarcophagi holding deceased men. Biographical scenes that emphasize the true virtues of Roman citizens were also used to commemorate the deceased. Scholars argue that these biographical scenes, as well as the comparisons to mythological characters, suggest that self-portrayal on Roman sarcophagi did not exist to celebrate the traits of the deceased, but rather to emphasize favored Roman cultural values and demonstrate that the family of the deceased were educated members of the elite that could understand difficult mythological allegories.

For this reason, most of them are close to wells, such as the three sarcophagi at Pozo de las Cadenas, Pozo de las Cinco Pilas, and Pozo de la Laguna de la Torrica, altogether up to a total of about 20 that are mostly eroded and worn. There are also infant sarcophagi, one of which is preserved and has also been used in the same way. Many of them have disappeared as a result of pillaging and lack of interest in preserving them when various renovations have taken place in their locations.

They are normally kept closed, but the inside can be sometimes be glimpsed through metal grilles over the windows or door. The exterior is typically masonry, perhaps with tiled decoration over the doorway, but the interior often contains large areas of painted tilework, which may be of the highest quality. Inside, the body or bodies repose in plain stone sarcophagi, perhaps with a simple inscription, which are, or were originally, covered by rich cloth drapes. In general the sarcophagi are merely symbolic, and the actual body lies below the floor.

Among the Romans, the heroes assembled by Meleager for the Calydonian hunt provided a theme of multiple nudes in striking action, to be portrayed frieze-like on sarcophagi. Meleager's story has similarities with the Scandinavian Norna-Gests þáttr.

She succeeded Agilberta in about 680, and "died at a great age in the odour of sanctity". She is buried in the crypt at Jouarre in one of three well-preserved sarcophagi. Her feast day is December 9.

Virgin and Child. Wall painting from the early catacombs, Rome, 4th century. Early Christian art survives from dates near the origins of Christianity. The oldest Christian sculptures are from sarcophagi, dating to the beginning of the 2nd century.

They are interred in a basement crypt beneath the smaller tower of the church. Their white sarcophagi have carved "jolly rogers" at the foot end. Onsala is also home to the Onsala Space Observatory, the Swedish national radio observatory.

The location of the necropolis is not known, but pieces of sarcophagi, Phrygian door-tombstones and funeral inscriptions in the walls of the houses in the modern Kızılca Quarter are indications that the necropolis should be looked for nearby.

The abbey still provides the surrounding parishes with clergy. The church and the greater part of the buildings were entirely modernized in 1796. The old Gothic cloisters are preserved. The church contains a fine organ and several ancient sarcophagi.

The last recorded bishop, Secundus, may still have been Donatist. Archeological digs found remnants of a basilica, probably from the Donatist period, and numerous sarcophagi, one of which is inscribed with a dedication of the church to bishop Secundus.

Examples, among many others, include sarcophagi in the Capitoline Museum in Rome (c. 135 AD ), two in the Metropolitan Museum of Art in New York (c. 160 AD and c. 220 AD), and one in Palazzo Doria Pamphilj Rome (c.

By the beginning of the 20th century the Tikhvin cemetery contained 1,325 monuments of various designs and sizes, including monumental crosses on pedestals, sarcophagi and steles. There were several family plots with chapels and large crypts of granite and marble.

Fallen apart but reconstructed in modern times, it dominates the well preserved Roman avenue which has a necropolis on either side scattered with hundreds of ornate stones and sculptured marble sarcophagi dating from the 2nd through the 6th century C.E.

They were buried in sarcophagi that were placed into niches.Arnold: Pyramid Complex of Senwosret III , pp. 68-75 All burials were found looted. However, the robbers missed two boxes filled with personal adornments found in 1894 by Jacques de Morgan.

The two sarcophagi are of a later, Twentieth Dynasty date. The tombs belong to Ramesses Mentuherkhepshef, a son of Ramesses IX, and Amenherkhepshef, probably a son of Ramesses III. The sarcophagus of the latter was usurped from its original owner Twosret.

Representations of angels on sarcophagi and on objects such as lamps and reliquaries of that period also show them without wings,Proverbio(2007), pp. 81-89; cf. review in La Civiltà Cattolica, 3795-3796 (2–16 August 2008), pp. 327–328.

Slab stone dated 1586. Dreghorn Old Kirkyard.Very few pre- Reformation stones exist today and those that do are often removed from their original position and given care and shelter in a local museum. Medieval stone coffins, or sarcophagi, are more abundant.

Gadjamina, Gaja minah, or Eon is an elephant headed mythical figure with the body of a fish used for patulangan sarcophagi in Bali, Indonesia.The cremation Indo-leisure The form is used for vary Balinese Clan even in Ksatrias caste as well.

Inhumation burial practices and the use of sarcophagi were not always the favored Roman funerary custom. The Etruscans and Greeks used sarcophagi for centuries before the Romans finally adopted the practice in the second century. Prior to that period, the dead were usually cremated and placed in marble ash chests or ash altars, or were simply commemorated with a grave altar that was not designed to hold cremated remains. Despite being the main funerary custom during the Roman Republic, ash chests and grave altars virtually disappeared from the market only a century after the advent of the sarcophagus.

In 2015, eight sarcophagi were found buried beneath No. 55's school grounds by workers during a planned renovation and expansion of the school's land. Initially thought to be the lost tombs of the 17th Century Manchu prince and regent of the early Qing dynasty, Prince Dorgon, the school was closed by government decree for extensive archeological research. Excavation took place from November 13th 2015 to November 18th 2015. It was later confirmed by the Publicity and Education Office of the Beijing Cultural Relics Bureau that although the eight sarcophagi were Qing dynasty officials, none of them contained Prince Dorgon.

The Campo Santo contained a huge collection of Roman sarcophagi, but there are only 84 left together with a collection of Roman and Etruscan sculptures and urns, now in the Museum of the vestry board. The sarcophagi were initially all around the cathedral, often attached to the building itself. That until the cemetery was built, then they were collected in the middle all over the meadow. Carlo Lasinio, in the years he was the curator of the Campo Santo, collected many other ancient relics that were spread in Pisa to make a sort of archeological museum inside the cemetery.

An archaeological mission headed by Mustafa Waziri reported that 20 sarcophagi and coffins of various shapes and sizes, including five anthropoid sarcophagi made of limestone and carved with hieroglyphic texts, as well as 16 tombs and five well-preserved wooden coffins were unearthed by their team. In May 2020, Egyptian-Spanish archaeological mission head by Esther Ponce uncovered a unique cemetery dating to the 26th Dynasty (so-called the El-Sawi era) at the site of ancient Oxyrhynchus. Archaeologists found tombstones, bronze coins, small crosses, and clay seals inside eight Roman-era tombs with domed and unmarked roofs.

On the other hand, much sculpture that is located within church buildings is as fresh as the day it was carved. Because it is often made of the very substance of the building which houses it, narrative stone sculpture is often found internally to be decorating features such as capitals, or as figures located within the apertures of stone screens. The first Christian sculpture took the form of sarcophagi, or stone coffins, modelled on those of non-Christian Romans which were often pictorially decorated. Hence, on Christian sarcophagi there were often small narrative panels, or images of Christ enthroned and surrounded by Saints.

Under the arch of each of the mausoleum's seven niches, a vaulted brick chamber (sacellum) existed some beneath the floor, within which the sarcophagi would have been laid. This arrangement has parallels with the podia of the tombs of the emperor Galerius and his mother Romula at Romuliana. However, it is possible that the brick chambers were not part of the original plan, and that the imperial sarcophagi were vaulted over with a higher floor at a later period. Perhaps this was to protect them from damage or was part of the mausoleum's 8th-century conversion into the Chapel of St Petronilla.

Archaeologists say that there might be a connection between Khuwy and pharaoh because the mausoleum was found near the pyramid of Egyptian Pharaoh Djedkare Isesi, who ruled during that time. In October 2020, Khalid el-Anany, Egypt’s tourism and antiquities minister announced the discovery of at least 59 sealed sarcophagi with mummies more than 2,600 years ago. Archaeologists also revealed the 20 statues of Ptah-Soker and a carved 35-centimeter tall bronze statue of god Nefertem. In October 2020, the Ministry of Tourism and Antiquities announced the discovery of more than 2,500 years of colorful, sealed sarcophagi.

Before his death in 1365, Duke Rudolf IV ordered the crypt built for his remains in the new cathedral he commissioned. By 1754, the small rectangular chamber was overcrowded with 12 sarcophagi and 39 urns, so the area was expanded with an oval chamber added to the east end of the rectangular one. In 1956, the two chambers were renovated and their contents rearranged. The sarcophagi of Duke Rudolf IV and his wife were placed upon a pedestal and the 62 urns containing organs were moved from the two rows of shelves around the new chamber to cabinets in the original one.

The tombs are now empty, but previously housed a number of sarcophagi; they were excavated by a French archaeological mission headed by Louis Felicien de Saulcy, who took them back to France. They are exhibited at the Louvre. Although no kings are known to have been buried here, one of the sarcophagi bears two Aramaic inscriptions and is thought to be that of Queen Helena of Adiabene; the one inscription which reads, Ṣaddan Malkata (Palmyrene: צדן מלכתא), and the other, Ṣaddah Malkatah (Aramaic: צדה מלכתה), interpreted by scholars to mean: "Our mistress, the Queen."Corpus Inscriptionum Semiticarum, Volume 2, plate 156, p.

Along with the Roman statues and sarcophagi being newly excavated, antique gems were prime sources for artists eager to regain a classical figurative vocabulary. Cast bronze copies of gems were made, which circulated around Italy, and later Europe.Draper, James David. "Cameo Appearances".

A prominent display is of a marble sarcophagus of the 3rd century BC with elaborate sculpting events depicting the life of Hercules. In the outer open yard of the museum, there are a number of small sculptures, sarcophagi, column heads, and epigraphy.

Unlike the sarcophagi of the other queens, hers was not decorated, only a single line of inscription runs on both sides. Her mummy shows that she died in childbirth when she was about 21 years old.Grajetzki, Wolfram. Ancient Egyptian Queens: A Hieroglyphic Dictionary.

Walter de Gruyter, 2012. Images of Diana and her associated myths have been found on sarcophagi of wealthy Romans. They often included scenes depicting sacrifices to the goddess, and on at least one example, the deceased man is shown joining Diana's hunt.

The building with orthogonal masonry has six rooms. The windows are supported by vaults. There is a big cistern under the front yard of the building. There are two sarcophagi, the ruins of an olive press and a mill around the building.

Haunt is played using the Kinect peripheral. Players use their body to control gameplay. One hand is used to control the on-screen flashlight, while other motions do things such as opening sarcophagi and doors. Emphasis on the player's entire body is used.

Sarcophagi, containing the remains of two Archbishops of Split, Ivan of Ravenna (died c. 10) and Lovre (died c. 1099), are placed inside the Temple. In addition, there is a large bronze statue of St. John the Baptist made by Ivan Meštrović.

The NM team found more human bone fragments, glass beads, gold artifacts, a small bell, and many others, however, the missing covers of the sarcophagi were not found. More than seventy percent of the site have yet to be studied and surveyed.

The vast number of mummified ibises suggests that this was done in a mass production, as many times the mummies contained only a part of the body. After serving their ritual purposes, the mummified bodies were placed in ceramic pots, coffins or sarcophagi.

Three sarcophagi were found on the south side of the village. A semi-circular pool, cisterns and tombs were also found.Conder and Kitchener, 1881, SWP I, p. 193 Tarbikha was located on the site of the Crusaders Tayerebika, from which it derived its name.

An earthquake in 386 caused some damage, but the town recovered and enjoyed prosperity during the era of Byzantine rule. Almost 300 inscriptions primarily in Greek, but also in Hebrew, Aramaic, and Palmyrene were found on the walls of the catacombs containing numerous sarcophagi.

Sometimes multiple people and animals were placed in the same grave. Over time, graves became more complex. At one point, bodies were placed in a wicker basket, but eventually bodies were places in wooden or terracotta coffins. The latest tombs Egyptians made were sarcophagi.

He is seated on a throne and assisted by Thoth, Nephthys, Neith and Serket. The tomb was reused during the Third Intermediate Period. A pit was dug in the Inner Chambers and excavations have yielded a variety of funerary items, including sarcophagi and personal items.

An earthquake in 386 caused some damage, but the town recovered and enjoyed prosperity during the era of Byzantine rule. Almost 300 inscriptions primarily in Greek, but also in Hebrew, Aramaic, and Palmyrene were found on the walls of the catacombs containing numerous sarcophagi.

Originally bodies were placed within stone sarcophagi that may still be found in many of the tombs. The site was later inhabited in medieval times, and remnants of a castle and church still remain. It was abandoned as a settlement in the 14th century.

In both cases, the mythological scenes were akin to mourning practices of ordinary Roman citizens in an effort to reflect their grief and comfort them when they visited the tomb. Playful images depicting Nereids, Dionysiac triumphs, and love scenes of Dionysus and Ariadne were also commonly represented on sarcophagi. It is possible that these scenes of happiness and love in the face of death and mourning encouraged the living to enjoy life while they could, and reflected the celebration and meals that the mourners would later enjoy in the tomb when they returned to visit the deceased. The third century involved the return in popularity of self-representation on Roman sarcophagi.

They represent the earliest form of large Christian sculpture, and are important for the study of Early Christian art. The production of Roman sarcophagi with carved decoration spread due to the gradual abandonment of the rite of cremation in favour of inhumation over the course of the 2nd century throughout the empire. However, burial in such sarcophagi was expensive and thus reserved for wealthy families. The end of the Christian persecutions desired by Gallienus in 260 began a period of peace for the Christians that lasted until the end of that century and allowed Christianity to spread in the army, in senior administrative posts and even the emperor's circles.

Sarcophagi divide into a number of styles, by the producing area. "Roman" ones were made to rest against a wall, and one side was left uncarved, while "Attic" and other types were carved on all four sides; but the short sides were generally less elaborately decorated in both types.Hennig, 93–94 The time taken to make them encouraged the use of standard subjects, to which inscriptions might be added to personalize them, and portraits of the deceased were slow to appear. The sarcophagi offer examples of intricate reliefs that depict scenes often based on Greek and Roman mythology or mystery religions that offered personal salvation, and allegorical representations.

In both cases, the mythological scenes were akin to mourning practices of ordinary Roman citizens in an effort to reflect their grief and comfort them when they visited the tomb. Playful images depicting Nereids, Dionysiac triumphs, and love scenes of Dionysus and Ariadne were also commonly represented on sarcophagi. It is possible that these scenes of happiness and love in the face of death and mourning encouraged the living to enjoy life while they could, and reflected the celebration and meals that the mourners would later enjoy in the tomb when they returned to visit the deceased. The third century involved the return in popularity of self-representation on Roman sarcophagi.

It had the size and some elements of the design of the Greek temple, but was much more vertical, with a square base and a pyramidal roof. There were quantities of large sculpture, of which most of the few surviving pieces are now in the British Museum.Boardman, 126–27 Other local rulers adapted the high-relief temple frieze for very large sarcophagi, starting a tradition which was to exert a great influence on Western art up to 18th-century Neo-Classicism. The late 4th-century Alexander Sarcophagus was in fact made for another Hellenized Eastern ruler, one of a number of important sarcophagi found at Sidon in the modern Lebanon.

The cemeteries of Roman York follow the major Roman roads out of the settlement; excavations in the Castle Yard (next to Clifford's Tower), beneath the railway station, at Trentholme Drive and the Mount have located significant evidence of human remains using both inhumation and cremation burial rites. The cemetery beneath the railway station was subject to excavations in advance of railway works of 1839–41, 1845, and 1870–7. Several sarcophagi were unearthed during this phase of excavations including those of Flavius Bellator and Julia Fortunata. Inhumation burial in sarcophagi can often include the body being encased in gypsum and then in a lead coffin.

The zoo of Doué-la- Fontaine is partly built within the network of the troglodytes sites and dwellings. Recently, a cave containing sarcophagi was unearthed. In 1793, Doué-la-Fontaine was the site of massacres during the counter-Revolutionary Revolt in the Vendée, suppressed by General Santerre.

This is in contrast with the finely finished and decorated sarcophagi found in other pyramids of the same period. Petrie suggested that such a sarcophagus was intended but was lost in the river on the way north from Aswan and a hurriedly made replacement was used instead.

The bodies of these kings were placed in huge granite sarcophagi. Aspelta's weighed 15.5 tons, and its lid weighed four tons. The oldest and largest pyramid at Nuri is that of the Napatan king and Twenty-fifth Dynasty pharaoh Taharqa. Wide view of Nubian pyramids, Meroe.

The most expensive sarcophagi were made from marble, but other stones, lead, and wood were used as well. Along with the range in production material, there existed a variety of styles and shapes, depending on where the sarcophagus was produced and whom it was produced for.

The türbe of Hürrem Sultan (d. 1558) at the Süleymaniye Mosque in Istanbul, showing tiling, draped sarcophagi, one empty turban pole, and one with a turban (protected by plastic wrapping) There are many famous türbes across Istanbul of the various sultans and notables of the Ottoman Empire.

The main building is a round mausoleum that was once covered with red plaster. Two smaller structures were found next to it. Three sarcophagi were found here, one of them decorated on the outside. In one of the tombs was found a small, well preserved lead coffin.

The granite pilasters were probably taken from the Roman forum sited at the location of the present Piazza della Repubblica. At that time, the baptistery was surrounded by a cemetery with Roman sarcophagi, used by important Florentine families as tombs (now in the Museo dell'Opera del Duomo).

Both private and public buildings have been found in the neighborhood along with cisterns and churches. The necropolis shows a variety of burial styles from sarcophagi or pyramids to columns or pilasters. This ancient settlement was occupied from the second century BC to the seventh century AD.

All others date from the cemetery's establishment to the present, with most predating 1950. They range from simple marble slabs to obelisks, sarcophagi and some custom designs. The most unusual is a tall hexagonal obelisk with Gothic Revival detailing in white marble. All decedents are local.

The alabaster monument of Princess Isabella (1564–1566), daughter of John III, is in Strängnäs Cathedral. Two portraits of Gustav Vasa are assumed to have been made by him: a wooden relief and possibly a watercolour, both found at Gripsholm Castle. See also Vasa sarcophagi above.

Activities for children and young people included hoop rolling and knucklebones (astragali or "jacks"). The sarcophagi of children often show them playing games. Girls had dolls, typically 15–16 cm tall with jointed limbs, made of materials such as wood, terracotta, and especially bone and ivory.

The Celestial Emperors are often depicted in mirrors. They also appear often in the sarcophagi of people that were important during this time period as they played a major role in funerals. This is due to the fact that the emperors are constantly controlling life and death.

After the discovery, the two sarcophagi of Tryphaena and Euhodus were exhibited until 1928 in the room named "dei sarcofagi" in the Museum of the Palazzo dei Conservatori, part of the Capitoline Museums. In 1929 they were moved to the newly created Antiquarium Comunale on the Caelian Hill; the two sarcophagi were exhibited without the covers, allowing visitors to see the skeletons and the objects of the Crepereia furnishings arranged "in the same way as they had been placed at the beginning". In 1939, after the eviction and partial collapse of the Antiquarium, the two sarcophagi and the trousseau returned to the deposits of the Capitoline Museums and were exhibited only on special occasions; the jewels in Turin in 1961 on the occasion of the great exhibition on "Gold and silver of ancient Italy" for the hundredth anniversary of Italy's unity, and the whole outfit in an exhibition at Palazzo Caffarelli from 1967 to 1971. This was the first time when the funeral outfit was studied as a whole.

Investigators looking through the church floor have found a crypt and have seen inside two sarcophagi and a chest; the crypt has not been opened in recent history but plans are underway to open it in 2011 as part of an inspection of the state of the church floor.

Good Shepherd, 2nd century. Christian art is nearly as old as Christianity itself. The oldest Christian sculptures are from Roman sarcophagi, dating to the beginning of the 2nd century. As a persecuted sect, however, the earliest Christian images were arcane and meant to be intelligible only to the initiated.

Flocks of animals on these sarcophagi or even the shepherds themselves are often seen sleeping similar to Endymion or the deceased. If the deceased is imagined as Selene coming to visit in dreams, the remaining family is comforted by the potential nighttime visits they can have with their beloved.

The church of Santa Maria Antica in Verona is surrounded with the tombs (arche) of the Scaligeri in the form of Gothic shrines, or tempietti, enclosing their sarcophagi: Cangrande della Scala is memorialized with an equestrian statue; Cansignorio by a marble Gothic monument by Bonino da Campione, 1374.

During World War II, the church was damaged again, in 1944−45. It was thoroughly restored from 1958 until 1969. A new bell tower was built in 1987, behind the church. The installation of underfloor heating in 1995 brought other lost fragments to light, among them two sarcophagi.

In this occasion also the columns of the south church were substituted with piers, and the balustrade parapets of the narthex were removed too. The building burned once more in 1918,Eyice (1955), p. 80. and was abandoned. During excavations performed in 1929, twenty-two sarcophagi have been found.

San Pietro in Valle is a medieval abbey in the comune (township) of Ferentillo in Umbria. Apse and bell tower. 1967 photo by Paolo Monti. The Romanesque church houses some particularly fine Roman sarcophagi; the walls of the nave are decorated with a large cycle of good Romanesque frescoes.

The whole of the old Ugljevik was then moved to this new site. Ugljevik, miners settlement – Kolonija, in 1931alt= At least ten archaeological locations have been found in the area. These include five locations with groupings of medieval stone sarcophagi, called stećci, and three dating from the Roman period.

Nehy was buried at Thebes although the exact location of his tomb is lost. However, in the Egyptian Museum of Berlin is preserved his monumental sarcophagus made of limestone. Sarcophagi for officials are rare in this period providing evidence for the high social status of Nehy in his time.

The church was begun in 1857 and completed in 1864. The construction was sponsored by the wealthy Basel businessman Christoph Merian and his wife Margarethe Burckhardt-Merian. :de:Datei:Margaretha Merian 1835.jpg They were both laid to rest in black marble sarcophagi in the crypt below the church's main floor.

The gallery holds the second largest collection of Egyptian art in central Europe. It comprises a number of collections bought together by Hungarian Egyptologist, Eduard Mahler, in the 1930s. Subsequent digs in Egypt have expanded the collection. Some of the most interesting pieces are the painted mummy sarcophagi.

A transition from the classical garland and seasonal reliefs with smaller mythological figures to a greater focus on full mythological scenes began with the break up of the classical style in the late second century towards the end of Marcus Aurelius' reign. This shift led to the development of popular themes and meanings portrayed through mythological scenes and allegories. The most popular mythological scenes on Roman sarcophagi functioned as aids to mourning, visions of life and happiness, and opportunities for self-portrayal for Roman citizens. Images of Meleager, the host of the Calydonian Boar hunt, being mourned by Atalanta, as well as images of Achilles mourning Patroclus were very common on sarcophagi that acted as grieving aids.

Detail of the central figure, his forehead marked with an X The sarcophagus measures 1.53m in height and is made from Proconnesian marble, a medium characterized by dark gray stripes and a medium to coarse grain.Frances Van Keuren, Donatio Attanasio, John J. Hermann Jr., Norman Herz, and L. Peter Gromet, "Multimethod Analyses of Roman Sarcophagi at the Museo Nazionale Romano, Rome," in Life, Death and Representation: Some New Work on Roman Sarcophagi (De Gruyter, 2011), p. 181. This was imported from Proconnesus and was the most common source of marble imported into Italy during the imperial period. It is decorated in a very high relief with many elements of the composition cut completely free of the background.

Ariadne is imagined to then be taken up to live happily amongst Dionysus and his revelers, providing comfort for the family that their own deceased continues to enjoy happiness even in death. Matching pairs of sleeper sarcophagi, now displayed in the Louvre in Paris, were found in Bordeaux with one displaying the myth of Selene and Endymion and the other the myth of Dionysus and Ariadne. It is believed that the Selene and Endymion sarcophagus contained the husband while the Dionysus and Ariadne sarcophagus contained the wife, drawing a direct comparison between the sleeper and deceased. The scenes of cosmic love, as well as matching sarcophagi featuring a sleeping deceased, exemplified the bond between husband and wife.

They present an idealized vision of the 'natural state' to be enjoyed in the countryside — free from crushing crowds, free from noise, free from politics, free from social demands and social strife, in short, free from everything negative that elite Romans associated with the city — which is visually embodied on the sarcophagi through images of shepherds tending their flocks in rustic surrounds. A gorgeous example is the sarcophagus of Iulius Achilleus (his name is inscribed on the coffin) now on display in the Baths of Diocletian in Rome.Mont Allen, "Cows, Sheep, and Sages: Bucolic Sarcophagi and the Question of 'Elite Retreat'," Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung 124 (2018), pp. 248 (fig. 1), 252, 253.

This myth is used on relatively few sarcophagi, but like many other sarcophagi depicting tragedies, the intention behind this imagery is to show the viewer how tragic the death of their loved one was. All 14 Niobids were taken as children, which is a tragedy in that they had so much longer to live and more things to do, and the manner in which they died is also highly tragic. Niobe, especially, must have felt very upset with the loss of her children, since she was previously so happy to have had so many children, she had farther to fall emotionally. Plus, she lost her husband due to this massacre, so she was truly alone in the world.

351 Benjamin Mazar, during his excavations of Sheikh Abreik, discovered coins that date no later than the time of Constantine the Great and Constantius II.Mazar, B. (1957), p. vi (Introduction) In wake of the excavations conducted under Nahman Avigad, Avigad remarked: "The fact that in one catacomb nearly one hundred and thirty sarcophagi were discovered, and that there had previously been many more, makes it one of the foremost catacombs of ancient times in so far as the use of sarcophagi is concerned."Avigad, N. (1958), p. 29 Conservation work in the catacombs at Beit Shearim has being carried out over the years, in order to check the decay and to preserve old structures.

While the interior of the building had classical, whitewashed walls, the exterior retained the red brick characteristic of the rest of the cathedral. When the chapel was inaugurated in September 1825, coffins that had been temporarily stored in Christian IV's chapel were moved to the new chapel, and as members of the royal family died, more were added. This led to the chapel, which had been designed for five marble sarcophagi, holding upwards of 17 coffins in 1912. However, the addition of Christian IX's chapel, the removal of some coffins to the crypts, and a rearrangement of the coffins, led to the present situation where only 12 coffins and sarcophagi are present.

In addition to main abscissa there are two minor abscissas. There are two sarcophagi. One may be an arcosolium which may belong to a certain Georgios Konon Chrisyophoros who, according to an inscription, was the commissioner of the basilica. There is also a cistern to the west of the basilica.

Pliny called Liber "the first to establish the practice of buying and selling; he also invented the diadem, the emblem of royalty, and the triumphal procession."See Pliny, Historia Naturalis, 7.57 (ed. Bostock) at Perseus: Tufts.edu Roman mosaics and sarcophagi attest to various representations of a Dionysus-like exotic triumphal procession.

The redactor states the Siegfried was buried at the abbey of Lorsch rather than Worms. It is also mentioned that he was buried in a marble sarcophagus—this may be connected to actual marble sarcophagi that were displayed in the abbey, having been dug up following a fire in 1090.

Thus the majority of the graves (loculi) in the catacombs were closed with thin, rectangular slabs of terracotta or marble; the graves called arcosolia were covered with heavy, flat slabs, while on the sarcophagi a panel (tabula) or a disk (discus) was frequently reserved on the front wall for an inscription.

During the first two decades, sarcophagi were only decorated with ornamentation. Then, figural depictions were added to the head and foot ends. The headpieces, which were higher, often received scenes of combat, hunting and athletic contests, executed in the black-figure technique. Details were not incised but added in white paint.

They were influenced by the late animal frieze style. The sides often bear ornaments such as palmettes and rope patterns. One of the earliest recognised painters is the Borelli Painter, others include the Albertinum Painter and the (late) Hopkinson Painter. Today, museum exhibits normally display only the frames of the sarcophagi.

Licinia Magna, daughter of the consul Marcus Licinius Crassus Frugi and Scribonia (a descendant of Pompey).Syme, The Roman Revolution, p.578 She married the Roman Senator Lucius Calpurnius Piso, who served as one of the consuls in 57.Elsner, Life, Death and Representation: Some New Work on Roman Sarcophagi, p.

Takabuti, an Egyptian mummy from the 7th century BC Mummification is the drying of bodies to preserve them. The most famous practitioners were ancient Egyptians—many nobles and highly ranked bureaucrats had their corpses embalmed and stored in luxurious sarcophagi inside their funeral mausoleums. Pharaohs stored their embalmed corpses in pyramids.

Sawangan in a village in North Minahasa Regency, North Sulawesi, Indonesia. It is known for the waruga archaeological park sarcophagi found in the area.Waruga North Minahasa (translated to English) Sawangan is located in Airmadidi, North Minahasa Regency province of North Sulawesi.Waruga Sawangan Indonesia Travel There are also plantations and rice fields.

Inside, the principal room is a crypt with sarcophagi containing the remains of President Ulysses S. Grant and his wife Julia Dent Grant. The National Park Service has maintained the tomb since 1958 as the General Grant National Memorial. Grant's Tomb is both a New York City landmark and a national monument.

Baedeker, Italy: handbook for travellers Part II, 11th ed. 1893, p. 110; G. Wilpert, I Sarcophagi Cristiani antichi (1929-36), plates 71-73; Marco Ioli, Il sarcofago paleocristiano di Catervio nel Duomo di Tolentino, 1971, p. 40. The cathedral seems to have been built on the site of the saint's Roman mausoleum.

Both Creon and Creusa/Glauce thus suffer horrible deaths. For the final touch, Medea kills her own children, takes their corpses, and rides off on her chariot drawn by snakes. A good example of its presentation on Roman sarcophagi is the piece carved ca. 150 AD and now in Berlin's Altes Museum.

The descent of 7 m. upon Antiphellus is by a broad and good road…” Fellows (1841) gave a page of drawings of specimens of ends of sarcophagi, pediments, and doors of tombs, and there is a ground-plan of Antiphelius in Thomas Abel Brimage Spratt's Travels in Lycia, Milyas, and the Cibyratis, 1847.

The site was fortified after 883. In 900 the bodies of Saint-Quentin and two other saints were placed in stone sarcophagi in a newly constructed crypt. In the 10th century the Herbertian counts of Vermandois, principally Adalbert I (Albert the Pious –987), replaced the monks with a congregation of secular canons.

After a restoration period it was opened as a museum in 1985. In the museum there are both ethnographic and archaeological items. Among the ethnographic items there are hand written manuscripts, local clothing, carpets, kitchen and everyday tools, wooden artifacts and weapons. Sculptures, sarcophagi, coins, stamps and inscriptions make up the archaeological section.

The history of Angliers before Gallo- Roman times has been lost, as with many neighbouring communes. However, a few important remains have been found. Sarcophagi found in the 19th century at Gillebergère are not necessarily from those remote times. Ancient relics are rare but the door of the church dates from 1100/1130.

Over time the grounds were overtaken by factories and the railroad. The city relocated some of the sarcophagi in a long alley lined with benches and poplar trees that led to a Romanesque chapel which became known as the Allée des Tombeaux. It quickly became a lover's lane celebrated throughout France.Gayford pp.

He was made the Honorary President () of the Highland Society of the University of Edinburgh. Between 1868 and 1886 he financed the rebuilding of St Margaret's Parish Church, Roath, Cardiff, creating a new mausoleum for the Bute family with sarcophagi in red marble.Lynn F. Pearson, Mausoleums, Shire Publications Ltd. (2002), page 39.

The burial chamber is reminiscent of a residential room; it is built of poros stone plastered with white mortar. During the excavation were found two replicas of painted stone thrones bearing relief decoration. At the rear corners of the burial chamber were two marble bed-shaped sarcophagi. The tomb had been pillaged.

1367 tempera on wood by Niccolò Semitecolo. Tempera painting has been found on early Egyptian sarcophagi decorations. Many of the Fayum mummy portraits use tempera, sometimes in combination with encaustic. A related technique has been used also in ancient and early medieval paintings found in several caves and rock-cut temples of India.

Tarchuna, not affected by Celtic invasions, finally colonised all its previously held territories in about 385 BC. This new flourishing state allowed a rapid recovery of all activities. Large burial monuments decorated by paintings, with sarcophagi and funerary sculptures in stone, reflect the eminent social position of the new aristocratic classes, but several inscriptions on walls and sarcophagi show the gradual process of an increasingly democratic transition was taking place. However, during the 4th century BC when Tarchuna's expansion was at its peak, a bitter struggle with Rome took place. In 358 BC, the citizens of Tarchuna captured and put to death 307 Roman soldiers; the resulting war ended in 351 BC with a forty years' truce, renewed for a similar period in 308 BC.

A transition from the classical garland and seasonal reliefs with smaller mythological figures to a greater focus on full mythological scenes began with the break up of the classical style in the late second century towards the end of Marcus Aurelius' reign. This shift led to the development of popular themes and meanings portrayed through mythological scenes and allegories. The most popular mythological scenes on Roman sarcophagi functioned as aids to mourning, visions of life and happiness, and opportunities for self-portrayal for Roman citizens. Images of Meleager, the hero who slew the Calydonian Boar, being mourned by his lover and hunting companion Atlanta, as well as images of Achilles mourning Patroclus were very common on sarcophagi that acted as grieving aids.

Examples include the Tomb of Eurysaces the Baker, a freedman, the Pyramid of Cestius, and the Mausoleum of Caecilia Metella, all built within a few decades of the start of the Common Era.Petersen, 95–105; see also Boardman, 240–41 on Eurysaces' tomb. In Italy, sarcophagi were mostly intended to be set against the wall of the tomb, and only decorated on three sides, in contrast to the free-standing styles of Greece and the Eastern Empire. The relief scenes of Hellenistic art became even more densely crowded in later Roman sarcophagi, as for example in the 2nd-century Portonaccio sarcophagus, and various styles and forms emerged, such as the columnar type with an "architectural background of columns and niches for its figures".

This was followed by Sente and Juillard's two-book adventure: The Sarcophagi of the Sixth Continent (volume 1,The Universal Threat in 2003; volume 2, Battle of the Minds in 2004) which also dealt with Blake and Mortimer's youth and how they first met in pre-independence India. In 2008 Sente and Juillard released another book entitled The Gondwana Shrine which chronologically follows the events of The Sarcophagi of the Sixth Continent. The next adventure in the series, The Curse of the Thirty Denarii, is divided in two volumes and is written by Jean Van Hamme. The first volume, titled Le Manuscript de Nicodemus (The Manuscript of Nicodemus), was drawn by René Sterne, who suddenly died on 15 November 2006, delaying the publication of the book.

Salapata, "Τριφίλητος Ἄδωνις," p. 36. In contrast to Greek depictions of the couple enjoying the luxury and delight of love, Roman paintings and sarcophagi almost always frame their love at the moment of loss, with the death of Adonis in Aphrodite's arms posing the question of resurrection.Salapata, "Τριφίλητος Ἄδωνις," pp. 38 and 48 (note 138).

Frequently used mythological subjects included sarcophagi reliefs featuring the moon goddess Selene and the sleeping shepherd/hunter Endymion as well as reliefs featuring the god of wine Dionysus and the sleeping figure of Ariadne, which further introduced an erotic/romantic note into these scenes, celebrating the romantic love that the deceased couple had enjoyed.

Ushabti of pharaoh Seti I (ruled 1290–1279 BC). Blue faience (H. 26 cm), from Thebes, Reign of Seti I, 19th dynasty, New Kingdom With 3,500 objects on display, the museum's Egyptian collection is among the most important in Europe. The sarcophagi, the stele, and ushabti all document three-thousand years of a society.

Sculpture regressed to be little more than a simple technique for the ornamentation of sarcophagi, altars and ecclesiastical furniture. On the other hand, gold work and the new medium of manuscript illumination integrated "barbarian" animal-style decoration, with Late Antique motifs, and other contributions from as far as Syria or Ireland to constitute Merovingian art.

182 Chachapoya Sarcophagi of Carajia. In reality the Chachapoya did not build the elaborate trap systems portrayed in the film. However, they were accomplished builders of fortified cities, as sites like the Kuélap settlement show. These structures were characteristically built on high slopes, unlike the temple hidden in heavily jungled lowlands in the film.

She has served as President of the Society for the Promotion of Libyan Studies. Walker was the Hugh Last Fellow and the Chair of Publications at the British School at Rome in 2013, undertaking a project on 'Gold-glass, inscriptions and sarcophagi from the catacombs of Rome'. She was the Balsdon Fellow 2006-7.

Virgin and Child. Wall painting from the early catacombs, Rome, 4th century. Early Christian art survives from dates near the origins of Christianity. The oldest surviving Christian paintings are from the site at Megiddo, dated to around the year 70, and the oldest Christian sculptures are from sarcophagi, dating to the beginning of the 2nd century.

Even in Roman times, Mayen (Lat. Megina) was an important economic centre. From the end of the 3rd century up until the Middle Ages, potteries operated here, and their products were traded and sold across Central Europe. During prehistoric times, nearby quarries were the sources of basalt to make millstones and tuff used to make sarcophagi.

The second is Private life which includes exhibits related to the occupations of the civilians, trade and workshops, building elements, pottery, weaving, beautification, dress-coiffure and jewellery. The third is related to burial customs which includes grave markers, clay sarcophagi, ash-containers, burial offerings and reconstructions of burials. These exhibits were found in ancient cemeteries of Abdera.

Family tombs and society tombs included a variety of architectural types and styles. These included pediment tombs, parapet tombs, platform tombs, pediment tombs with barrel-shaped vaults, and ones with structures like sarcophagi built on top of the tomb. Other tombs were monuments. Styles included neoclassical, Greek revival, Egyptian revival, gothic revival, Romanesque revival, Renaissance revival, and Byzantine revival.

The ruins of this medieval castle are located on small hill between Balerna and Chiasso in the village of Pontegana. The foundation of the castle includes Roman era sarcophagi as spolia. The remains of the walls still show the 15th Century embrasures. Between 789 and 810, Ragifrit and Ragipert de Pontegano are mentioned as owning a nearby manor house.

The new platforms at Holborn led to the number of passengers switching between the lines increasing tenfold by 1938. The station was retiled in the 1980s, with murals designed by Allan Drummond that reference the British Museum. These murals reference Egyptian and Roman antiquities, with sarcophagi, statues and trompe-l'œil columns on the walls of the platform.

Ancient ruins in Byblos, Berytus (Beirut), Sidon, Sarepta (Sarafand), and Tyre show a civilized nation, with urban centres and sophisticated arts. Phoenicia was a cosmopolitan centre for many nations and cultures. Phoenician art, customs and religion reveal considerable Mesopotamian and Egyptian influence. The sarcophagi of Sidonian kings Eshmunazzar II and Tabnit reveal that Phoenician royalty adopted Egyptian burial customs.

The northern church is the largest church of the settlement, measuring about 15.30 by 28.15 meters and likely built in 5th or 6th century AD. A small triconch church is found south in the city, but is completely ruined. It was possibly built later than the two other churches. The necropolis counts 51 sarcophagi and four exedra-type tombs.

Among the artefacts found were polished ceramics with geometric patterns and enameled ceramics, bronze and iron tools, engraved bronze belts, bones, zoomorphic bronze figures, as well as agates and other jewels. The upper layer of the cemetery dates from the second century - I to C. It contained stone tombs, cistas, stone sarcophagi, ashlars crypts, and slab or brick tombs.

The ruins of this medieval castle are located on small hill between Balerna and Chiasso in the village of Pontegana. The foundation of the castle includes Roman era sarcophagi as spolia. The remains of the walls still show the 15th century embrasures. Between 789 and 810, Ragifrit and Ragipert de Pontegano are mentioned as owning a nearby manor house.

Porphyry sarcophagi outside the Istanbul Archaeological Museum. As he had requested,Kathleen McVey (Editor), The Fathers of the Church: Selected Prose Works (1994) p. 31 Julian's body was buried in Tarsus. It lay in a tomb outside the city, across a road from that of Maximinus Daia.Libanius, Oration 18, 306; Ammianus Marcellinus 23, 2.5 and 25, 5.1.

Added to the basin-like main sarcophagus is a rectangular broad frame, often covered with a white slip and then painted. The second major site for these sarcophagi is Smyrna. A few others have been found in Rhodes, Samos, Lesbos and Ephesos. They were probably produced in Klazomenai, between 550 BC (Late Archaic) and 470 BC (Early Classical).

There may have been a sculptor's workshop as some fine carvings have been discovered. This includes a Deae Matres sculpture and altar from a religious precinct around the present church. Excavations have also found a cemetery containing more than 250 Roman burials, including 11 stone sarcophagi. There is also a Roman marching camp to the north-west of Ancaster.

Jaś Elsner, introduction to Life, Death and Representation: Some New Work on Roman Sarcophagi (De Gruyter, 2011), p. 1. Although mythological scenes have been quite widely studied,Elsner, introduction to Life, Death and Representation, p. 12. sarcophagus relief has been called the "richest single source of Roman iconography,"Elsner, introduction to Life, Death and Representation, p. 14.

Asiatic garland sarcophagus, the predominant type during the reigns of Trajan and Hadrian (Walters Art Museum),Davies, "Before Sarcophagi," in Life, Death and Representation, pp. 21, 28ff. dated between 150 and 180, in Dokimeion marble, so probably made in Phrygia and then shipped to Rome. The gable-roof lid exemplifies the garland tradition common on ash altars and chests.

The lids were also different from the flat metropolitan Roman style and featured a pitched gable roof, or a kline lid, which is carved in the style of couch cushions on which the form of the deceased reclines. The great majority of these sarcophagi also featured mythological subjects, especially the Trojan War, Achilles, and battles with the Amazons.

In 1863, Ernest Renan found ruins of the ancient city. He found a "unique" stone cut in the Egyptian style and stones spread throughout the town cut from sarcophagi from different eras. In a number of caves, excavators found pieces of pottery and tools. Glass and various currencies were found on the sandy beach by the town.

Elsner, Life, Death and Representation: Some New Work on Roman Sarcophagi, p.26 Her funerary inscription, now on display at the National Museum of Rome,Funerary inscription of Licinia Cornelia Volusia Torquata attests to his offices. Marcus Metilius Aquillius Regulus Nepos Volusius Torquatus Fronto who served as a consul in 157, is thought to be their descendant.

The cell was coated within by blocks of travertine and included three niches designed to house sarcophagi. The tomb was used in the 11th century and later as a fortress. It belonged to the counts of Tusculum, and later the Caetani. In modern times there were two farmhouses, one of which was the "Tavern of Acquataccio".

The Honor Temples () were two structures in Munich, erected by the Nazis in 1935, housing the sarcophagi of the sixteen members of the party who had been killed in the failed Beer hall putsch (the Blutzeugen, "blood witnesses"). On 9 January 1947 the main architectural features of the temples were destroyed by the U.S. Army as part of denazification.

The National Museum in Belgrade and Požarevac have 40,000 items found in Viminacium, of which over 700 are made of gold and silver. Among them are many objects that are rare and invaluable. The tombstones and sarcophagi are often decorated with relief representations of scenes from mythology or daily life. We have found numerous grave masonry construction.

The houses were built of adobe and various other materials. Around the well, which Guérin thought was probably ancient, he noticed several broken sarcophagi serving as troughs.Guérin, 1880, pp. 109-110 In 1882, the Palestine Exploration Fund's Survey of Western Palestine described El Afuleh as a small adobe village in the plain, supplied by two wells.

Maspero judged that, based on the position of the sarcophagi, Yuya was the first to die and be interred in the tomb. However, the large eyes and small nose and mouth seen on his funerary mask suggests it was made during the last decade of the reign of Amenhotep III, meaning he may have outlived Tjuyu.

In one, a couple of a thin man with an umbrella is paired with a large woman, much like van Gogh's image of a woman he might settle down with. On the lane is also a red-dressed woman. The other painting holds a couple who walk along the lane between stone sarcophagi, a yellow sunset at their backs.

It retains much of the Romanesque construction, completed later with a Gothic nave and a covered baroque facade. It is notable for its eight Roman and early Christian sarcophagi of the 3rd and 4th centuries, along with the Gothic tomb of Narcissus of Girona who, according to tradition, was one of the early bishops of the see.

Solina himself is using superquadric modeling in digital heritage to model archeological artefacts.Aleš Jaklič, Miran Erič, Igor Mihajlović, Žiga Stopinšek, Franc Solina. "Volumetric models from 3D point clouds: The case study of sarcophagi cargo from a 2nd/3rd century AD Roman shipwreck near Sutivan on island Brač, Croatia". Journal of Archaeological Science 62 (October):143–152, 2015.

The burial chamber still contained two sarcophagi, one smashed and the other one well preserved, made of granite and with brightly painted interiors. In Abydos a large stele is erected in Mentuhotep's name. It is inscribed with a number of official titles, including those of vizier. The vizier's title does not appear in the tomb of Mentuhotep.

It has however led to confusion, as some of the coffins have not been arranged in the pairs which correspond to the relationships that existed during their lifetimes. The chapel shows a gradual trend in moving from grand marble sarcophagi to more simple, velvet-covered coffins, and in the case of Frederick VII, a wooden coffin.

At first, he kept his presence within the gatehouse a secret from everyone else. He uttered strange incantations, calling out to an unknown force. His plan was described to Caroline - he had to collect five sinners inside the sarcophagi inside the tank room to summon Ammut. These people were Victor, Patricia, Mr. Sweet, Fabian, and Alfie.

Crypt and sarcophagi Capital of the crypt Charlotte of Bourbon The Merovingian foundation of Abbess Theodochilde or Telchilde, was founded traditionally in 630, inspired by the visit of St. Columban, the travelling Irish monk who inspired monastic institution-building in the early seventh century. As part of its Celtic heritage, Jouarre was established as a "double community," i.e., a community of monks as well as nuns, both under the rule of the abbess, who in 1225 was granted immunity from interference by the bishop of Meaux, answering only to the pope. The Merovingian (pre-Romanesque) crypt beneath the Romanesque abbey church contains a number of burials in sarcophagi, notably that of Theodochilde's brother, Agilbert (died 680), carved with a tableau of the Last Judgment and Christ in Majesty, highlights of pre-Romanesque sculpture.

He tried to gather into one "Corpus" the Christian sarcophagi of which so many have been preserved in the south of France. In 1878 he published in Paris his "Etudes sur les sarcophages chrétiens de la ville d'Arles", which was followed by a second work "Etudes sur les sarcophages chrétiens de la Gaule" (Paris, 1886). In the introduction he treats of the form, ornamentation, and iconography of these monuments; he dwells upon the relationship between the sarcophagi of Arles and those of Rome, and the difference between them and those of the south-west of France, in which he finds more distinct signs of local influence. His studies and his personal tastes led him to take an interest also in the history of the persecutions and the martyrs.

These sarcophagi were found buried with significant glass artifacts as grave goods. (Both classes of items are displayed in the Genovevaburg Museum in Mayen). The name Mayen probably comes from the name Megina. Records from as far back as 847 show this as a designation of the town; it was adapted by the Romans from the Celtic word magos, meaning field.

The building housing the office, built in 1916, was originally a rest house and luncheon spot to accommodate the horse drawn funerals that took an entire day. There have been 10,925 people buried in the cemetery as of December 31, 2009. Besides the public mausoleum and single graves, there are 1,441 platted family lots, 40 private mausoleums, 2 memorial mausoleums, and 24 sarcophagi.

A figure of singa as parchment holder. Images of singa are carved in various objects such as domestic utensils, medicine containers, jewelries, amulets, wood coffins, stone sarcophagi, barns and Batak traditional houses. Its frequent use made the singa a symbol of the Batak culture. Carving of singa on a Batak house is called singa ni ruma, or "singa of the house".

Its site has been identified as Küçükahuriyala, near Sütiğen, about 25 kilometres north of Kaş in Antalya Province, Turkey. The ruins are plentiful but in a poor state. They include part of the well-built city wall, a theatre, a stadium, a paved agora with stoa and some bases bearing inscriptions. The necropolis to the west includes sarcophagi and constructed tombs.

H.P. Isler, "Teatro e Odeon" in Enciclopedia dell'Arte Antica (1997), citing G. E. Bean, T. Β. Mitförd, Journeys in Rough Cilicia 1964-1968 (Böhlau in Komm., 1970, ), p. 130 Part of the city wall is preserved, with steps leading to the up to its gate, and in what was the necropolis there are several sarcophagi and a tomb cut in the rock.

He was initially inspired by a mural commission that sought a landscape or tree image, leading him to experiment with sinuous, archetypal forms and emblematic hieroglyphs. He pursued this direction privately in directly referential, symbolic drawings of spiders and trees, artifact-like sculpture, and carvings of snakes, stars, podlike sarcophagi and dead men in boats, covered in mud, twine and fabric.Bonesteel, Michael.

Hinzen-Bohlen, p. 411 Built by Vassalletto in 1205–1241, it has double columns of different shapes. Some columns have inlays with golden and colored-glass mosaics; the same decoration can be seen on the architrave and the inner frame of the cloister. Also visible are fragments from the destroyed basilica and ancient sarcophagi, one with scenes of the myth of Apollo.

In later second and third century AD Roman funerary art, the love of Selene for Endymion and his eternal sleep was a popular subject for artists.Sorabella, p. 70; Morford, p. 65. As frequently depicted on Roman sarcophagi, Selene, holding a billowing veil forming a crescent over her head, descends from her chariot to join her lover, who slumbers at her feet.

Casino Aurora Pallavicini, official site. It is surrounded by a painted frame or quadro riportato and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The incorporated heraldic symbols were meant to link Scipione with Apollo. The work is classically restrained and mimics poses from ancient Roman sarcophagi, many of which are part of the museum's collection.

"...a stone monument is an expression of permanence. It is no surprise, therefore, that the Roman obsession with personal immortality acquired its physical form in stone." Sarcophagi were used in Roman funerary art beginning in the second century A.D., and continuing until the fourth century. A sarcophagus, which means "flesh-eater" in Greek, is a stone coffin used for inhumation burials.

199; Huskinson, Roman Children's Sarcophagi, passim. On coinage issued by Sulla the dictator, Cupid bears the palm branch, the most common attribute of Victory.J. Rufus Fears, "The Theology of Victory at Rome: Approaches and Problem," Aufstieg und Niedergang der römischen Welt II.17.2 (1981), p. 791, and in the same volume, "The Cult of Virtues and Roman Imperial Ideology," p. 881.

The huge porphyry Sarcophagi of Helena and Constantina are grand Imperial examples. Cremation was the predominant means of disposing of remains in the Roman Republic. Ashes contained in cinerary urns and other monumental vessels were placed in tombs. From the 2nd century AD onward, inhumation became more common, and after the Roman Empire came under Christian rule, was standard practice.

At the right of the entrance is a baptistery which still contains a cross-shaped baptismal. The narthex of the church is preceded by a central atrium and five columns demarcate its aisles. The apse is semi- circular and on the ground floor stands a gallery reserved for women. A small mausoleum containing three sarcophagi is situated at the side of the baptistery.

In The Adventures of Tintin comic Cigars of the Pharaoh, the hero and his dog are cast adrift in sarcophagi in the Red Sea. They are then picked up by a passing sailing ship captained by a man who turns out to be a gunrunner. The captain was based on de Monfreid.Michael Farr, Tintin: The Complete Companion, John Murray, 2001.

The walls are in a good state of preservation, and from 5 to 15 feet high. There is a theatre 165 feet in diameter, many plain rock tombs, groups of sarcophagi, and confused heaps of ruins. The remains are of the Roman and middle age construction; and some of a doubtful age. There were none of the earlier Lycian tombs and inscriptions.

147–148; Jean- Paul Thuillier, "Le cirrus et la barbe. Questions d'iconographie athlétique romaine," Mélanges de l'École française de Rome, Antiquité 110.1 (1998), p. 377, noting that the "major and minor" races held for the Robigalia may be junior and senior divisions. Chariot races are the most common scene depicted on the sarcophagi of Roman children, and typically show Cupids driving bigae.

They buried their dead ancestors near the village. Archeologists have found many different types of burials, dating from a variety of periods, in the Aleutian Islands. The Aleut developed a style of burials that were accommodated to local conditions, and honored the dead. They have had four main types of burials: umqan, cave, above-ground sarcophagi, and burials connected to communal houses.

"Чернівці: 100 відомих адрес", Чернівці, 2007. Шевченко Н. The monuments and tomb stones at the cemetery are in a remarkable diversity of forms, styles and shapes. There are stelae, sarcophagi, mausoleums and obelisks made of marble, granite, gabbro, sandstone, cement and other materials. Such famous sculptors were working at the cemetery as B. Reder, L. Kukurudza, Moskaliuk brothers, K. Kundl and others.

Ancient City of Sagalassos, as wall and floor covering, 40 tons of veneer were recovered. Temple of Zeus and Hera in Greece, 100 columns and wall. Book, 1,18,9 Docimian marble was also preferred for sarcophagi sculpting, some emperors preferred this marble for its high value and majestic looks. As a result, one of the greatest masterpieces were made from this material.

4.16 During the First World War, French and British troops temporarily occupied Cape Helles and Morto Bay. French soldiers plundered the region of ancient Elaeus. The French army brought five sarcophagi, jewellery, ancient pottery and other objects to Paris, which are now displayed in the Louvre. The area around Elaeus was subsequently destroyed by the intense fighting and artillery bombardments.

This structure has a gable roof supported on one side by a wall constructed of concrete blocks and on the other side by two wooden posts. There is a wooden bench against the inside of the wall. The shelter is shaded by a mid-sized native tree. There is a range of monuments within the cemetery including headstones, sarcophagi, obelisks, altars and columns.

Margaret's elaborate tomb, near subsequent royal sarcophagi at Roskilde Cathedral In 1412, Margaret tried to recover Schleswig, and thus entered a war with Holstein. Before that she had managed the recovery of Finland and Gotland. While winning the war, Margaret died suddenly on board her ship in Flensburg Harbor. In October 1412, she set sail from Seeland in her ship, Trinity.

When the crocodiles died, they were embalmed, mummified, placed in sarcophagi, and then buried in a sacred tomb. Many mummified C. suchus specimens and even crocodile eggs have been found in Egyptian tombs. Spells were used to appease crocodiles in Ancient Egypt, and even in modern times Nubian fishermen stuff and mount crocodiles over their doorsteps to ward against evil.

Some of them were contained in statues and sarcophagi. The larger ones were bandaged in cloth of different colours with decorated heads and ears formed of rubberized tissue. The Institut Français d'Archéologie Orientale funded excavations near Faiyum where Pierre Jouguet found a tomb full of cat mummies in 1901. It was located in the midst of tombs with crocodile mummies.

This, and all other covers, were a gift of sultan Abdul Hamid II in 1894. The actual burial chamber is located below it. Next to Mevlâna's sarcophagus are several others, including the sarcophagi of his father Bahaeddin Veled and his son Sultan Veled. The wooden sarcophagus of Mevlâna dates from the 12th century now stands over the grave of his father.

These sarcophagi are made of locally quarried marble from Saint-Béat and are of varied design, but with generally flat relief which distinguishes them from Roman sarcophagi. Their production has been dated to either the 5th, 6th, or 7th century, with the second of these being considered the most likely today. However, if they were made in the 5th century, while both Aquitaine and Septimani were in Visigothic hands, their existence provides no evidence for a cultural osmosis across the Gothic-Frankish frontier. A unique style of orange pottery was common in the 4th and 5th centuries in southern Gaul, but the later (6th century) examples culled from Septimania are more orange than their cousins from Aquitaine and Provence and are not found commonly outside of Septimania, a strong indicator that there was little commerce over the frontier or at its ports.

Plaster cast of the Sarcophagus of Junius Bassus The Catacombs of Rome contain most of the surviving Christian art of the Early Christian period, mainly in the form of frescos and sculpted sarcophagi. They show a Christian iconography emerging, initially from Roman popular decorative art, but later borrowing from official imperial and pagan motifs. Initially, Christians avoided iconic images of religious figures, and sarcophagi were decorated with ornaments, Christian symbols like the Chi Rho monogram and, later, narrative religious scenes.Syndicus, Chapter 1; Hall, 77–82 The Early Christians' habit, after the end of their persecution, of building churches (most famously St Peter's, Rome) over the burial places of martyrs who had originally been buried discreetly or in a mass grave perhaps led to the most distinctive feature of Christian funerary art, the church monument, or tomb inside a church.

Excavation photograph of the doll's kit in Crepereia Tryphaena's sarcophagus, described by goldsmith and antiquarian Augusto Castellani During the excavation, several archaeological finds came to light, including a group of five sarcophagi buried between the middle of the 2nd and the 3rd centuries AD; of these, two still sealed were named after members from the same family: Crepereia Tryphaena and Crepereius Euhodus. The two sarcophagi had been buried at the bottom of a well later filled with earth, and they were placed side by side and decorated only on two sides, as if they had been tombe bisome or double burial. On the marble case of the sarcophagus dedicated to Crepereia Tryphaena was engraved a scene with a deep bas relief alluding to the girl's death. She is depicted as dormant on the funeral bed, with the head resting on her left shoulder.

Surviving relics of the Roman period include a potters' oven, an ancient tomb and Sarcophagi at Saint- Sauveur. The Priory of Carluc was founded in the eleventh century. Another priory, that of Saint-Sauveur-Au-Pont, belonged during the twelfth and thirteenth century to the Abbey of Saint Andrew at Villeneuve-lès-Avignon. The fiefdom was held initially by the Forcalquiers, and later by the Brancas family.

The tomb is of a neoclassical design. It stands upon a stepped plinth, with carved entablature supported by twelve ionic columns, arranged in a square and containing the sarcophagi. The entablature supports raised armorial panels facing east and west and urn finials. Completed in 1826, it was designed by William Robertson, a local architect who designed buildings for the Established, Episcopal and Catholic churches.

224 On the remains of the upper synagogue, found by Kitchener of the Palestine Exploration Fund, the Maronite Church of Mar Boutros was built. Jewish-Christian amulets were discovered nearby. Coins indicate that Jish had strong commercial ties with the nearby city of Tyre. On Jish's western slope, a mausoleum was excavated, with stone sarcophagi similar to those seen at the large Jewish catacomb at Beit She'arim.

There is a hallway with 91 inch deep walls in the central tomb chamber, with carved recesses, each providing burial space for three mummies. The sarcophagi are decorated with garlands and heads of Greek mythology gods. Each sarcophagus has associated a relief panel. The central panel shows the wolf-headed Anubis wearing Roman soldier garb, who mummifies a body lying on a lion bed.

On one side are Henry II and his wife Juana Manuel; in front of them, lying in sarcophagi, are Henry III the Infirm and Catherine of Lancaster. Through the arch that gives access to the presbytery are two small altars in neoclassical style. The main altar is by Mateo Medina. It has a painting by Maella with the theme of the Descension, framed by two Corinthian columns.

41; Mackay, Ancient Rome, p. 178. Describing it as "the finest of the third-century sarcophagi", art historian Donald Strong says:Donald Strong et al., Roman Art, 1995 (2nd edn.), p. 257, Yale University Press (Penguin/Yale History of Art), The carving is so deep that the forms are almost completely offset from the background resulting in three or four layers of various figures and forms.

Roman lenos sarcophagus with bucolic scenes (the sarcophagus of Iulius Achilleus). Ca. 290 AD. National Roman Museum in the Baths of Diocletian, Rome. While the seasonal imagery focuses on nature's abundance and the cosmic order that underlies it, bucolic imagery emphasizes a slightly different side to what nature might offer. Bucolic sarcophagi imagine nature as a place of escape from the strains of city life.

Les Alyscamps (or 'L'Allée des Alyscamps') is a pair of paintings ("pendants") by Dutch painter Vincent van Gogh. Painted in 1888 in Arles, France, it depicts autumnal scenes in the Alyscamps, an ancient Roman necropolis in Arles which is lined with poplars and stone sarcophagi. Van Gogh also made another pair of paintings, Falling Autumn Leaves and Paul Gauguin made his own version of Les Alycamps.

It is protected by the tides, which requires damming to hold them back, and is to be approached from the north. Until his death at Réunion, Cruise-Wilkins sought and dug in the island of Mahé. In a cave, except for old guns, some coins, and pirate sarcophagi, he did not find anything. He died on 3 May 1977 before he broke the last piece of code.

The Velletri Sarcophagus was made from marble (even though the marble sarcophagi would not become popular until the 3rd century) and decorated in a high relief. It is long, high, and wide. Most of the sarcophagus has kept its fine detail, however there has been some erosion in figures, leaving them to be more mysterious, and the right side panel of the roof is gone.

The mausoleum was excavated by N. Makhouly in 1924. The ashlar-built structure contained two sculptured marble Sarcophagi, decorated with scenes from Greek mythology. The Mausoleum seems to belong to a wealthy family and it is dated to the 3rd century CE. The second structure is part of an aqueduct which served as part of Caesarea's water supply. It runs some 100 meters south of the mound.

Torquata married her cousin Lucius Volusius Saturninus,Elsner, Life, Death and Representation: Some New Work on Roman Sarcophagi, p.26 an Augur during the second century AD, and a Suffect consul during the reign of Trajan."Volusius (22)", RE, Supplementary volume 9, col. 1864 Marcus Metilius Aquillius Regulus Nepos Volusius Torquatus Fronto who served as a consul in 157, is thought to be their descendant.

The stone sarcophagi now at St Thomas a Becket came from here. Kidston notes that carved masonry from the church was re-used in Hazelbury Manor. Chapel Plaister has a small roadside church, rebuilt in 1340 and linked to a hostel for travellers; it is also Grade I listed. The location of the Chapel of St David at Fogham mentioned in Kidston has not been discovered.

The interior is octagonal, and features two columns of marble with a hue like alabaster in each corner. The tomb originally contained eight marble sarcophagi, carved in Italy. The main doors were of bronze. Hayden wanted the construction of the mausoleum to be a surprise for his family, so Packard refused to tell the press or cemetery officials who commissioned the work until it was completed.

Before colonization, a statue known as likha is also entombed with the dead inside the tree trunk. In Mulanay, Quezon and nearby areas, the dead are entombed inside limestone sarcophagi along with a likha statue. However, the practice vanished in the 16th century due to Spanish colonization. In Calatagan, Batangas and nearby areas, the dead are buried under the earth along with likha statues.

3271 ) Płock is now a capital of the powiat (county) in the west of the Mazovian Voivodeship. From 1079 to 1138 it was the capital of Poland. The Wzgórze Tumskie ("Cathedral Hill") with the Płock Castle and the Catholic Cathedral, which contains the sarcophagi of a number of Polish monarchs, is listed as a Historic Monument of Poland. Later on, it was a royal city of Poland.

Płock Cathedral Divine Mercy Sanctuary The Museum of Mazovia provides exhibits and interpretation of the city and region's history. Płock is the oldest legislated seat of the Roman Catholic diocese; the Masovian Blessed Virgin Mary Cathedral was built here in the first half of the 12th century and houses the sarcophagi of Polish monarchs. It is one of the five oldest cathedrals in Poland.

Many examples of Parthian period sculpture found in Palmyra, where the tombs of the local upper class were richly decorated, depict the lives of the deceased. There were somewhere between three types of monuments. Locking plates, blocking the entrance of grave installations;. Sarcophagi decorated on the actual coffin box and lying on the lid of the deceased, usually on the side shown at a banquet.

Collection highlights include 31 Phoenician anthropomorphic sarcophagi from the Ford collection, a fresco depicting Mary the mother of Jesus dated to CE, and which is believed to be one of the oldest discovered representations of Mary in the world. Other artifacts of note are the naturally preserved Maronite mummies of ‘Assi el Hadath cave in the Qadisha valley and the frescoed tomb of Tyre.

English writers typically called these recesses "loculi". The recesses stand where they were, but the slabs have been moved to the Vatican. The monolithic sarcophagus of Barbatus was at the end of a corridor, in line with what once may have been a window, now the main entrance. The other sarcophagi of both types were added later as further shafts and rooms were sunk for the purpose.

The red granite build is noteworthy, as Fifth Dynasty sarcophagi were typically made of greywacke. This suggests that Neferefre's sarcophagus was most likely an emergency solution. The mummy remains have been identified as belonging to a twenty to twenty-three-year-old male, probably Neferefre. Blocks from above the gabled ceiling also regularly contain an inscription reading Hut Neferefre approximately "Burial area of Neferefre".

The composition is very crowded, with overlapping figures in a scheme unknown in 2nd century classicism. The use of drilling and the abundant chiaroscuro of high relief are typical of the expressionism of the turn of the 2nd/3rd centuries, though the solid plasticity and consistency of the figures indicate a continuing classicism. This compositional pattern is repeated with little variation on later hunting sarcophagi.

She was a goddess of death, and her image is on the inside of most sarcophagi. The pharaoh entered her body after death and was later resurrected. In art, Nut is depicted as a woman wearing no clothes, covered with stars and supported by Shu; opposite her (the sky), is her husband Geb. With Geb, she was the mother of Osiris, Horus, Isis, Set, and Nephthys.

Once uncovered, these pillars revealed paintings of Maia. A stela carved out of rock in the back of this room bears reliefs and inscriptions. In 2001, the team started to explore the tomb's first lower level, which also contained large amounts of cat mummies beside human mummies, votive objects, statues and sarcophagi. This level had also been reused in later periods of the tomb's history.

Before becoming an active archaeological site, the tombs had been targeted by looters for items of value that were buried with their owners. In addition to a nearby cemetery, excavators found a variety of tombs, including communal tombs, individual cast tombs, and stone sarcophagi. Rock-cut tombs were the more common type found at the site. Interestingly, many of these tombs had entryways built into them.

A particularly well-preserved portable shrine, the Shrine of the Three Kings in the Cologne Cathedral, is archetypal of the Romanesque style of reliquaries. The shrine is about 43 inches (110 cm) wide, 60 inches (153 cm) high, and 87 inches (220 cm) long. It is modeled after a basilica. Two sarcophagi stand next to each other, with the third sarcophagus resting on their roof ridges.

Dancing women and animals were frequently depicted. Leading workshops were those of the Tübingen Painter, the Petrie Painter, and the Urla Group. Most of the vases were found in Naukratis and in Tell Defenneh, which was abandoned in 525 BC. Their origin was initially uncertain, but Robert Zahn identified the source by comparison with images on Klazomenian sarcophagi. The pottery was often decorated with sculptured women's masks.

The bulk of the museum consists of 3204 artifacts found in the nearby ancient site of Dyrrhachium and includes an extensive collection from the Ancient Greek, Hellenistic and Roman periods.Durrës Guide , Direct Ferries Items of major note include Roman funeral steles and stone sarcophagi and a collection of miniature busts of Venus, testament to the time when Durrës was a centre of worship of the goddess.

After 1912 the fact that the Akanthos site was occupied by an inhabited village endowed it with a low archaeological priority. After 1932, the hills were open, but there was still little interest in improving the priority. In 1973 the priority changed suddenly with the discovery of the cemetery. A bulldozer preparing a site for new construction broke into a number of sarcophagi and shattered some pottery.

They include ceramic sarcophagi, one of which is perfectly preserved, locally-made vases, pottery from other Greek areas, bronze knives, spears and strigils, as well as coins. A temple for the worship of a female deity was built at this time. The absence of concrete evidence (e.g. inscriptions, money coined on site) makes it difficult to attribute any known ancient place name to the location.

It is a general history of early Christian art, and contains five hundred finely engraved plates and explanatory text. Five of the six volumes contain, respectively, the catacomb-frescoes—and paintings from other quarters—gold glasses, mosaics, sarcophagi, and non-sepulchral sculptures. The first volume is devoted to the theoretical part of the work, i.e. to a history of Christian art properly so called.

In the early 14th century, Arab geographer al-Dimashqi mentioned Meron as falling under the administration of Safad. He reported that it was located near a "well-known cave" where Jews and possibly non-Jewish locals travelled to celebrate a festival, which involved witnessing the sudden and miraculous rise of water from basins and sarcophagi in the cave.al-Dimashqi quoted in Khalidi, 1992, p. 476.

A serpent is located on the top of this sun disc, which might signify the regeneration of the sun. Like many Ancient Egyptian texts, the bottom register shows the punishment of enemies in the Place of Annihilation since it is below the gods. Since gods are more important figures, they are depicted above others. The sun god is shown above with several sarcophagi and four enemies below.

Tomb and monument of Ilaria del Carretto by Jacopo della Quercia, c. 1413 (plaster cast in Moscow) Putti are a classical motif found primarily on child sarcophagi of the 2nd century, where they are depicted fighting, dancing, participating in bacchic rites, playing sports, etc. Putto on the ceiling of Stirling Castle. The putto disappeared during the Middle Ages and was revived during the Quattrocento.

An Imago clipeata on a sarcophagus at the Villa la Pietra near Florence Pliny the Elder also describes the custom of having a bust- portrait of an ancestor painted on a clipeus, and having it hung in a temple or other public place. From this round bas-reliefs in a medallion on sarcophagi and in other forms are known as clipeus portraits.Hall p. 78.

Aldrich and Symonds map of Jerusalem In 1847, the Turkish governor ordered a search for treasures in the tomb but none were found. In 1863, the French archaeologist Felicien de Saulcy was given permission to excavate the tomb. The German architect Conrad Schick drew up a map of the site. De Saulcy found sarcophagi, one of which was bearing the Hebrew inscription "Queen Tzaddah".

During mummification, the cat bodies would be dried and filled with soil, sand or some other kind of packing material. They were either positioned with their limbs folded closely to their bodies or in a sitting, lifelike position. The wrapping was usually completed through intricate, geometric patterns. Early in the development of animal mummification, cat mummies were placed in little bronze or wooden sarcophagi.

Plan of the contents of KV46 from Quibell's 1908 publication Until the discovery of Tutankhamun's tomb in 1922, this was the richest and best preserved tomb found in the valley, and the first to be found with major items in situ. The large wooden sarcophagi and coffin sets of Yuya and Tjuyu occupied most of the space in the tomb, with Yuya's against the northern wall and Tjuyu's against the southern; both sarcophagi faced west. Their large size meant they must have been assembled and possibly finished in the tomb, as there are no breaks in the gilded decoration. One end of Yuya's sarcophagus had been broken in and the lid displaced; the lids of his three nested coffins had been removed, with two laid on top of each other partially supported by a chair and the third on its side against the coffins.

In 1869, due to the accidental opening of the coffin of King Casimir III, a second funeral was performed. Consequently, an initiative was taken to renovate other monarchs’ tombs in the cathedral. The underground crypts were connected with tunnels, sarcophagi were cleaned and refurbished and new ones were funded. Emperor Franz Joseph I of Austria paid for a sarcophagus for King Michael, whose wife was from the House of Habsburg.

The Gordon Tomb is a classical colonnaded mausoleum in the parish of Bellie in Moray, Scotland. It houses the sarcophagi of the second wife of the 4th Duke of Gordon, Jean Christie (who died in 1824), and her son Adam (died 1834). It is designated as a Category A listed building. The tomb lies within the graveyard of Bellie Old Church, close to the remains of the church.

During the period of 300-150 BC the tomb was used by the family of Djed- Khonsu-iuef-ankh. Secondary burials were placed in the tomb and some sarcophagi were recycled. The atrium of the tomb shows signs of repair during this time. Funerary items from the family of Djed-Khonsu-iuef-ankh and his wife Mut-min we found in rooms 4 and 7 of the tomb.

30; Paul Zanker and Björn C. Ewald, Living with Myths: The Imagery of Roman Sarcophagi (Oxford University Press, 2012), p. 102 et passim; Newby, "In the Guise of Gods and Heroes," pp. 201–205. In Vergil's Aeneid, purple flowers are strewn with the pouring of Bacchic libations during the funeral rites the hero Aeneas conducts for his dead father.Vergil, Aeneid 5.77–81; Brenk, Clothed in Purple Light, p. 88.

No traces of Doué's medieval fortifications remain, save the names of "gates" given to certain streets. The castle is widely believed to have been the first European castle to be built out of stone (at around 950). Nearby are the troglodyte dwellings, where the inhabitants took refuge from the Normans, and commercial mushroom-growing caves. The stone of Doué-la- Fontaine was quarried for sarcophagi from the town.

In the late-18th and early-19th centuries, cellarettes were typically simple in design, following a Neoclassical aesthetic. Eventually, as Neoclassicism gave way to the more ostentatious Empire style, cellarettes became heavier and more ornate, emphasizing Roman and Grecian motifs. Some examples were made in the shape of sarcophagi mounted with lions' heads and animal-paw feet. Cellarette use declined in the 20th century due to the use of the refrigerator.

Sophocles leads Tintin to the tomb hidden under the sand, but disappears soon after finding it. He, Tintin, and Snowy end up floating in sarcophagi in the middle of the Red Sea. Sophocles is then picked up by a ship captained by Allan, a drug smuggler, whose gang uses the tomb of Kih-Oskh as a base. With Sophocles as a prisoner, the ship sets off for India.

Zephyrs blow winds at either end. One interpretation of the work is that the incorporated heraldic symbols were meant to link the patron Scipione with Apollo, his patronage bringing "light to the darkness." It may have served to uphold the ravenous Borghese accumulation of classical antiquities. The style of the work is classically restrained and mimics poses from ancient Roman sarcophagi, that were on display in the cardinal's collection.

Numerous artifacts from the Roman and Byzantine periods that have been found on the palace site during recent excavations, including sarcophagi, are on display in the Second Courtyard in front of the imperial kitchens. Located underneath the Second Courtyard is a cistern that dates to Byzantine times. During Ottoman times this courtyard would have been full of peacocks and gazelles. It was used as a gathering place for courtiers.

Roman funerary art changed throughout the course of the Republic and the Empire and comprised many different forms. There were two main burial practices used by the Romans throughout history, one being cremation, another inhumation. The vessels that resulted from these practices include sarcophagi, ash chests, urns, and altars. In addition to these, buildings such as mausoleums, stelae, and other monuments were also popular forms used to commemorate the dead.

Cemetery patrons with traditional tastes for family lot group burials and private mausoleums can still obtain these memorialization options at this historic cemetery, which has the largest collection of private (family) mausoleums and sarcophagi in the State of Missouri, in a wide array of architecturally-acclaimed historical styles. Space for traditional casketed/vaulted ground burial exists within Bellefontaine's dedicated grounds for the next 200 years at present rates of usage.

The Sultana's Tomb (), also in the museum yard, is known locally as the "Aynalı Kadın Türbesi", (literally: "Tomb of the Lady with Mirror"). According to an inscription attached above the tomb's arched gate, it was constructed in June 1395. It contains three sarcophagi, including one belonging to the daughter of Süleyman Pasha. Pasha was the eldest son of Orhan I, the second bey of the newly established Ottoman Empire.

Before the reconstruction of the church of Saint-Ausone in 1864 excavations took place which allowed the discovery of sarcophagi. Today There's nothing left of the Monastic buildings The parish church was rebuilt on the site of the abbey. Located below and outside the ramparts, it forms with the archive one of the buildings of the archbishopric. They also include a cloister and numerous annexes including a dovecote.

The tomb is situated on the corner of Hamidiye St. and Hamidiye Türbesi St. in Eminönü quarter of Fatih district in Istanbul. It was built for Sultan Abdul Hamid I (reigned 1773 –1789) in 1790 by court architect Mehmed Tahir Agha as part of a 1776-1777 constructed almshouse complex. The tomb contains 20 sarcophagi in total. In addition to Abdul Hamid I, his assassinated son Sultan Mustafa IV (r.

Statues and sarcophagi were protected by sandbags. When the situation reached its worst in 1982, the heavier artifacts were encased in wood and concrete. Tyre Phoenician necropolis stela When the final cease-fire was declared in 1991, the museum and the Directorate General of Antiquities were in a state of near-destruction. The museum was flooded with rainwater and the outer facade was badly marked by bullets and craters from shells.

Water for the Roman city Sebaste was provided by an underground aqueduct that led into the area of the forum from springs in the east. The city was encompassed by a city wall 2½ miles (4 km) long, with imposing towers that linked the gateways in the west and north. A number of mausoleums with ornate sarcophagi were excavated in the area of the modern village and adjoining fields.

After the city Institute for the protection of the cultural monuments was founded, the Institute initiated the reconstruction of the hamam in 1962, citing the building's "undisputed monumental properties". The reconstruction was finished in 1964 and the venue remained unused until 1967. The original idea was for the facility to be adapted into the lapidarium. It was to become an exhibition space for the stone objects – monuments, epitaphs, sarcophagi, statues, etc.

As stated above, strigils are represented throughout Greek, Roman, and Etruscan cultures in varying ways. Strigils were often depicted alongside olive oil and an athlete. The Croatian Apoxyomenos is a statue that displays the use of a strigil by an athlete. Strigils were also represented on some sarcophagi, such as the marble strigil sarcophagus of a Greek physician, which has elaborate S-shaped curves on it to symbolize strigils.

The Mazor Mausoleum () is one of the best preserved Roman buildings in Israel, located in El'ad. The Mausoleum, which is the only Roman era building in Israel to still stand from its foundations to its roof, was built for an important Roman man and his wife in the 3rd century AD. Their identities remain a mystery but one can still see the remnants of two sarcophagi in the mausoleum.

As foundations were prepared for the pillars of the new St Peter's Basilica "some antique sarcophagi were found" within one of which "was found a gold cloth wrapped around some bones, thought to be a Christian prince". This sarcophagus, which Michiel states was without an inscription, contained jewellery including "a small collar [torque?]", a crown, and a small cross. According to Michiel, the items were estimated at 3,000 ducats in value.

Southeast of the courtyard are the treasury and granary magazine complexes. The burial chamber is located in the northwest corner of the tomb. Although heavily robbed, two granite sarcophagi, a large one for Ptahshepses and a smaller one for his wife Khamerernebty are well preserved. One of the most notable features of the mastaba is a room in the southwest corner of the tomb which resembles a boat.

In the Near Islands, isolated graves have also been found with the remains, and not just the sarcophagus, left exposed on the surface. This way of erecting sarcophagi above ground is not as common as umqan and cave burials, but it is still widespread. Another type of practice has been to bury remains in areas next to the communal houses of the settlement. Human remains are abundant in such sites.

Among the elite, bodies were mummified, wrapped in linen bandages, sometimes covered with molded plaster, and placed in stone sarcophagi or plain wooden coffins. At the end of the Old Kingdom, mummy masks in cartonnage (linen soaked in plaster, modeled and painted) also appeared. Canopic containers now held their internal organs. Amulets of gold, faience, and carnelian first appeared in various shapes to protect different parts of the body.

In April 2019, the archaeological mission of the Ministry of Antiquities led by Mostafa Waziri uncovered a tomb of a nobleman called Toutou and his wife at Al-Dayabat archaeological site dating back to the Ptolemaic era. The tomb contained two tiny rooms with two limestone sarcophagi. Besides, well preserved mummy, mummified animals and birds including falcons, eagles, cats, dogs and shrews were also revealed in the tomb.

The recorded history of the Ljig settlement itself begins in 1911, when a railroad was built between Lajkovac and Gornji Milanovac. The area, however, has a long history. The Dići church was founded by Serbian nobleman Vlgdrag, who was buried here in 1327. The ruins of the medieval Vavedenje Monastery include impressive sarcophagi dating from the 15th century, believed to belong to the Serbian despots Stefan Branković and Đurađ Branković.

From 1778 to 1779, a new baroque spire was built in the western part of the nave. One should also mention the numerous different kinds of tombstones from 13th –18th century, the stone-carved sarcophagi from the 17th century, also the altar and chancel, chandeliers, numerous coats-of arms from the 17th – 20th centuries. Two of the church’s four bells date back to 17th century, two date to the 18th century.

Cross-section of the Ayaa Necropolis. The Alexander sarcophagus is bottom middle. The Alexander Sarcophagus is one of four massive carved sarcophagi, forming two pairs, that were discovered during the excavations conducted by Osman Hamdi Bey, an Ottoman of Greek descent and Yervant Voskan, an Ottoman of Armenian descent, at the necropolis near Sidon, Lebanon in 1887. Originally thoughtStudniniczka Achäologische Jahrbook 9 (1894), pp 226ff; F. Winter, 1912.

Austin: University of Texas Press, 2004. p. 141. The Phrasikleia Kore is a Parian marble statue that features prominent polychromy as seen in the hair and the dress. It is thought that the skin of the Phrasikleia Kore was covered with a type of gum arabic to give it a realistic appearance. This practice is also seen during the same period, used on the sarcophagi of Egyptian mummies.

During archaeological excavations in 1967, Roman and Etruscan remains and a number of Visigothic sarcophagi were discovered on this ancient island. The foundations of a church destroyed in the 7th century were also found. At the fall of the Roman Empire in the 5th century AD, the Visigoths took over part of the region of Melgueil, the island of Maguelone. Christianity gradually imposed its rule on the area.

Later, relief of goddess Diana was also found and one relief of Diana and Silvanus together. Also, new pagan altars, fragments of sarcophagi, clay pottery, parts of columns, and various other findings from Roman and early medieval age were found. This led to conclusion that on place of present-day Catholic graveyard "Karaula" (which was previously an Ottoman military border post and guardhouse) was Roman and Illyrian pagan sanctuary and graveyard.

Archaeologists have been carrying out excavations at the ancient site since 2005. Sarcophagi and graves, as well as ancient artifacts were found in the area. In 2017, ancient toys from the Hellenistic Period have been discovered inside tombs belonging to children, believed to be buried with the aim to accompany the children on their journey to the afterlife. Also, a baby bottle was discovered around the same necropolis.

The tombs and funeral monuments can be divided into four types: #Simple graves for common people #Sarcophagi, some raised on a substructure and others hollowed out from the rock. Many are covered with a double-pitched roof. Most are constructed in marble and are decorated with reliefs and epitaphs showing the names and professions of the deceased and extolling their good deeds. These epitaphs have revealed much about the population.

Rawson, Children and Childhood in Roman Italy, p. 64. Funerary art, such as relief on sarcophagi, sometimes showed scenes from the deceased's life, including birth or the first bath.Rawson, Children and Childhood in Roman Italy, pp. 101–102. Only those who died after the age of 10 were given full funeral and commemorative rites, which in ancient Rome were observed by families several days during the year (see Parentalia).

Horden and Purcell, 2000, p. 446 In the early 14th century, Arab geographer al-Dimashqi mentioned Meiron as falling under the administration of Safad. He reported that it was located near a "well-known cave" where Jews and possibly non- Jewish locals travelled to celebrate a festival, which involved witnessing the sudden and miraculous rise of water from basins and sarcophagi in the cave.al- Dimashqi quoted in Khalidi, 1992, p.476.

The bottle was discovered during an excavation in a 4th-century AD Roman nobleman's tomb. The tomb contained two sarcophagi, one holding the body of a man and one a woman. One source says the man was a Roman legionary and the wine was a provision for his celestial journey. Of the six glass bottles in the woman's sarcophagus and the ten vessels in the man's sarcophagus, only one still contained a liquid.

In 1875 Victor Guérin describes a ruin here, which he calls Kh. Kleileh. The upright of oil-presses, a winepress cut in the rock, with two compartments, one round and one square, and three broken sarcophagi, are all that remain here. A short distance south of this place he found another ruined hamlet, having a cistern cut in the rock, and an enormous millstone lying on the ground, called Kh. Ratieh.Guérin, 1880, p.

The man's body has a stiff hieratic pose typical of Ancient Egyptian sculpture, with the head carved in the lifelike manner of the classic Hellenes. The woman's figure is also rigidly posed but bears the Roman hairstyle. There are three huge stone sarcophagi with non-removable covers along the sides of the chamber. It's assumed that bodies were inserted in them from behind, using a passageway which runs around the outside of the funeral chamber.

The earliest artistic depictions of the nativity were in the catacombs and on sarcophagi in Rome. As Gentile visitors, the Magi were popular in these scenes, representing the significance of the arrival of the Messiah to all peoples. The ox and ass were also taken to symbolize the Jews and the Gentiles, and have remained a constant since the earliest depictions. Mary was soon seated on a throne as the Magi visited.

Nave The oldest part of the church is believed to have been built around the year 1200. Its nave was built in a romanesque style out of rough fieldstone and travertine, and does not have a clear plinth. The tower and the southern wing of the choir were built in the late gothic era. Burial chapel in the southern wing The southern wing of the choir houses a burial chapel with raised sarcophagi .

The vessels are not very carefully made. Popular motifs are circles of dancing women, and animals. The leading workshops were those of the Tübingen Painter, the Petrie Painter and the Urla Group. The majority of the vases were found at Naukratis and at Tell Deffenneh, a site abandoned in 525 BC. Their origin was initially unclear, but the archaeologist was able to determine it through comparison with the imagery on the so-called Klazomenian sarcophagi.

Finally, much like the cycle of nature and the seasons, Roman chariot races went round and round a circular (more specifically, oval) race course. The imagery on chest and lid thus complement each other perfectly. Roman sarcophagus with Dionysus on his panther, flanked by the Four Seasons (the “Badminton Sarcophagus”). Ca. 220–230 AD. In the Metropolitan Museum, New York The imagery of the seasons on Roman sarcophagi was often associated with the god Dionysus.

Roman sarcophagus showing Selene approaching Endymion. Ca. 230–240 AD. Louvre, Paris As commonly seen on sarcophagi featuring the myth of Selene and Endymion — a good example is the sarcophagus carved ca. 230–240 AD and now in the Louvre — Selene is depicted as descending from her chariot pulled by horses or sometimes oxen. Endymion lies before her, stretched out in a pose signifying sleep before the viewer, sometimes on a rock.

Moran helped establish the John A. Moran Eye Center at the University of Utah, and is affiliated with the Metropolitan Museum of Art, National Advisory Council of the University of Utah, and the George and Barbara Bush Endowment for Innovation Cancer Research at M.D. Anderson Cancer Center at the University of Texas. Moran helped finance the John A. and Carole O. Moran Gallery for later Roman art and sarcophagi at the Metropolitan Museum.

Van der Meer is a leading authority on Etruscan religion. He published several books and numerous articles on Etruscan origins, Etruscan language, Etruscan mirrors, the Liber Linteus Zagrabiensis, the liver of Piacenza, cinerary urns from Volterra, sarcophagi and the Etruscan collection in the Dutch National Museum of Antiquities. He is also a member of the Istituto Nazionale di Studi Etruschi ed Italici in Florence and the editorial board of the archaeological journal BABESCH.

In each of the structures eight of the martyrs were interred in a sarcophagus bearing their name. The martyrs of the movement were in heavy black sarcophagi in such a way as to be exposed to rain and sun from the open roof. When Gauleiter Adolf Wagner died from a stroke in 1944 he was interred metres away from the north temple in the adjacent grass mound in between the two temples.

The story is clearly influenced by Sax Rohmer's opus Fu Manchu but substitutes the main Asian villain with a resuscitated Atlantean necromancer (similar to Kull's bit character Thulsa Doom) sitting at the center of a web of crime and intrigue meant to end White/Western world domination with the help of Asian/semite/African peoples and to re-instate surviving Atlanteans (said to lie dormant in submerged sarcophagi) as the new ruling elite.

The Sarcophages of the Priest and Priestess Beautiful sarcophagi, which are dated to the end of the Punic era, have been found in the necropolis. Among these is the sarcophagus of the priest and the priestess, which is on display in the museum. The priest has the right hand raised in a gesture of blessingAndré Parrot, Maurice H. Chéhab and Sabatino Moscati, Les Phéniciens, éd. Gallimard, coll. L’univers des formes, Paris, 2007, p.

Church interior Lubiń is the site of the Church of the Nativity of the Blessed Virgin Mary. The present structure dates from the 18th century but rests on 12th century Romanesque foundations, and other Gothic structural elements. A number of sarcophagi are incorporated in the nave and nave chapel, notably the tombs of Władysław III Spindleshanks and the abbot Bernard Wąbrzeźno. The Baroque decor includes stalls with integrated work by Jan Jerzy Urbański.

Etruscan tombs were heavily looted from early on, initially for precious metals. From the Renaissance onwards Etruscan objects, especially painted vases and sarcophagi, were keenly collected. Many were exported before this was forbidden, and most major museum collections of classical art around the world have good selections. But the major collections remain in Italian museums in Rome, Florence, and other cities in areas that were formerly Etruscan, which include the results of modern archaeology.

Several examined packets contained only a few cat bones, and others even no bones at all, but only clay and pebbles. The cats were mummified in two different manners. In the one, the legs and tail were bound and wrapped close to the body; in the other, head, body, legs and tail were separately wrapped in cloth, some with eyes and ears added. Some mummies were found in wooden or stone sarcophagi.

Eventually all the members of the group of composers termed "The Five", or the "Mighty Handful"; Mussorgsky, Borodin, as well as Mily Balakirev, César Cui and Nikolai Rimsky-Korsakov, were buried in the cemetery. By the beginning of the 20th century the Tikhvin cemetery contained 1,325 monuments of various designs and sizes, including monumental crosses on pedestals, sarcophagi and steles. There were several family plots with chapels and large crypts of granite and marble.

Several polished stone axes were discovered here in the 19th century, evidence of human presence in the Neolithic period (9000 to 3300 years BC). In 1970, archaeological excavations found sarcophagi of the Merovingian period (500 to 750 AD). In the 13th century, a church was built on the site of the old cemetery. At the same time, the chapel of Saint-Gervais was built on the plateau at Boulleville (near the present-day water tower).

The façade was begun around 1511 by Gil Morlanes El Viejo and completed by his son five years later. It was modified between 1754-1759 after part of the church collapsed. Part of the façade is all that remains of the monastery church, when the present building was constructed between 1891-1899. The most significant elements of the crypt are the two Early Christian sarcophagi of the fourth century, which were discovered in 1737.

Each of the mummies is aligned with the power of an Egyptian god. Ja-Kal uses the spirit of falcon, Rath uses the spirit of snake, Armon uses the spirit of ram, and Nefer-Tina uses the spirit of cat. They are able to call upon it for magical armor and powers to fight superhuman evildoers. Although, once their strength is exhausted, they must rest in their sarcophagi to regain the ability.

The Church of Saint Peter This church was built between 1875 and 1879 to replace an old church dating back to the 12th century which was altered in the 17th century. The municipal council voted to demolish it because of its dilapidation. During the demolition of the building of sarcophagi with saddleback lids were unearthed. Dating back to the Middle Ages, two iron dagger blades and fragments of vases mixed with bones were found there.

Higher up a bay and niches are arranged between pilasters with Doric capitals that support the triglyphic entablature, on which there is a triangular pediment. Under the choir there is a vault in the place where the body of Saint Firmin was miraculously discovered. The church holds several sarcophagi and 15th century bas-reliefs relating to the history of Saint Firmin. The church was protected as monument historique PA00116051 by decree of 8 December 1969.

The mausoleum (türbe) of the Ramadanids, with its tall rims and tall dome giving grandeur to it, houses sarcophagi of Halil Bey and the sons of Piri Paşa, Mehmet Bey and Mustafa Bey. The walls of the mausoleum are covered with tiles. The Ulu Cami mausoleum, unlike most Seljukid mausoleums, is built east of the mosque and although situated next to the mosque, is not integrated with it. The structure covers an area of .

The mausoleum has a dome covered upper section containing sarcophagi and an entrance section covered with a cross vault. The entrance section is connected to the mosque by an intermediate door and to the mausoleum by another door. There is a window on the east wall. Further north, the shed, that is built on mukarnas headed four columns, is covered with a wooden roof resulting from the cradle vault perpendicularly cutting the half-transverse vault.

Pura Taman Saraswati was designed by I Gusti Nyoman Lempad following a commission by the Prince of Ubud Cokorda Gede Agung Sukawati. I Gusti Nyoman Lempad was a well known Balinese sculptor and undagi (Balinese architect for ritual paraphernalia e.g. cremation towers and wooden sarcophagi). I Gusti Nyoman Lempad arrived in Ubud after moving away from the royal court of Blahbatuh, following a serious disagreement which provokes the wrath of the King of Blahbatuh.

As The Power of Shazam! graphic novel opens, ten-year-old Billy Batson's parents, both archeologists, are working in Egypt, excavating the tomb of Ramses II with their associate Theo Adam. Murdering the elder Batsons, Adam also kidnaps their young daughter Mary and steals a scarab necklace once attached to one of the sarcophagi in the tomb. Billy had been left behind at home in Fawcett City because of poor school grades.

In 1970, the temple was proclaimed a national monument of culture. The church's bell tower reaches a height of 53 m and its bells, the heaviest of which weighs 12 tons, were cast from the cartridges that were collected after the battles. In the temple itself, the names of the Russian regiments and Bulgarian volunteers are inscribed on 34 marble plates. The remains of the perished are laid in 17 stone sarcophagi in the church's crypt.

Unfortunately, this sarcophagus now lies at the bottom of the Mediterranean Sea, having sunk on October 13, 1838, with the ship Beatrice, as she made her way between Malta and Cartagena, on the way to Great Britain. It was one of only a handful of Old Kingdom sarcophagi to survive into the modern period. The lid from the anthropoid coffin mentioned above was successfully transported to England and may be seen today at the British Museum.

Between the 7th and 9th centuries, most of the sarcophagi found in ancient sites were made of molded gypsum. In modern times, the mining was done with explosives, which riddled the ground under the butte with tunnels, making the ground very unstable and difficult to build upon. The construction of the Basilica of Sacré-Cœur required making a special foundation that descended 40 metres under the ground to hold the structure in place.Dictionnaire historique de Paris, p. 476.

Different theories exist concerning the nature of the frontier between Septimania and Frankish Gaul. On the one hand, cultural exchange is generally reputed to have been minimal, but the level of trading activity has been disputed. There have been few to no objects of Neustrian, Austrasian, or Burgundian provenance discovered in Septimania. However, a series of sarcophagi of a unique regional style, variously labelled Visigothic, Aquitainian, or south-west Gallic, are prevalent on both sides of the Septimania border.

Still can be seen some traces of frescos attributed to celebrated Lombardian artists. On the right of the protruding porch situated is the tomb of Gandolfo De Gasco (1272), as can be read from the Gothic inscription. Between the church and the surrounding wall can be seen four Paleochristian sarcophagi (5th–7th centuries), discovered during the archaeological excavations. It is worth noting that the central apse is decorated with eleven Islamic bowls, above the row of small blind arches.

A few kilometers southeast of the estate is Östra Sönnarslöv Church (Östra Sönnarslövs kyrka) of Degeberga- Everöd parish in the Diocese of Lund. The oldest parts of the church date from the 12th century. It is decorated with frescoes commonly attributed to Nils Håkansson (Vittskövlemästaren) and were made during the latter part of the 15th century, probably in the 1460s. Ramel crypt contains three stone sarcophagi with the ashes of Malte Ramel and both his wives.

It is divided into three panels and five vertical sections. The central panel represents the namesake of the chapel, Saint Martin of Tours; it is believed to be the work of Andrés Florentino. On the sides of the altar are arcosolia containing the sepulchres of the canons Tomás González de Villanueva and Juan López de León; their sarcophagi are covered by their recumbent statues. :Chapel of Saint Eugene: is unique in retaining the original architecture from the 13th century.

Overlapping figures entirely fill the image space, allowing no room to depict a background. In many battle sarcophagi the side panels show more tranquil scenes, but here the battle continues round both sides. The lid of the sarcophagus has a center plaque for inscription and is flanked by two masks showing the side profile of men. Their facial features are idealized, similar to the Romans in the battle scene, but their hair and beards are untamed like the Barbarians.

Overlapping figures fill the image space entirely, allowing no room to depict a background. Thus, the sense of space has been eliminated, giving rise to chaos and a sense of weary, open-ended victory. The effect of movement in the scene is evident and, unlike many battle sarcophagi which have more tranquil scenes on the side panels, the battle events continue all the way around the sarcophagus. The perspective constructed is also notable, although certainly not linear.

This lends to the metaphorical connection ripening of the body of the deceased as it decomposes and the fermenting of the grapes as they begin to form wine. This type of shape is also used to represent the passage of time, the rounded edge allowing for the imagery of unending cycles that cannot easily be represented across the corners of a traditional sarcophagus. Several of the sarcophagi with Dionysian imagery shown in this section are of lenos shape.

The Asiatic sarcophagus with kline portrait of a woman also carried an Etruscan influence of sculpting portraiture on the lid. Made of marble, with reliefs on all four sides of the box (a feature in Eastern Sarcophagi production), and sculpted mini statues of Greek gods and heroes in frames are depicted. The lid displays a portrait of the woman with Cupid (right end) and a little dog (in which the paws only remain at the left end).

Roman sarcophagus showing Selene approaching Endymion. Ca. 200–220 AD. Metropolitan Museum, New York Occasionally, Selene and Endymion sarcophagi are used to represent familial love rather than erotic marital love. A good example is another Selene and Endymion sarcophagus in New York's Metropolitan Museum, a huge and exquisitely carved piece carved ca. 200–220 AD. This one features a portrait and inscription on the lid explaining that the sarcophagus was commissioned by a daughter for her mother.

The exhibits include tear catchers, glass and terracotta perfume bottles, figurines, gold pieces, necklaces and bracelets, coins, ornaments, bone objects and tools, metal containers, terracotta potteries, weapons, axes and cutters, milestones, inscriptions, altars, sarcophagi, sculptures and many other special pieces from the area's 5,000-year old history. Among the notable pieces are the 1994-excavated Polyxena sarcophagus and the 2012-discovered statue of Greek god Triton. Stone artefacts, columns, steles, and column capitals are exhibited in the museum yard.

The bones of 145 Habsburg royalty, plus urns containing the hearts or cremated remains of four others, are here, including 12 emperors and 18 empresses. The visible 107 metal sarcophagi and five heart urns range in style from puritan plain to exuberant rococo. Some of the dozen resident Capuchin friars continue their customary role as the guardians and caretakers of the crypt, along with their other pastoral work in Vienna. The most recent entombment was in 2011.

Longevity and circumstances of the tomb owners' deaths are unknown. The limestone sarcophagi beneath the mastaba were ransacked and wooden coffins of later date interred in the burial chambers. Booth, citing others, adheres to the theory that Khnumhotep died first, leaving Niankhkhnum to complete the tomb's art. This conclusion was drawn from Khnumhotep's jmAx epithets (see Titulary section), a style of beard he wears, and exclusion of his wife at the banquet scene when Niankhknum's was originally there.

The act of burying and the use of sarcophagi was a new form of honoring the dead for Romans starting in the 2nd century. The new tradition, however, was more for those who could afford such an elaborate form of burial. The only viewers at the time that truly interacted with it were the loved ones of the deceased. Their interaction consisted only of knowing that the deceased had a comfortable final resting place in the afterworld.

The Ministry of Forestry decided to establish a picnic area in the southern slopes of Toros Mountains where Mersin is in the view. During the construction, some archaeological remains were unearthed. Following a rescue excavations a Roman road, a necropolis, sarcophagi and a cistern were also unearthed along with other finds such as a 1st century - unguentarium which were transferred to Mersin Archaeological Museum. The hitherto unknown settlement may be a Hellenistic, Roman or early Byzantine settlement.

When the Trinity is depicted in art, the Logos is normally shown with the distinctive appearance, and cruciform halo that identifies Christ; in depictions of the Garden of Eden this looks forward to an incarnation yet to occur. In some Early Christian sarcophagi, the Logos is distinguished with a beard, "which allows him to appear ancient, even preexistent."Heidi J. Hornik and Mikeal Carl Parsons, Interpreting Christian Art: Reflections on Christian art, Mercer University Press, 2003, , pp. 32–35.

The domed room behind the window at right of the main gate conyains a mihrab, and it is assumed that the room was used as a masjid. The room behind the left window in the facade is reserved for the tomb, which contains the sarcophagi of the endower and his children. The entire walls of the tomb were initially covered with rich hexagonal tiles in blue and black. The tiles on the walls survived partly today.

The results became official in February 1825 after a deadlock was decided in the House of Representatives. He remarked, "No man who ever held the office of President would congratulate a friend on obtaining it." Tombs of John and Abigail Adams (far) and John Quincy and Louisa Adams (near), in family crypt at alt=3 marble sarcophagi, one in the foreground, 2 in the background are seen. 2 are seen with flags of the United States at the top.

In the same time, in the north gallery were the Stories of the Genesis by Piero di Puccio. The last images date from the early 17th century. On 27 July 1944, a bomb fragment from an Allied raid started a fire in the Camposanto, which burned for three days, causing the timber lead roof to collapse. The destruction of the roof severely damaged everything inside the cemetery, destroying most of the sculptures and sarcophagi and compromising all the frescoes.

Apis, dating to Year 21 of Psamtik I (c.644 BCE) In Egypt, the bull was worshiped as Apis, the embodiment of Ptah and later of Osiris. A long series of ritually perfect bulls were identified by the god's priests, housed in the temple for their lifetime, then embalmed and encased in a giant sarcophagus. A long sequence of monolithic stone sarcophagi was housed in the Serapeum, and was rediscovered by Auguste Mariette at Saqqara in 1851.

The high altar, which until the 19th century was in the middle of the nave, is now in the south-western apse; the opposing apse has a wooden catafalque of the 17th century, housing polychrome statues of the martyrs Gabinus, Protus and Ianuarius. The aisles led to the anti-crypt, in Renaissance style with statues of martyrs, and the crypt, which houses ancient Roman sarcophagi; the latter in turn house remains attributed to the Turres' martyrs.

Eva D'Ambra, "Racing with Death: Circus Sarcophagi and the Commemoration of Children in Roman Italy" in Constructions of Childhood in Ancient Greece and Italy (American School of Classical Studies at Athens, 2007), pp. 349–351; Nicole Belayche, "Religious Actors in Daily Life: Practices and Related Beliefs," in A Companion to Roman Religion (Blackwell, 2007), p. 289. One law from the Theodosian Code prohibits charioteers from using magic to win, on pain of death.Belayche, "Religious Actors," p. 289.

During that time, center of city was built, a Roman forum. This forum was built on possession of present-day Nikola Tavelić basilica. In 1896 Fra Anđeo Nunić discovered various sculptures of Roman deities, fragments of sarcophagi, and fragments of columns of medieval Christian church. From all those discoveries, most prominent are two votive monuments and altars dedicated to goddess Diana, one altar dedicated to native Illyrian god Armatus and one votive plate dedicated to goddess Libera.

University Museum excavation of the northern cemetery, however, did uncover significant finds. The Roman period tombs are of the loculus type: a rectangular rock-cut spacious chamber with smaller chambers (loculi) cut into its side. Bodies were placed directly in the loculi, or inside sarcophagi which were placed in the loculi. A sarcophagus with an inscription identifying its occupant in Greek as "Antiochus, the son of Phallion", may have held the cousin of Herod the Great.

Her son Valentinian III, from her second marriage to Constantius III, was probably buried in the same mausoleum, but this information is not recorded explicitly. Honorius's sister, Galla Placidia, her husband the augustus Constantius III, and her sons Theodosius and Valentinian III were probably buried there. It was later the probable tomb of the western augusti Libius Severus and Olybrius. The sarcophagi were buried beneath the floor of the mausoleum, beneath the niches in the walls.

Archaeologists have uncovered evidence demonstrating that the Chi-Rho was emblazoned on the helmets of some Late Roman soldiers. Coins and medallions minted during Emperor Constantine's reign also bore the Chi-Rho. By the year 350, the Chi-Rho began to be used on Christian sarcophagi and frescoes. The usurper Magnentius appears to have been the first to use the Chi-Rho monogram flanked by Alpha and Omega, on the reverse of some coins minted in 353.. See also .

One of the canals is suggested to originate from a mountain near Labweh extending to Qusayr. Labweh has several archaeological sites of interest including three old caves with Roman-Byzantine sarcophagi and the remains of a temple. There are also remains of a Byzantine bastion and a Roman dam suggested to date to the reign of Queen Zenobia. Legend suggests that channels were carved through the rock to send water to her lands in Palmyra, Syria.

The main street A. Giovanola The local inhabitants probably became subject to Roman rule by the time of the emperor Augustus. Sarcophagi from the 2nd–3rd century CE have been found and conserved in the "Palazzo della Ragione". The first documented mention of Cannobio dates to 909. During medieval times, the town became a center for wool and tanning industries, as well as the lumber trade. Cannobio was named as a village by 1207, and was granted administrative autonomy.

Many full-length statues were discovered in the region of the agora, and trial and unfinished pieces pointing to a true school are in evidence. Sarcophagi were recovered in various locations, most frequently decorated with designs consisting of garland and columns. Pilasters have been found showing what are described as "peopled scrolls" with figures of people, birds and animals entwined in acanthus leaves. The character of the temple building was altered when it became a Christian basilica.

The Palmyrenes buried their dead in elaborate family mausoleums, most with interior walls forming rows of burial chambers (loculi) in which the dead, lying at full length, were placed. A relief of the person interred formed part of the wall's decoration, acting as a headstone. Sarcophagi appeared in the late second century and were used in some of the tombs. Many burial monuments contained mummies embalmed in a method similar to that used in Ancient Egypt.

The icons were presented by Russian monks from the monastery of St. Pantaleimon on Mount Athos, Greece. The names of the Russian regiments and of Russian and Bulgarian dead are inscribed on 34 marble plates built in the walls of the church. The honoured dust of the Russian soldiers killed at Shipka Pass (1877–78) have been kept in 17 stone sarcophagi in the crypt. The Shipka Memorial church was ceremoniously consecrated on 27 September 1902.

Some sarcophagi may have been ordered during the person's life and custom-made to express their beliefs or aesthetics. Most were mass-produced, and if they contained a portrait of the deceased, as many did, with the face of the figure left unfinished until purchase.Strong, Roman Art, p. 231. The carved sarcophagus survived the transition to Christianity, and became the first common location for Christian sculpture, in works like the mid 4th-century Sarcophagus of Junius Bassus.

Obsidian and exotic shells have also been found in Mayan tombs. In the Tomb of the Red Queen inside Temple XIII in Palenque, the remains of a noble woman and all the objects inside the sarcophagus were completely covered with bright red vermilion dust, made of ground cinnabar, perhaps intended to suggest blood, the symbol of life. Other elite members of society were buried in vaults. The bodies of higher-ranking members of society were buried inside sarcophagi.

Barber, throughout. The decoration of the cave walls and sarcophagi at the Jewish cemetery at Beit She'arim also uses images, some drawn from Hellenistic pagan mythology, in the 2nd to 4th centuries CE. There are many later Jewish illuminated manuscripts from the Middle Ages, and some other works with human figures. The "Birds Head Haggadah" (German, now in Jerusalem) gives all the human figures the heads of birds, presumably in an attempt to mitigate any breach of the prohibition.

Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

Miroslav Verner, Abusir: realm of Osiris, American Univ in Cairo Press, 2002 The mastaba of Ptahshepses contained two sarcophagi: one for himself, and a slightly smaller one probably meant for Khamerernebty. The sarcophagus of Khamerernebty was part of the original design of the tomb, and must have been included before the conclusion of the mastaba. Khamerernebty's name has been found on limestone blocks, being inscribed by the builders. Khamerernebty was buried in the mastaba belonging to her husband.

In the right aisle, in the first and second chapel communicating with one another, are the monumental tombs of King Roger II, his daughter Queen Constance I of Sicily, her husband Emperor Henry VI, and their son Emperor Frederick II, as well as the burials of Frederick's first wife Constance of Aragon and his great-great- grandson William II, Duke of Athens on the side walls. The four main sarcophagi, all in porphyry, form a group that also includes that of William I of Sicily in Monreale Cathedral. They "are the very first examples of medieval free-standing secular tombs in the West, and therefore play a unique role within the history of Italian sepulchral art (earlier and later tombs are adjacent to, and dependent on walls)." It is likely that the four sarcophagi of William I (in Monreale), Constance, Henry and Frederick were carved by a local Sicilian workshop from a single Roman column shaft, possibly from the Baths of Caracalla or the Baths of Diocletian in Rome.

Having returned to England in the summer of 1794, he became tutor in several distinguished families. In 1799 he set out with John Marten Cripps on a tour through the continent of Europe, beginning with Norway and Sweden, whence they proceeded through Russia and the Crimea to Constantinople, Rhodes, and afterwards to Egypt and Palestine. After the capitulation of Alexandria, Clarke was of considerable use in securing for England the statues, sarcophagi, maps, manuscripts, etc., which had been collected by the French savants.

There are more than 1000 megalithic artifacts found in the villages around Bondowoso, such as menhirs (standing stones), sarcophagi, statues, dolmens (lying stones or tomb tables) and caves. A common megalith type found in Indonesia is the batu kenong with a shape resembling a local musical instrument. The Bondowoso Regency contains up to 400 batu kenong, the highest concentration in Indonesia. An easily accessible location with a wide variety of megaliths is the Pekauman Site at kilometer 8 on the Jember- Bondowoso road.

The technique of quarrying granite and limestone was an advanced technology by the time the pyramids were being built. Marble, alabaster and diorite were used for making statues, basalt for making sarcophagi, and dolomite for hammers to work hard stones. Precious and semi-precious stones that were extensively mined and worked as well included turquoise, beryl, amethyst, lapis lazuli and malachite. Hathor was the miner's patron goddess, and her temples, statues or inscriptions were found in many rediscovered mining locations.

When the Roman Empire adopted monotheism in the form of Christianity as the state religion, the phrase was used in reference to the Christian God. Its use continued long after the fall of the Roman Empire as Latin remained the ecclesiastical and scholarly language in the West. Thus the phrase, or its abbreviation, can be found on many Renaissance-era churches and other buildings, especially over sarcophagi, particularly in Italy and Malta. It is also inscribed on bottles of Bénédictine liqueur.

The lapidarium section in the Aquincum Museum, Budapest, Hungary A lapidarium is a place where stone (Latin: ) monuments and fragments of archaeological interest are exhibited. They can include stone epigraphs; statues; architectural elements such as columns, cornices, and acroterions; bas reliefs, tombstones; and sarcophagi. Such collections are often displayed in the outdoor courtyards of archaeology museums and history museums. A lapidary museum could either be a lapidarium or – less often – a gem museum (eg the Mineral and Lapidary Museum, North Carolina).

Differences in scale between the figures, though present, are far less marked than in the earlier Portonaccio sarcophagus, such that the general is only slightly larger than his troops or enemies. Nor is the general seen wearing a helmet or in actual combat, as in the earlier sarcophagi. The viewer is able to discern who the general is because he is placed in the top center of the relief. He extends outwards with a raised right arm and overlaps his horse.

Ariadne is oftentimes given portrait features or was prepared to have portrait features. Comparisons to Ariadne are used to exemplify beauty and likely did just that for the deceased. Similar to the Selene and Endymion sarcophagi, the deceased is meant to be imagined as Ariadne being visited by her husband in the form of Dionysus. The way in which Dionysus gazes upon Ariadne is meant to evoke intense and eternal love between the pair as well as the deceased and their loved one.

One of the more curious examples of mythological and biographical sarcophagi are those featuring Dionysian imagery. Dionysus (or, as the Romans called him, Bacchus) is known as a god of celebration and revelry, particularly of wine, and the wild areas of the world outside the cities. As such he and symbolism associated with him were popular for their ability to show scenes of joy or relaxation. Dionysian imagery is usually shown through the use of wine, grapes, and a generally festive atmosphere.

Other season sarcophagi even more strongly referenced the notion of an unshakeable ever-repeating cosmic order underlying the world. A good example is the season sarcophagus in Washington D.C.'s Dumbarton Oaks Museum. Here the standing personifications of the Four Seasons flank a central tondo/roundel (Romans called this a clipeus, the term for a round shield) which contains (unfinished) portrait busts of the deceased couple buried inside. Note that carved around the rim of the clipeus are the twelve zodiac signs.

In the tenth century the rotunda was not used anymore, and then it was converted - possibly by Romanos himself - into a cistern by covering its interior with a vaulted system carried by at least 70 columns.Striker (1981), p. 13. Near the palace the Emperor built a church, which he intended from the beginning to use as burial place for his family.The emperor brought three marble sarcophagi belonging to the Emperor Maurice and his sons from the church of St. Mamas.

At the front walls of the side aisles, sandstone epitaphs of Bertram von Nesselrode, his wife Lucia von Hatzfeld, and Bertram's parents Franz von Nesselrode and Anna Maria von Wylich can be found. These epitaphs were made in 1680/81 and were originally in another Herten church. When the chapel moved from Grimberg to Herten, the two decorated sarcophagi of Heinrich Knipping († 1578) and his wife Sybilla von Nesselrode († 1602) were also relocated. They can be found within the chapel.

The result was disapproved of by 18th- and 19th-century visitors, but has come to be appreciated for an example of the taste of its time.TCI, Firenze e dintorni 1964:286: "indeed, conceived according to the Baroque aim of arousing stupefaction" (concepita già secondo il fine barocco di destare stupore). Six grand sarcophagi are empty; the Medici remains are interred in the crypt below. In sixteen compartments of the dado are coats-of-arms of Tuscan cities under Medici control.

Nowadays there are many fragments of ceramics, Roman tiles, mineral slags, etc. There are even remnants of a wall of lime and flint that must have belonged to an Arab construction. This site was the subject of an official visit of archaeologists in March 1985. In Villaralto there are also a large number of Visigoth granite sarcophagi, with a trapezoidal or anthropomorphic shape, which have been moved from their original location and have been used as drinking troughs for cattle.

The frescoes in the overdoors depict Merit and Abundance. This whole cycle is influenced by the neoclassical trend that conquered the whole city during that period, through its ornamental motives, ancient-looking sculptures, sarcophagi, amphorae and vases, together with the "Olympic grace" of its figures. The parlor is also known as "the room of Wisdom", since it exalts the commissioner's idea of the arts and sciences giving wealth and nobility. The central oil on canvas was painted by Tiepolo in 1744-1745.

The narrator eats a very large amount of Welsh rabbit, accompanied by 'brown stout', and then goes to bed for a night's sleep. However, he is soon awakened and taken to Doctor Ponnonner's home to witness the unwrapping of a mummy. They cut into the first sarcophagus, remove it and discover the mummy's name, Allamistakeo. The second and third sarcophagi are removed to reveal the body, placed in a papyrus sheath, covered in plaster and decorated with painting and gold gilt.

When the catacombs were first explored by archaeologists in the 20th-century, the tombs had already fallen into great disrepair and neglect, and the sarcophagi contained therein had almost all been broken-into by grave-robbers in search for treasure. This pillaging was believed to have happened in the 8th and 9th centuries CE based on the type of terra-cotta lamps found in situ.Avigad, N. (1958), p. 36 The robbers also emptied the stone coffins of the bones of the deceased.

In Ancient Egypt Hammamat was a major quarrying area for the Nile Valley. Quarrying expeditions to the Eastern Desert are recorded from the second millennia BCE, where the wadi has exposed Precambrian rocks of the Arabian-Nubian Shield. These include Basalts, schists, bekhen-stone (an especially prized green metagraywacke sandstone used for bowls, palettes, statues, and sarcophagi) Survey of ancient Egyptian stone quarries (rock varieties and images, locations, and ages). James A. Harrell, Professor of Geology, Department of Environmental Sciences, University of Toledo.

Restored and remodeled, the MacArthur Memorial contains nine museum galleries whose contents reflect the general's 50 years of military service. At the heart of the memorial is a rotunda. In its center lies a sunken circular crypt with two marble sarcophagi, one for MacArthur, the other for Jean, who continued to live in the Waldorf Towers until her own death in 2000. The MacArthur Chambers in Brisbane, Australia, hosts the MacArthur Museum on the 8th floor where MacArthur had his office.

The 30 resting places approximately correspond to the number of Scipiones who lived between the beginning of the 3rd and the middle of 2nd century BC, according to Coarelli. There are two types of sarcophagi - "monolithic" (i.e.; carved from a single block of tuff) and "constructed." The latter type, which is in the majority, is an arched recess sunk into the wall in which the deceased was placed, and the opening covered by an inscribed slab with the letters painted red.

He arrived in Constantinople in 1920, living off the profits from his talent as a guitarist. He went on to pass through Sofia, Belgrade, Vienna, and Berlin before settling in Paris in 1923, all the while continuing to play in Russian cabarets. In 1929 he enrolled at the Académie de la Grande Chaumière. His paintings remained purely academic until he discovered, during his stay in London from 1935 to 1937, the abstract art and luminous colours of the Egyptian sarcophagi.

Over the centuries, both the atrium, chapels, and the nave of the basilica were packed with papal tombs, which were juggled between different sections of the church as construction took place on each section of the basilica. All that remains of the original tombs are a few sarcophagi and sculptural fragments.Reardon, 2004, p. 272. Allegedly, Pope Julius II, the pope who initiated the destruction of the Constantinian basilica, wished to clear space for a "monstrous" tomb of his own by Michelangelo.

The interior has a nave and two aisles separated by two series of rounded arches which are supported by twenty-two columns, taken from ancient edifices, in gray marble and pink granite, and three pairs of cruciform pilasters. Most of the capitals are of Roman origin. The nave is some three time wider than the aisles, and is covered by wooden trusses; the aisles have instead cross vaults. Roman sarcophagi housing the alleged remains of St. Gabinus and St. Ianuarius.

To the north of Donji Humac is the ruin of the church of Saint Luke, an early romanesque church from the 11th or 12th century. The inside of the church hosts the earliest known sketch of a boat in Croatian medieval art. Surrounding Saint Lucas are a number of stone sarcophagi that document the tradition of creating these since Roman times. Saint Andrew, north east of the town, was built in the 13th or 14th century, on top of Roman ancient ruins.

Merovingian art is the art and architecture of the Merovingian dynasty of the Franks, which lasted from the fifth century to the eighth century in present-day France and Germany. The advent of the Merovingian dynasty in Gaul during the fifth century led to important changes in the arts. In architecture, there was no longer the desire to build robust and harmonious buildings. Sculpture regressed to being little more than a simple technique for the ornamentation of sarcophagi, altars, and ecclesiastical furniture.

In the cliffs of the Monte Pineta to the south are other burial niches, and curious bas-reliefs called Santoni or Santicelli, carved in the 19th century by a peasant proprietor, which also appear to be related to funeral ceremonies. Also nearby is the necropolis of the Acrocoro della Torre, where many sarcophagi have been found. About north lies Buscemi, near which a sacred grotto has been discovered; and also a church cut into the rock and surrounded by a cemetery.

Experts didn't find anything that would point to the Christian tomb. Furthermore, one of two discovered sarcophagi in 1895 was a "female" one, and it was apparently a family tomb for a man, woman and a child. In addition, Brestovik is much further from Belgrade than 18 stadia (c. ). Despite protests from the experts, institutions and the owners of the lot, local clergy and worshipers entered the tomb in 2014, bringing icons, candles and flowers, and holding services, which partially damaged the monument.

The building by Fons Verheijen has an oblong shape with a slightly curved facade, freely modelled after medieval farms of which remnants were found in North Holland. It has 4200 m² of floor space, 2200 of that is for the climate controlled repository. The centre has a permanent exhibition with around a 1000 finds dating from the Neanderthal period onwards. Show pieces are two medieval sarcophagi found in Hem and Etersheim, three historical canoes and 14 models of humans, based on skeletal finds.

Josephus, The Jewish > Wars VII, 143-152 (Ch 6 Para 5). Trans. William Whiston Online accessed 27 > June 2006 These paintings have disappeared, but they likely influenced the composition of the historical reliefs carved on military sarcophagi, the Arch of Titus, and Trajan's Column. This evidence underscores the significance of landscape painting, which sometimes tended towards being perspective plans. Ranuccio also describes the oldest painting to be found in Rome, in a tomb on the Esquiline Hill: This episode is difficult to pinpoint.

The chambers inside were decorated inside with Corinthian pilasters and a painted coffered ceiling. The tower was partially reconstructed after it was visited by Gertrude Bell in 1900, and visitors could climb an internal staircase to the upper tomb chamber, and then the roof. Inside, the tower was divided into loculi, separate compartments like pigeonholes or a columbarium used to store the sarcophagi of deceased wealthy Palmyrenes, with each cell sealed with a carved and painted image of the occupant.

Dammers still regularly DJs in English nightclubs, as well as performing with his band, The Spatial AKA Orchestra, playing his own compositions and tributes to Sun Ra and other experimental jazz artists. The band features established jazz musicians Zoe Rahman, Larry Stabbins and Denys Baptiste. They perform in elaborate Ancient Egyptian and outer space-themed costumes, and share the stage with bizarre props such as model alien heads and mummy sarcophagi. Renowned trombonist Rico Rodriguez also featured in a number of shows.

Phoenician anthropoid sarcophagi (400-470 BC) found in Cádiz, thought to have been imported from the Phoenician homeland around Sidon (now in the Museum of Cádiz)A. B. Freijeiro, R. Corzo Sánchez, Der neue anthropoide Sarkophag von Cadiz. In: Madrider Mitteilungen 22, 1981. Founded around 1104 BC as Gadir or Agadir by Phoenicians from Tyre,Pseudo Scymnus or Pausanias of Damascus, Circuit of the Earth, 160-164 Cádiz is mostly regarded as the most ancient city still standing in Western Europe.

Remains of the city walls also survive. The vast necropolis contains free-standing sarcophagi and simple vaulted burial niches, as well as catacombs, which often contain several rooms, with vaulted niches dug out of the cliff face and irregularly separated by pilasters. Most of the graves are grouped together in sections accessed by stairs carved into the cliff face at various points. Some of the tombs have remains of reliefs still surviving in front of the entranceways, but there is no other decoration.

The sarcophagi of Duke Rudolf IV and his wife were placed upon a pedestal and the 62 urns containing organs were moved from the two rows of shelves around the new section to cabinets in the original chamber. Deposition in the crypt has not always been permanent. Emperor Frederick III lay here for only 20 years after his death, until his magnificent tomb upstairs in the south choir was ready. The body of his brother, Archduke Albert VI, was removed after 300 years.

Small carved reliefs were also found on sarcophagi like the Sarcophagus of Junius Bassus. However large monumental sculpture of religious subjects was not produced, and in Byzantine art and Eastern Orthodox art it is avoided to the current day. It only reappeared in Carolingian art, among peoples who had no memory of pagan religious statues. Paintings of Old Testament scenes are found in Jewish catacombs of the same period, and the heavily painted walls of Dura Europos Synagogue in Syria.

During that time the center of the city was built, a Roman forum. This forum was built on possession of present-day Nikola Tavelić basilica. In 1896 Fra Anđeo Nuć discovered various sculptures of Roman pagan deities, fragments of pagan sarcophagi, and fragments of columns of medieval Christian church. From all those discoveries, most prominent are two votive monuments and altars dedicated to goddess Diana, one altar dedicated to native Illyrian god Armatus and one votive plate dedicated to goddess Libera.

In Egypt, the bull was worshiped as Apis, the embodiment of Ptah and later of Osiris. A long series of ritually perfect bulls were identified by the god's priests, housed in the temple for their lifetime, then embalmed and encased in a giant sarcophagus. A long sequence of monolithic stone sarcophagi were housed in the Serapeum, and were rediscovered by Auguste Mariette at Saqqara in 1851. The bull was also worshipped as Mnevis, the embodiment of Atum-Ra, in Heliopolis.

Santa Maria del Faro is a church in the quartiere of Posillipo of Naples, Italy. Baroque Facade A church was founded here in the 13th century, and restored in the 18th century using designs by Ferdinando Sanfelice and under the patronage of the Mazza family. The Baroque church incorporates small fragments of Roman sarcophagi. It contains fragments of the Roman Villa of Pausylipon, which was the site of a Roman lighthouse; hence the name Santa Maria del Faro, "Saint Mary of the lighthouse".

Other sculptural representations of the Nativity include ivory miniatures, carved stone sarcophagi, architectural features such as capitals and door lintels, and free standing sculptures. Free-standing sculptures may be grouped into a Nativity scene (crib, creche or presepe) within or outside a church, home, public place or natural setting. The scale of the figures may range from miniature to life-sized. These Nativity scenes probably derived from acted tableau vivants in Rome, although Saint Francis of Assisi gave the tradition a great boost.

The 13th-century frescoes, which were reconstructed, depict scenes from the lives of St. Lawrence and St. Stephen, both being martyred, young deacons. There are two ancient sarcophagi in the portico: a Christian one, possibly decorated in the 7th century on an older sarcophagus, has a relief depicting putti (cherubs) picking grapes. While vines and grapes are symbols of the Holy Eucharist, these images are probably not symbols thereof. Further, two Romanesque stone lions were moved here from the old entrance.

From 1800 to 1805, Lewis oversaw the construction of the Woodlawn Plantation, designed by the physician-architect William Thornton. Lewis and his wife lived at Woodlawn until about 1830, when they settled at the new Audley estate in what is now Clarke County, Virginia. Lewis had purchased the tract of from George Washington's extensive real estate holdings. He died in 1839 in Arlington, Virginia and was buried in the vault at Mount Vernon, close to the sarcophagi of George and Martha Washington.

On display in a glass- covered sarcophagus in the northern transept are the remains of the Haraldskær Woman, one of the best conserved of the Iron Age bog bodies. The southern transept houses the sarcophagi of Kai de la Mare and his wife. The exterior brick wall of the north transept has an interesting feature of 23 spherical indentations approximately 15 cm (6 inches) in diameter, which hold the skulls of 23 robbers who were caught and beheaded in the nearby Nørreskov forest.

The theme of Moses crossing the Red Sea was taken up by the panegyrists of Constantine the Great and applied to the battle of the Milvian Bridge (312). The theme enjoyed a vogue during the fourth century on carved sarcophagi: at least twenty-nine have survived in full or in fragments.Paul Stephenson, Constantine, Roman Emperor, Christian victor, 2010:209f. Eusebius of Caesarea cast Maxentius, drowned in the Tiber, in the role of Pharaoh, both in his Ecclesiastical History and in his eulogistic Life of Constantine.

The excavations for the foundations unearthed several archaeological finds, including some sarcophagi. In one of these was found the skeleton of a young woman, Crepereia Tryphaena, together with a superbly crafted articulated ivory doll, now conserved in the Centrale Montemartini museum. On 11 January 1911, twenty-two years after construction began, the building was officially opened in the presence of the King of Italy, Victor Emmanuel III. The building's unusually large size, astonishing decorations, and long period of construction created the suspicion of corruption.

The right arms of the transept houses also several sarcophagi from the mid-14th century, including the tomb of Lanfranco Settalo, counsellor of Archbishop Giovanni Visconti, by Giovanni di Balduccio. Near the rear exit is a 16th-century tombstone portraying the Angel of the Resurrection, another fresco by the Fiammenghini (under which is a 14th- century fresco). On the side walls of the presbytery are frescoes depicting Dispute of St Ambrose and St Augustine by Camillo Procaccini and the Baptism of St. Augustine by Giovanni Battista Crespi.

The church contains a fine organ and several ancient sarcophagi. The archives, now national property, include fine incunabula, documents and manuscripts of great value (including the Codex Legum Longobardorum of 1004 and the La Cava Bible). The prestige of the holy men leading the abbey, together with the need for protection, gave rise to the birth of an early residential complex there. In time, thanks to continuous donations, the possessions of the abbey increased, while the relative tranquillity of the valley brought growth in handicrafts and commerce.

On the western side of the tomb is a red sandstone mosque with three bulbous domes faced with marble, and on the eastern side is mirror- image assembly hall that likewise has three marble domes. At the center of the tomb hall lies the cenotaph of Mumtaz Mahal, with her husband's off-center to the west. The actual sarcophagi lie directly below, in the crypt, but in the same arrangement. The last major Islamic tomb built in India was the tomb of Safdar Jang (1753–54).

Each side of the iwan is framed with a huge pishtaq or vaulted archway with two similarly shaped arched balconies stacked on either side. This motif of stacked pishtaqs is replicated on the chamfered corner areas, making the design completely symmetrical on all sides of the building. Four minarets frame the tomb, one at each corner of the plinth facing the chamfered corners. The main chamber houses the false sarcophagi of Mumtaz Mahal and Shah Jahan; the actual graves are at a lower level.

They dominated the northern and central area, while the south retained much of its Tartessian character, combined with the Celtici until the Roman conquest. Some small, semi-permanent trading settlements were founded by Phoenician- Carthaginians on the southern coast of the Algarve. The Roman invasion in the 3rd century BC lasted several centuries, and developed the Roman provinces of Lusitania in the south and Gallaecia in the north. Numerous Roman sites include works of engineering, baths, temples, bridges, roads, circuses, theatres, layman's homes, coins, sarcophagi, and ceramics.

O blessed power, regard my ardent > prayer, and human life to age abundant spare. In later eras, as the transition from life to death in Elysium became a more attractive option, Thanatos came to be seen as a beautiful Ephebe. He became associated more with a gentle passing than a woeful demise. Many Roman sarcophagi depict him as a winged boy, very much akin to Cupid: "Eros with crossed legs and torch reversed became the commonest of all symbols for Death", observes Arthur Bernard Cook.

This is an example of an Asiatic garland sarcophagus, dated between 150 and 180 C.E. The sarcophagus is made from Dokimeion marble, so it was likely sculpted in Phrygia and then shipped to Rome. The sarcophagus has a gable-roof lid and exemplifies the garland tradition common on ash altars and chests. It also has several incomplete parts on its four sides, suggesting the work was interrupted or the sarcophagus was needed on short notice. Athens was the main production center for Attic style sarcophagi.

Until this point, the Stift had supplied the priests for the other Aschaffenburg churches, St. Agatha and Unsere liebe Frau. The church was damaged by Allied bombing in World War II, but most of the works of art survived. In 1956, anthropologists from the University of Mainz opened the 13th-century sarcophagi and confirmed that they indeed held the remains of Otto I, Liutgard and her daughter Hildegard. In 1957, the church and its associated buildings were transferred to the Kirchenstiftung Sankt Peter und Alexander, a foundation.

The Monastery of Great Lavra () is the first monastery built on Mount Athos. It is located on the southeastern foot of the Mount at an elevation of . The founding of the monastery in AD 963 by Athanasius the Athonite marks the beginning of the organized monastic life at Mount Athos. At the location of the monastery, there was one of the ancient cities of the Athos peninsula, perhaps Akrothooi, from which the sarcophagi of the monastery that are in the oil storage house come.

Among the most common themes depicted on Roman sarcophagi spread over a hundred years are variants of the 'erotic sleeper'. The finality of death was avoided through depictions of the deceased alternatively as asleep. Rather than dealing with the permanent loss of a loved one, they could be imagined as still present in a way, and somewhat aware of the world around them. Sleep allowed for hope amongst the living that they may one day reunite with the deceased in dreams or in their own eternal sleep.

The 16 sarcophagi were discovered in 1887 in an orchard north east of the city near the village of Helalieh; they were moved by the Ottomans after their unearthing to the Istanbul Archaeology Museum. The exhibition space includes the library of jurist and law professor François Debbane; it holds more than 2,500 works including 50 rare books. A third room exhibits the history of the Debbane family and the genealogical family tree. The tayyara houses a collection of old films and photographs of the city of Saida.

Fernán González and Sancha were buried at San Pedro, however, and remained there until the dispersal of the monastic community in 1841 necessitated the removal of their sarcophagi to the collegiate church of San Cosme y San Damián at Covarrubias. The present ruins of the church are those of the building begun in 1080. It had three naves and three semicircular apses in the Romanesque style. Later modifications in the Gothic style transformed the outward appearance, but some of its eleventh-century capitals have been preserved.

Barbar pottery has been unearthed around the walls of the central building, dating back to the same age as the Barbar Temples, although some of the other pottery and range of unearthed artefacts indicated that they predated the temples, dating back to 3000 BC or later. Relics of copper and ivory provide an insight into ancient trade links. Many vessels have been unearthed on the site, and Danish excavations of the Palace of Uperi area revealed "snake bowls", sarcophagi, seals and a mirror, among other things.

Malise is believed to have died in 1271, while in France. His body was brought back to Scotland, and he was buried at Dunblane Cathedral, the religious centre of Strathearn. In 1817, during reconstruction of Dunblane Cathedral, two sarcophagi were discovered with life-size effigies of a warrior and his lady. Since the fourteenth-century chronicler John of Fordun had recorded Dunblane as the burial site of Malise, these were determined to be the tombs of Malise and his countess, though which one is uncertain.

There are many types and sizes of the tombs, from those to sarcophagus to those of cippo, from simple tombstones to broken columns. The most elaborate sarcophagi are raised by leopard paws and supported by other structures, with carved scarves, crowns of garland, etc. There are two burial tombs with columns, recalling some of the 19th-century rhetorical works, such as theatrical scenery. It dates back to 1846 and was carved by Aronne Sanguinetti for Chiara Rafael: it has Doric columns, fronts and acrobats.

The culture's the most emblematic piece comes from this period, a form of poporo known as the Poporo Quimbaya, on exhibit at the Bogotá Gold Museum. The most frequent designs in the art pieces are anthropomorphic, depicting men and women sitting with closed eyes and placid expression, as well as many fruits and forms of poporos. Most of the retrieved items are part of funeral offerings, found inside sarcophagi made of hollow trunks. The gold represented a sacred metal and the passport for the afterlife.

The National Museum of Beirut currently exhibits 1300 artifacts from its collection of approximately 100,000 objects. The museum displays follow a chronological circuit beginning in Prehistory and ending in the Ottoman era. The circuit begins on the ground floor where 83 large objects are displayed, these include sarcophagi, mosaics statues and reliefs. The upper floor displays 1243 small and medium-sized artifacts arranged by chronological order and by theme in modern showcases with soft lighting and magnifying glasses that emphasize the aesthetic aspect of the artifacts.

Nebi Safa, Nabi Safa, Neby Sufa, An Nabi Safa, An Nabi Safa' or En Nabi Safa also known as Mazraet Selsata or Thelthatha is a village in the Kfar Mishki municipality situated west of Rashaya in the Rashaya District of the Beqaa Governorate in Lebanon. The village is situated in a gap in a ridge overlooking the Wadi Al-Taym between the Merj Shemiseh and is predominantly occupied by Druze. It was visited by Edward Robinson in 1852, who noted two sarcophagi in the area.

This more than 3-meter-wide stairway extends up to the top floor without any central supports. At its foot are two 3rd-century sarcophagi. The first piano nobile (first upper floor) features chandeliers made from Murano glass, marble flooring and doorways and silk tapestries on the wall. The public rooms also house numerous works of art, from statues, European paintings (16th-19th centuries) as well as Oriental pieces such as Chinese lions (Han and Wei dynasties), Cambodian Buddha heads and Indian and Persian artifacts.

In the smaller apses are two sarcophagi: one contains the relics of Saint Columba, which has been restored, and various relics are kept in the other. In the sacristy to the right is located an altar with a painting which probably depicts Saint Maurus, named by tradition as the first bishop of Bari, in the 1st century. In the palace of the Curia, adjacent to the cathedral, is situated the Diocesan Museum, where the Exultet is displayed. This is a precious manuscript of Byzantine origin, finely illuminated.

Later, relief of goddess Diana was also found and one relief of Diana and Silvanus together. Also, new altars, fragments of sarcophagi, clay pottery, parts of columns, and various other findings from Roman and early medieval age were found. This led to conclusion that on place of present-day Catholic graveyard "Karaula" (which was previously an Ottoman military border post and guardhouse) was Roman and Illyrian sanctuary and graveyard. In 1969, a tablet, which was part of an altar, was found near village Letka.

There is, for example a particular motif of several sheep, one of which has a foot raised to scratch its ear, which occurs in Italy in the 13th and 14th centuries in manuscript illumination, wall paintings and carved stone panels. A motif of paired flying winged figures which is seen on pagan Roman sarcophagi passed into Christian art as a very commonly used portrayal of angels. The reproduction of figures from manuscripts was particularly common in stained glass windows with various Biblia Pauperum being frequent sources.

The decoration of the burial chamber is a synthesis of motifs from the 6th dynasty and the 11/12th dynasties. For example, a band of hieroglyphs intended for the exterior of a sarcophagus were combined with 6th dynasty motifs used for decorating the interior of sarcophagi. The upper parts of the west and south walls is decorated with a frieze which depicts the burial of Reherishefnakht. The lower parts of the same walls and the whole of the east wall are inscribed with hieroglyphs.

Edwin C. Brock (20 April 1946 - 22 September 2015) was an American Egyptologist, who worked for the Theban Mapping Project at the American University in Cairo. He worked on royal sarcophagi in the Valley of the Kings. He also worked in the tombs of Merenptah (KV8) and Amenmeses (KV10), along with Otto Schaden and the Theban Mapping Project (of which he was a member from 1997 to 2004). He was the co-director of the Amenmesse Tomb Project, which in February 2006 announced the discovery of KV63.

At the site of the former crossing, on the axis of the church, wall remnants and limestone sarcophagi were found. From the positioning of the remnants it was concluded that the eastern annex of the church had been found. By studying the groundplan of the second church which included a very broad and extremely short nave and a heavy tower, the dimensions of the connecting hall were deduced. The original church was a rectangular single-nave building with an attached rectangular annex on the east side.

St. Jadwiga's Church in Brzeg, Poland, is a Gothic castle church built in the fourteenth-century. The Gothic brick-built chapel, adjoined to the south- western portion of Brzeg Castle was built in the former location of a collegiate church built between 1368 and 1369. In 1741, the chapel was destroyed due to Prussian bombardment, with only the presbytery having had survived. After its reconstruction in 1783-1784, the chapel served as the mausoleum for the Silesian Piasts (after 1945, 22 sarcophagi were found in the crypt).

Hypogea were also found in Dynastic Egypt, such as at the Northern Mazghuna pyramid, Southern Mazghuna pyramid and Southern South Saqqara pyramid. The hypogea in ancient Palmyra contained loculi closed with slabs bearing sculptured portrait reliefs, and sarcophagi with sculptured family banqueting scenes on their lids. The later Christians built similar underground shrines, crypts and tombs, which they called catacombs. But this was only a difference in name, rather than purpose and rituals, and archeological and historical research shows they were effectively the same.

These are also seen in the enormous strips of reliefs that wound around Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture, their reliefs were typically not as high as in Ancient Greece.Avery, ii and iii Very high relief re-emerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neoclassical pediments and public monuments.

The "Tortoise" fountain near the parterre was also made by T.W. Story at around the same time. In the forecourt there is a collection of eight marble Roman sarcophagi, some of which date from c.AD 100 and were bought by Lord Astor from Rome. The Queen Anne Vase at the end of the Long Walk is said to have been given to Lord Orkney by Queen Anne in the 18th century and consists of a tall urn on a plinth decorated with the Greek key pattern.

The name of the mother cow and the place of the calf's birth often are recorded. The sarcophagi are of immense size and the burial must have entailed enormous expense. It is remarkable, therefore, that the ancient religious leaders contrived to bury one of the animals in the fourth year of Cambyses II. The Apis was a protector of the deceased and linked to the pharaoh. Horns embellish some of the tombs of ancient pharaohs and Apis often was depicted on private coffins as a powerful protector.

Miltiades decided that the martyrs should be venerated with the names of Claudius, Nicostratus, Simpronianus and Castorius; these names — together to a fifth, Simplicius — were those of five Pannonian martyr stonemasons. These martyrs were later identified with the four martyrs from Albano; Secundus (or Severus); Severianus; Carpoforus (Carpophorus); and Victorinus (Vittorinus). The bodies of the martyrs are kept in four ancient sarcophagi in the crypt. According to a stone dated 1123, the head of one of the four martyrs is buried in Santa Maria in Cosmedin.

Illuminated biblical manuscripts of this period survive only in fragments: for example, the Quedlinburg Itala fragment is a small portion of what must have been a lavishly illustrated copy of 1 Kings.. Early Byzantine art was also marked by the cultivation of ivory carving.. Ivory diptychs, often elaborately decorated, were issued as gifts by newly appointed consuls.. Silver plates were another important form of luxury art:. among the most lavish from this period is the Missorium of Theodosius I.. Sarcophagi continued to be produced in great numbers.

Progress was slow at first, since many believed that the tomb should be in Washington, D.C., and because there was no architectural design to show. Eventually they selected a proposal by John Hemenway Duncan for a tomb of "unmistakably military character," modeled after the Mausoleum of Halicarnassus, with twin sarcophagi based on Napoleon’s tomb at Les Invalides. The tomb was completed in 1897, and has been under the management of the National Park Service since 1958. After a period of neglect, it has been restored and rededicated.

Mummy portraits, depicting the deceased wearing gold wreaths and busts or stelae of the dead, began to emerge as a result of Alexandrian influence. Lamps, cookware, and libation vessels have been excavated in these tombs, suggesting the continuation of funerary feasts of the living during the Roman period on Cyprus. Tomb structures that are unique or scarcely located are assumed to be those of the elite, or foreign. Uncommon burial practices that occurred during Roman Cyprus included cremation, tumulus tombs, sarcophagi, and peristyle tombs.

The Antikensammlung Berlin (Berlin antiquities collection) is one of the most important collections of classical art in the world, now held in the Altes Museum and Pergamon Museum in Berlin, Germany. It contains thousands of ancient archaeological artefacts from the ancient Greek, Roman, Etruscan and Cypriot civilizations. Its main attraction is the Pergamon Altar and Greek and Roman architectural elements from Priene, Magnesia, Baalbek and Falerii. In addition, the collection includes a large number of ancient sculptures, vases, terracottas, bronzes, sarcophagi, engraved gems and metalwork.

The Relics Chapel contains the relics of St. Christina, St. Ninfa, St. Cosma, St. Agatha and St. Mamilianus, first patron of Palermo. La S. Vergine con il Bambino inside the cathedral by Antonio Filocamo. The crypt, accessed from the left side, is an evocative room with cross vault supported by granite columns, housing tombs and sarcophagi of Roman, Byzantine and Norman ages. People buried here include archbishops Walter Ophamil, the church's founder, and Giovanni Paternò, patron of Antonello Gagini who sculpted the image on his tomb.

Jelgava before the Second World War had regular, broad streets lined with the mansions of the Baltic German nobility who resided at the former capital of Courland. The old castle (1266) of the dukes of Courland, situated on an island in the river, was destroyed by Duke Biren, who had a spacious palace erected (1738–1772) by Bartolomeo Rastrelli at the bridge across the Lielupe. The palace contains the sarcophagi of almost all of the Curonian dukes, except the last one. The future Louis XVIII sojourned in the palace between 1798 and 1800.

Pedaloes on the Titisee In 1840, two sarcophagi made of worked tuff were found below a knoll by the outflow of the Gutach from the Titisee. In 2011, the archaeologist, Andreas Haasis-Berner, published an article stating that they had to date to the period between 700 and 900. Hitherto, it had been thought that the High Black Forest had been unsettled during the first millennium.Andreas Haasis-Berner: Das Rätsel vom Titisee, In: Archäologische Nachrichten aus Baden, Heft 80/81Peter Stellmach: Titisee-Neustadt: Die Stadt hätte ums Haar das 900.

Thanks to their strategic location, they had best opportunities for sea trade and even piracy. In later times, the region of Lycia was occupied by the Persian Empire, Ancient Greece, and then controlled by Ancient Rome, Byzantine Empire, Seljuk Empire, and finally the Ottoman Empire. Rock- cut tombs on cliff walls and sarcophagi in the region testify to the Lycian civilization. The Lycian Way, used by the Lycians as a footpath and mule trail, was conceived by Kate Clow, a British expatriate living in Turkey since 1989, and opened in 1999.

The mastaba-like structure on the terrace is surrounded by a pillared ambulatory along the west wall, where the statue shrines and tombs of several royal wives and daughters were found. These royal princesses were the priestesses of Hathor, one of the main ancient Egyptian funerary deities. Although little remained of the king's own burial, six sarcophagi were retrieved from the tombs of the royal ladies (Ashayet, Henhenet, Kawit, Kemsit, Muyet and Sadhe). Each was formed of six slabs, held together at the corners by metal braces and carved in sunken relief.

Although the church was rebuilt about 1710, the tower is over seven hundred years old. At the rear of the church is the site of the former Humberston Abbey of Benedictine monks, which was founded during the reign of Henry II and dedicated to Saints Mary and Peter. Although nearly all that remains is the monks' mound in the manor-house garden, stone sarcophagi have been excavated. The Wesleyan Methodists built a small chapel on Humberston Avenue in 1835, and a larger replacement chapel was built in 1907.

The principal subject matter of Catholic art has been the life and times of Jesus Christ, along with people associated with him, including his disciples, the saints, and motives from the Catholic Bible. The earliest surviving artworks are the painted frescoes on the walls of the catacombs and meeting houses of the persecuted Christians of the Roman Empire. The Church in Rome was influenced by the Roman art and the religious artists of the time. The stone sarcophagi of Roman Christians exhibit the earliest surviving carved statuary of Jesus, Mary and other biblical figures.

The sarcophagus below the tombstone measures long, wide and high. Front of the Basilica of Saint Paul Outside the Walls The discovery of the sarcophagus is mentioned in the chronicle of the Benedictine monastery attached to the basilica, in regard to the 19th century rebuilding. Unlike other sarcophagi found at that time, this was not mentioned in the excavation papers. On 6 December 2006, it was announced that Vatican archaeologists had confirmed the presence of a white marble sarcophagus beneath the altar, perhaps containing the remains of the Apostle.

The Giovanni Patroni Civic Museum, located on Corso Vittorio Emanuele in the heart of Pula, houses relics discovered during archaeological excavations of Nora. In the church of San Giovanni Battista (St. John the Baptist) are two marble sarcophagi, one of which contains the remains of the Duchess of St. Peter Agostina Deroma, who died in 1759. On the Piazza del Popolo is the Villa Santa Maria, designed by Gaetano Cima in the first half of the 19th century, and built on the ruins of an ancient church of the same name.

NIV translation, which refers to the Dead Sea Labweh in the original Syriac tongue means "heart" or "center", it also has been suggested to come from the Arabic for "lion" or "lioness". The village has several archaeological sites of interest including three old caves with Roman-Byzantine sarcophagi and the remains of a temple. There are also remains of a Byzantine bastion and a Roman dam suggested to date to the reign of Queen Zenobia. Legend suggests that channels were carved through the rock to send water to her lands in Palmyra, Syria.

The dedicatory inscription reads "Galla Placidia, along with her son Placidus Valentinian Augustus and her daughter Justa Grata Honoria Augusta, paid off their vow for their liberation from the danger of the sea." Her Mausoleum in Ravenna was one of the UNESCO World Heritage Sites inscribed in 1996. However, the building never served as her tomb, but was initially erected as a chapel dedicated to Lawrence of Rome. It is unknown whether the sarcophagi therein contained the bodies of other members of the Theodosian dynasty, or when they were placed in the building.

Tello and his children later donated this monastery to the Monastery of Sahagún in 1198. Tello Pérez de Meneses probably died in the first half of 1200 since his children made a donation in June of that year to the abbot of the Monastery of Sahagún and certainly before April 1201 when again, they made a donation of several properties for the souls of their parents. According to the 16th century historian Ambrosio de Morales, the sarcophagi of the founders were in the main chapel of the disappeared Monastery of Matallana.

During Crusader rule over Jerusalem, the cemetery appears to have once again served as a burial place for Christians. Charles Simon Clermont-Ganneau, the French archaeologist, described and sketched several Frankish sarcophagi that were in the cemetery in the 19th century, most of which were destroyed in 1955 (see below). Al-Quraishi, a famous Sufi mystic said to have had miraculous healing powers, immigrated to Jerusalem from Andulasia by way of Fustat and garnered a school of disciples in his new home that numbered some 600 people before his death and burial in 1194.

From the 8th century BCE to as late as the 2nd century CE an inland trading society emerged on the Xieng Khouang Plateau, around the megalithic site called the Plain of Jars. The Plain, nominated to the tentative list of UNESCO World Heritage Site in 1992 is still being cleared from unexploded ordnance since 1998. The jars are stone sarcophagi, date from the early Iron Age (500 BCE to 800 CE) and contained evidence of human remains, burial goods and ceramics. Some sites contain more than 250 individual jars.

Byzantine artifact in Konya Archaeological Museum Konya Archaeological Museum is a state archaeological museum in Konya, Turkey. Established in 1901, it had been relocated twice before moving to its present location in 1962. One of the most prominent displays in the museum is of sarcophagi and other antiquities from the ancient city of Çatalhöyük. Other exhibits relate to the Neolithic, Bronze Age (old-Bronze and mid-Bronze periods), Iron Age (Phrygian and Urartu), Classical, Hellenistic, Roman and the Byzantine periods; artifacts consist of ceramic ware, stone and bronze wares, ornaments and inscriptions.

The borders are enriched with various animal figures and typical Roman geometric motifs. There is also an interactive wall display application showing a 3D-scene of gladiator fight inspired from the gladiator figures on the mosaics of Orthosia. ;Stone artifacts Hall: Ancient Roman statues of woman The hall displays sculptures, reliefs, busts, capitals, altars as well as sarcophagi, burial urns and steles related to burial rituals from various eras, which were discovered at ancient cities and settlements around Aydın. A statue of Pan, the god of the wild, shepherds and flocks, is situated also here.

Warfare was a very popular subject in Ancient Greek art, represented in grand sculptural scenes on temples but also countless Greek vases. On the whole fictional and mythical battles were preferred as subjects to the many historical ones available. Along with scenes from Homer and the Gigantomachy, a battle between the race of Giants and the Olympian gods, the Amazonomachy was a popular choice. Later, in Roman art, there are many depictions on the sides of later Roman sarcophagi, when it became the fashion to depict elaborate reliefs of battle scenes.

The drunkenness of Silenus Van Opstal was particularly skilled in the carving of low-relief friezes with classical mythological themes. He worked not only in stone and marble, but was also an expert in carving ivory reliefs. His ivory reliefs were widely admired and collected by his contemporaries and 17 of them were in the collection of king Louis XIV. Gerard Cecil de Van Opstal’s style combined elements of Roman sarcophagi, the Renaissance, the Baroque style of Peter Paul Rubens and Francois Duquesnoy and the emerging French classical style.

The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations,Stephen Harrison, entry on "Cupid," The Oxford Encyclopedia of Ancient Greece and Rome (Oxford University Press, 2010), p. 338. and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth.Hendrik Wagenvoort, "Cupid and Psyche," reprinted in Pietas: Selected Studies in Roman Religion (Brill, 1980), pp. 84–92. Often presented as an allegory of love overcoming death, the story was a frequent source of imagery for Roman sarcophagi and other extant art of antiquity.

The scene on the sarcophagus depicts Roman values of heroic struggle and glorification of the hero, as well as themes of good over evil and civilized men over barbarians. The inclusion of Barbarians in the relief expresses how Romans viewed themselves as preservers of the civilization, much like the Greeks were. The undercutting of the deep relief exhibits virtuosic and very time-consuming drill work, and differs from earlier battle scenes on sarcophagi in which more shallowly carved figures are less convoluted and intertwined.Welch, "Roman Sculpture", in The Oxford History of Western Art, p.

On a damaged plaque surmounting the lid is a poem praising Bassus in largely secular terms, and the inscription running along the top of the body of the sarcophagus identifies him, and describes him as a "neophyte", or recent convert. Further small reliefs on the lid, and heads at the corners, are badly damaged.Texts, though nb the descriptions of the iconography here are not accurate. They showed scenes of feasts and a burial procession typical of pagan sarcophagi;Elsner, 87 it is possible the lid was not created to match the base.

Like many other bucolic sarcophagi, this one shows the life of a shepherd as one of peace, tranquility and prosperity, with plenty of leisure time for idle musing and soulful contemplation. The shepherds here are surrounded by their happy herds (including sheep, goats, cattle, and horses), who appear to smile as they nibble away contentedly. One shepherd is shown resting his head on a stick lost in thought, showing that they have all the time in the world to rest and reflect upon what lies ahead of them.

Early Christian sarcophagi produced from the late 3rd century onwards, represent the earliest form of large Christian sculpture, and are important for the study of Early Christian art. They were mostly made in a few major cities, including Rome and Athens, which exported them to other cities. Elsewhere the stela gravestone remained more common. They were always a very expensive form reserved for the elite, and especially so in the relatively few very elaborately carved examples; most were always relatively plain, with inscriptions, or symbols such as garlands.

Coated in plaster and painted in fresco, it has posed an art historical conundrum ever since its rediscovery, since the Minoans (unlike the ancient Egyptians) otherwise only used frescoes for the enjoyment of the living and not in funerary practice.See also A. Papagiannopoulou 1999, 118. It is the only limestone sarcophagus of its era discovered to date and the only sarcophagus with a series of narrative scenes of Minoan funerary ritual (later sarcophagi found in the Aegean were decorated with abstract designs and patterns). It was originally used for the burial of a prince.

The Debbane Palace ground floor's stately chambers and furnishings provide a glimpse of a traditional Ottoman house. In addition to Ottoman era furniture and décor, the selamlik chambers hold a collection of Ottoman-era wood and ivory-inlaid musical instruments from Syria including ouds and buzuqs. The museum also boasts six exhibition spaces; these occupy the bedrooms built in the early 20th century. One of the rooms will host the planned virtual museum of the necropolis of the kings of Sidon; this exhibition will include high resolution photographs of the collection of royal Sidonian sarcophagi.

In 1902 he undertook an acquisition on a scale unprecedented in the history of American collecting: he bought the contents of the Palazzo Accoramboni in Rome. The collection abounded in significant works, many of them found to be by masters other than those to whom they had been ascribed, and others by artists not in fashion at that time. In the latter category fell El Greco's painting, St. Francis Receiving the Stigmata. Among the collection's archeological treasures were seven magnificent sarcophagi from a burial chamber associated with the Calpurnii Pisones family.

The collection of 18 mausolea, dating from the 12th to 8th centuries BC, incorporates unique architectural and constructive style. The commonality between all examples is a central room surrounded by two or three perimeter walls made of stacked stone or large vertical stone slabs. The central rooms house sarcophagi and altars, which contrast the nearby burials outside the mausolea in the open. This fact hints at an embedded social stratification and hierarchy within Begazy-Dandybai society, and signifies those buried in the mausolea as royalty, noblemen, or priests.

The first place of worship, dedicated to the Apostle John, was founded in the seventh century on a Roman road crossing the marshes of the lower valley of the Orne; this axis connecting Augustodurum (Bayeux) to Noviomagus Lexoviorum (Lisieux) later became rue Exmoisine, now rue Saint-Jean. In 1954-1956, monolithic sarcophagi made of Caen stone were discovered during work in the church. They testify to the probable existence of a small necropolis along the Roman road and an oratory founded nearby. From this pre-Romanesque sanctuary, there is nothing left.

The area became a highly desirable place to be buried and tombs soon multiplied. As early as the 4th century there were already several thousand tombs, necessitating the stacking of sarcophagi three layers deep. Burial in the Alyscamps became so desirable that bodies were shipped there from all over Europe, with the Rhône boatmen making a healthy profit from the transportation of coffins to Arles. The Alyscamps continued to be used well into medieval times, although the removal of Saint Trophimus' relics to the cathedral in 1152 reduced its prestige.

Though mainly notable for its outstanding Romanesque architecture and sculpture, the church contains rich groups of art from other periods. These include several important carved Late Roman sarcophagi, reliquaries from various periods, and Baroque paintings, with three by Louis Finson. Trophime Bigot is also represented, and there are several Baroque tapestries, including a set of ten on the Life of the Virgin. The church has been used to hold items originally from other churches or religious houses in the region that were dispersed in the French Revolution or at other times.

76 Among the ancient Romans, the symbols used for brands were sometimes chosen as part of a magic spell aimed at protecting animals from harm.Eva D'Ambra, "Racing with Death: Circus Sarcophagi and the Commemoration of Children in Roman Italy" in Constructions of Childhood in Ancient Greece and Italy (American School of Classical Studies at Athens, 2007), p. 351. In English lexicon, the word "brand", common to most Germanic languages (from which root also comes "burn", cf. German Brand "burning, fire"), originally meant anything hot or burning, such as a "firebrand", a burning stick.

Sarcophagus with the legend of Achilles, found in Tyre, now in the National Museum of Beirut Discovered in 1962, the necropolis consists of hundreds of stone and marble sarcophagi from the Roman and Byzantine eras. Several of them have Greek inscriptions or the names of those buried there, or their trade such as "wealthy purple dye manufacturer." Others whose sides and covers are decorated with frescoes and bas-reliefs of works from Homer and others. The Triumphal Arch is one of the most impressive relics of the site.

Various expeditions have continued to explore the valley, adding greatly to the knowledge of the area. In 2001 the Theban Mapping Project designed new signs for the tombs, providing information and plans of the open tombs. On February 8, 2006, the Supreme Council of Antiquities announced that an American team led by the University of Memphis had uncovered a pharaonic-era tomb (KV63), the first uncovered there since King Tutankhamun's in 1922. The 18th Dynasty tomb included five intact sarcophagi with coloured funerary masks along with 28 large storage jars, sealed with pharaonic seals.

The original religion of Iapydes is scarcely known, and it appears to be similar with other eastward Illyrians. They knew the divine pair of water-deities Vidassus (as Roman Sylvanus) and Thana (as Roman Diana), whose rocky reliefs persist today at some springs in their area. They worshiped the holy horse as their tribal totem, and also the holy snakes as the symbol of their ancestors. Their early tombs were usually in caves, and then in Roman times often in wooden sarcophagi and also incinerated in ceramic urns.

To the north-west of Ancaster is a Roman marching camp and some 4th-century Roman earthworks are still visible. Excavations have found a cemetery containing more than 250 Roman burials, including 11 stone sarcophagi. In the later years of Roman occupation, a large stone wall with accompanying ditches was erected around the town, possibly for defence against marauding Saxons. The place name Ancaster is first attested in a 12th-century Danelaw charter from the reign of Henry II, and in a legal document of 1196, where it appears as Anecastre.

The current main entrance to the tomb is an arched opening in the side of the hill, not the original main entrance. After discovery the few surviving remains were moved and interred with honor elsewhere or unknowingly discarded. The moveables—the one whole sarcophagus and the fragments of other sarcophagi—were placed on display in the hall of the Pio-Clementino Museum at the Vatican in 1912. The sepulchre is a rock-cut chambered tomb on the interior, with the remains of a late façade on the exterior.

Variations on this combination exist. The gypsum casts, when found undisturbed, frequently retain a cast impression of the deceased in a textile shroud – surviving examples of both adults and children show a selection of textiles used to wrap the body before interment, but usually plain woven cloth. The high number of sarcophagi from Eboracum has provided a large number of these casts, in some cases with cloth surviving adhered to the gypsum. Two gypsum burials at York have shown evidence for frankincense and another clear markers of Pistacia spp.

In February 2019, fifty mummy collections wrapped in linen, stone coffins or wooden sarcophagi dated back to the Ptolemaic Kingdom were discovered by Egyptian archaeologists in the Tuna El- Gebel site. 12 of the graves in four burial chambers 9m (30ft) deep, belonged to children. One of the remains was the partly uncovered skull enclosed in linen. Egypt’s Minister of Tourism and Antiquities announced the discovery of the collective graves of senior officials and high clergies of the god Djehuty (Thoth) in Tuna el-Gebel in January, 2020.

Vanth in a fresco in an Etruscan tomb in Tarquinia. Vanth is a chthonic figure in Etruscan mythology shown in a variety of forms of funerary art, such as in tomb paintings and on sarcophagi. Vanth is a female demon in the Etruscan underworld that is often accompanied either by additional Vanth figures or by another underworld demon, Charun (later referred to as Charu). Both Vanth and Charun are only seen in iconography beginning c. 400 BC, in the middle period of Etruscan art, although some earlier inscriptions mention her name.

The Petrie Museum of Egyptian Archaeology, London Limestone slab showing the cartouche of Senusret II and name and image of goddess Nekhbet. From Mastaba 4, north side of Senusret II Pyramid at Lahun, Egypt. The Petrie Museum of Egyptian Archaeology, London It was announced by the Supreme Council of Antiquities on 26 April 2009 that an anthology of pharaonic-era mummies in vividly painted wooden coffins were uncovered near the Lahun pyramid in Egypt. The sarcophagi were decorated with bright hues of green, red and white bearing images of their occupants.

Guide to Baroque Rome, Granada, 1982, p. 219 The layout has a central circular room around which the other rooms were arranged. Construction began in 1645 and was complete by 1647 although embellishments and the garden layouts were not finished until 1653. The casino, sometimes known as the Casino del Bel Respiro, was designed as a complement to the Pamphili collection of sculptures both ancient and modern, and other Roman antiquities such as vases, sarcophagi and inscriptions;Most of the Pamphili marbles are today in the Capitoline Museums.

The Etruscans were a monogamous society that emphasized pairing. The lids of large numbers of sarcophagi (for example, the "Sarcophagus of the Spouses") are adorned with sculpted couples, smiling, in the prime of life (even if the remains were of persons advanced in age), reclining next to each other or with arms around each other. The bond was obviously a close one by social preference. It is possible that Greek and Roman attitudes to the Etruscans were based on a misunderstanding of the place of women within their society.

A slight change in axis in the lower part of the tomb has been taken as evidence that the last corridor and burial chamber are later additions. The tomb has suffered severe flood damage and its ceilings have collapsed and most of the decoration is now lost. Other than two anthropoid sarcophagi, found in the last corridor and the burial chamber, KV13 has yielded little remains. Its original quarrying has been attributed to Bay, a royal scribe under Seti II and later chancellor under Siptah, but it remains doubtful that he was ever buried here.

The wall is a total of 5.5 meters tall. Pottery remains indicate that it was occupied in the twelfth and thirteenth century.Pringle, 1997, p. 18 The gate is dated based on pottery findings to the Mamluk period (13th–14th centuries CE), but so far (after the June 2017 campaign) it couldn't be determined when fortress itself was built, since it is perfectly possible that just the gate was renovated in the Mamluk period; the square shape and the use of Roman sarcophagi as building stones is closely resembling the Crusader fortress at Sepphoris.

These materials drain more easily than the clay soil, and provide a solid surface for the burial parties to stand on. The actual burials involved the coffins being lowered into wooden sarcophagi that were installed at this point in the construction process.'Excavating the burial area', October 2009, Remembering Fromelles (CWGC), accessed 03/02/2010 Following the February 2010 burials, the headstones were installed, and the limestone and gravel layer covered with topsoil and turfed with grass. Finally, the plants were added and allowed to bed in prior to the dedication ceremony in July.

Cardinal Albani's coins and medals went to the Vatican Library, over which he had presided from 1761. The sarcophagi, columns and sculptures have been dispersed, but the famous bas-relief of Antinous remains in the villa. Cardinal Alessandro Albani had another villa and park at Porto d'Anzio, that was finished in February 1732,According to the inscription on a drawing of the villa's ground-plan in the possession of Anthony Blunt, noted in The Burlington Magazine 111 No. 792 (March 1969:164f). but was habitable for a few weeks only in spring because of malaria.

The album was initially slated to have six songs, however the title track "Frances the Mute" (which was going to be the first song) was left out due to time constraints. The lyrics for the title track still appeared on the inside of the CD jewel case tray, while the song itself was released on "The Widow" single. The ending of "Frances the Mute" reprises the album's bookend, "Sarcophagi" filtered through radio static. The finalized track listing had five tracks and was intended to be released as such on all formats.

This unprecedented achievement, over 650 foot of spiraling length, presents not just realistically rendered individuals (over 2,500 of them), but landscapes, animals, ships, and other elements in a continuous visual history – in effect an ancient precursor of a documentary movie. It survived destruction when it was adapted as a base for Christian sculpture.Piper, p. 256 During the Christian era after 300 AD, the decoration of door panels and sarcophagi continued but full-sized sculpture died out and did not appear to be an important element in early churches.

The remains of an aqueduct, a small theater, a temple of Asclepius, sarcophagi, and churches are still visible on the site. In 2011 a Lycian cemetery complex was discovered, dating from approximately 300 BC. Rhodiapolis is one of the pilot sites for the European Union FP7 project called FIRESENSE. In 2010, several cameras and a wireless sensor network were installed at the site and its surroundings by the Electrical and Electronics Engineering Department at Bilkent University. Using this system, wildfires and floods can be automatically detected at the site and its surroundings.

Beit She'arim is an archaeological site of a Jewish town and necropolis, near the town of Kiryat Tiv'on, 20 km east of Haifa in the southern foothills of the Lower Galilee. Beth She'arim was excavated by Benjamin Mazar and Nahman Avigad in the 1930s and 1950s. Most of the remains date from the 2nd to 4th century CE and include the remains of a large number of individuals buried in the more than twenty catacombs of the necropolis. Together with the images on walls and sarcophagi, the inscriptions show that this was a Jewish necropolis.

The hexagonal pulpit itself consists of five scenes in white Carrara marble from the Life of Christ : the Nativity, the Annunciation, the Annunciation to the Shepherds are juxtaposed in the first relief, the Adoration of the Magi, the Presentation, the Crucifixion and the Last Judgement. The backgrounds of these scenes were originally painted and enamelled, while the eyes of the figures were coloured. This contributed to a realistic depiction of these religious scenes. All these scenes, except the last two, reflect his knowledge of the style on the sarcophagi.

A number of the spells which make up the Book continued to be separately inscribed on tomb walls and sarcophagi, as the spells from which they originated always had been. There was no single or canonical Book of the Dead. The surviving papyri contain a varying selection of religious and magical texts and vary considerably in their illustration. Some people seem to have commissioned their own copies of the Book of the Dead, perhaps choosing the spells they thought most vital in their own progression to the afterlife.

282–287Eva D'Ambra, "Racing with Death: Circus Sarcophagi and the Commemoration of Children in Roman Italy" in Constructions of Childhood in Ancient Greece and Italy (American School of Classical Studies at Athens, 2007), pp. 348–349Rüpke, p. 289. Chariot racing continued into the Byzantine period under imperial sponsorship, but the decline of cities in the 6th and 7th centuries led to its eventual demise. The Romans thought gladiator contests had originated with funeral games and sacrifices in which select captive warriors were forced to fight to expiate the deaths of noble Romans.

His first work may have been at the age of sixteen, an equestrian wooden statue for the funeral of Azzo Ubaldini. In 1386 he and his father moved to Lucca, owing to party strife and disturbances. It is likely that della Quercia studied the huge collection of Roman sculptures and sarcophagi in the Camposanto in Pisa. These and later influences made him a transitional figure in the history of European art; his work shows a pronounced midcareer shift from the Gothic style to that of the Italian Renaissance.

Several other companies built factories, including the aviation components company Teddington Aircraft Controls, which opened in 1946 and closed in the early 1970s. The Merthyr Tydfil Institute for the Blind, founded in 1923, is the oldest active manufacturer in the town.MTIB.co.uk Cyfarthfa, the former home of the ironmaster William Crawshay II, an opulent mock castle, is now a museum. It houses a number of paintings of the town, a large collection of artefacts from the town's Industrial Revolution period, and a notable collection of Egyptian tomb artefacts, including several sarcophagi.

In Copenhagen, she was able to assign the, up to then, much earlier dated statues of Sette Sale to the Valentinian epoch, based on the design of the eyes. In 1999 she received permission to study and publicize Greek and Roman sculptures from the Hatay Archaeology Museum in Antakya, Turkey. Through the Attic garland sarcophagi was shown the Attic origin of Berlin's early imperial Caffarelli-sarcophagus from Rome. Together with Ergün Laflı from Izmir she again showed her commitment to southern Turkey with the presentation of antique sculptures in Cilicia.

This design was largely reserved for rulers, such as the king, and his family as a means for burial. Other design characteristics regarding mastabas from the old empire include having rectangular outlines, walls that were slanted, which were made of stone and brick materials, and having the axis of a building run both North and South. Multiple elements make up the interior of mastabas such as an offering chamber, statues for the dead, and a vault beneath which held sarcophagi. By the end of the old Empire, the usage of these tombs were abandoned.

In 1360, a series of Gothic arcades were added to the façade; these were intended to contain sarcophagi. The church was consecrated in 1420. Side view from Piazza Unità d'Italia On a commission from the wealthy Florentine wool merchant Giovanni di Paolo Rucellai, Leon Battista Alberti designed the upper part of the inlaid green marble of Prato, also called 'serpentino', and white marble façade of the church (1456–1470). He was already famous as the architect of the Tempio Malatestiano in Rimini, but even more for his seminal treatise on architecture De re aedificatoria.

Tomb KV8, located in the Valley of the Kings, was used for the burial of Pharaoh Merenptah of Ancient Egypt's Nineteenth Dynasty. The burial chamber, located at the end of 160 metres of corridor, originally held a set of four nested sarcophagi. The outer one of these was so voluminous that parts of the corridor had to have their doorjambs demolished and rebuilt to allow it to be brought in. These jambs were then rebuilt with the help of inscribed sandstone blocks which were then fixed into their place with dovetail cramps.

All antiquities shipped abroad must be > registered and shipped through a licensed dealer. The IAA reserves the right > to confiscate any item not registered. Export of architectural fragments or > other objects of stone such as columns, ossuaries or sarcophagi is not > allowed; nor is the export of ancient inscribed objects or written > materials. The sale or transfer of antiquities from a private collection or > museum needs to be approved by the Director of Antiquities.” Compared to the strict export laws of other Mediterranean countries, Israel is tolerant and antiquities can easily be exported.

The hot springs have been used as a spa since the 2nd century BC, with many patrons retiring or dying there. The large necropolis is filled with sarcophagi, most famously that of Marcus Aurelius Ammianos, which bears a relief depicting the earliest known example of a crank and rod mechanism. The great baths were constructed with huge stone blocks without the use of cement and consisted of various closed or open sections linked together. There are deep niches in the inner section, including the bath, library, and gymnasium.

They would normally be found covering the sarcophagi of the knight, or installed in or near a church that the family were patrons of. Although the inscription on this effigy is not clear, most effigies contained similar inscriptions that would include the name and title, dates of birth and death–or approximates, a link between the date of death and a notable holy figure or day, and petitions of prayer that would offer pardons to those that prayed for the depicted soul–largely an attempt to create a tangible link between the nobility and divinity.

The building's central room was the Rotunda, one of the earliest examples of purpose-built museum architecture, in which was exhibited the first display of sculptures, as chosen by von Humboldt's commission. Off it extended two halls, one of classical gods, the other of classical heroes, to which were joined two rooms with statues of Roman emperors, portraits, sarcophagi, cinerary urns and reliefs. Small objects were initially housed in the Antiquarium room. The new museum's first director was the sculptor Christian Friedrich Tieck, and its first archeological curator (from 1833 to 1855) Eduard Gerhard.

Pilate first appears in art on a Christian sarcophagus in 330 CE; in the earliest depictions he is shown washing his hands without Jesus being present. In later images he is typically shown washing his hands of guilt in Jesus' presence. 44 depictions of Pilate predate the sixth century and are found on ivory, in mosaics, in manuscripts as well as on sarcophagi. Pilate's iconography as a seated Roman judge derives from depictions of the Roman emperor, causing him to take on various attributes of an emperor or king, including the raised seat and clothing.

Ancient Roman (2nd century AD) sarcophagus of Apamea (Phrygia), today Dinar. The time span of the museum exhibits reach around 5000 years from the Bronze Age until today. The artifacts are from the Chalcolithic Age, Bronze Age and the civilizations of Hittites, Phrygians, Ancient Greece and Byzantine Empire collected from excavations at around 40 tumuli and 20 ancient cities in the region. Various sculptures, architectural elements, large earthenware, steles, sarcophagi as well as gravestones from the Seljuk and Ottoman Era are also on display in the big backyard of the museum.

Display side: tree and dog hunting wild goats A Minoan Sarcophagus, also called a larnax, is among the major display pieces of the antiquities collection of the Museum August Kestner in Hanover. The larnax is dated to the fourteenth century BC, which corresponds to the Late Minoan III A period, and probably comes from the island of Crete. It entered the antiquities collection of the Museum August Kestner in 1989 (inventory number 1989.30) Larnakes are clay sarcophagi modelled on wood and were a standard part of Minoan funerary practices. The Hanover larnax survives largely complete except for the fragmentary lid.

He based it on ancient Roman sarcophagi, then starting to be rediscovered and entering collections such as the Gonzaga collection in Mantua. He painted the scene as if it was carved into a piece of marble with two differently mottled layers, one forming the scene and the other the background. Two pyramid tombs to the left bear the names of Nasica's father Gnaeus Cornelius Scipio Calvus and Africanus' father Publius Cornelius Scipio - Gnaeus and Publius were brothers. The two bearers in front of the image are turbaned like Moors, and the bearded pair at the back wear tiara-like hats.

The sarcophagi he discovered in Sidon (including the one known as the Alexander Sarcophagus, although this sarcophagus is thought to contain the remains of either Abdalonymus, King of Sidon; or Mazaeus, a Persian noble who was also the governor of Babylon) are considered among the worldwide jewels of archaeological findings. To lodge these, he started building what is today the Istanbul Archaeology Museum in 1881. The museum officially opened in 1891 under his directorship. Throughout his professional career as museum and academy director, Osman Hamdi continued to paint in the style of his teachers, Gérôme and Boulanger.

Visigothic crypt of Saint Antoninus Palencia Cathedral (Spain) A crypt in Wola Gułowska, Lublin Province, Poland A crypt (from Latin crypta "vault") is a stone chamber beneath the floor of a church or other building. It typically contains coffins, sarcophagi, or religious relics. Originally, crypts were typically found below the main apse of a church, such as at the Abbey of Saint-Germain en Auxerre, but were later located beneath chancel, naves and transepts as well. Occasionally churches were raised high to accommodate a crypt at the ground level, such as St Michael's Church in Hildesheim, Germany.

The collection, amounting to 12,337 pieces in 1997, is divided into four principal areas. The First Hall and corridor contains Hellenistic, Roman and Byzantine era "coins, ceramics, glass perfume cups and lachrymatories, figurines and statuettes, offering cups, steles, sarcophagi and column capitals and jewellery", the Second Hall contains numerous jugs, vases, rythones and crucibles, cap-shaped discs and seals from the Hittite and Phrygian periods, while the Third and Fourth Halls contain rugs, jewellery and items of clothing, weapons, scriptures and wood and metal objects dating to the Seljuk and Ottoman eras. The garden contains a fountain with a statue of a bull.

Saint Macarius The Great, Camposanto, Trionfo Della Morte Saint Macarius the Great, one of the Egyptian desert recluses and a disciple of Saint Anthony the Great, is depicted on the right edge of the Triumph of Death fresco in Pisa. A group of leisurely aristocrats and their animals occupy the central part of the fresco. These rich young men and women riding horses, surrounded by their decorative hunting dogs have gone on a pleasant journey. Suddenly, their path, somewhere deep in the woods, is barred by three open sarcophagi with bodies in different degrees of decomposition.

Significant construction phases were in the first half of the 12th century, the 14th century, the 15th century and the 17th century. The first stones of the building were laid around 1120 by Orson on left bank of the Loing. A village had been established on a nearby hill since the Merovingian era (according to the excavation in 1898 of Merovingian sarcophagi) in Saint les Nemours, on the left bank of the Loing. The first lords had probably installed a high castle mound on the right bank of the Loing in a place still called "le chatelet".

The sarcophagus is one of a group of about twenty-five late Roman battle sarcophagi, with one exception all apparently dating to 170-210, made in Rome or in some cases Athens. These derive from Hellenistic monuments from Pergamon in Asia Minor showing Pergamene victories over the Gauls, and were all presumably commissioned for military commanders. The Portonaccio sarcophagus is the best known and most elaborate of the main Antonine group, and shows both considerable similarities to the Great Ludovisi sarcophagus, the late outlier from about 250, and a considerable contrast in style and mood.Strong, Donald, et al.

The placement of the portrait above the goddess was likely done to emphasize the beauty of the mother and describe her as coming to visit her sleeping family similar to other sarcophagi of this subject. Endymion would then be a broad representation of family rather than a husband. A child sarcophagus commissioned by his parents displaying this subject matter was likely comparing the child's beauty to that of Endymion rather than as something Romantic. The erotic nature of the myth is toned down and the focus is placed on the deceased imagined as Endymion resting in eternal sleep.

Junius Bassus in a chariot, opus sectile panel from the basilica of Junius Bassus on the Esquiline Hill Iunius Annius Bassus was a praetorian prefect of the Roman Empire from 318 to 331, during which time he also held the consulate. Several laws in the Codex Theodosianus are addressed to him. His son Junius Bassus was praefectus urbi, and his sarcophagus from 359 CE is one of the most decorative late antique sarcophagi adorned with two registers of Christian scenes. He built the basilica of Junius Bassus on the Esquiline Hill in Rome, famous for its opus sectile decoration.

Her book, Greek Tragedy: Suffering under the Sun, argues that Greek tragedy is a deeply philosophical medium, includes an essay on every surviving ancient Greek tragedy and has been described as 'admirably exhaustive'.All Things Greek: To Hellenic and Back, Newsweek, 19 March 2010. Her 2013 book Adventures with Iphigenia in Tauris: A Cultural History of Euripides' Black Sea Tragedy is a detailed history of the impact of an often neglected tragedy by Euripides, covering its presence in vase-painting, Aristotle, Latin poetry, Pompeian murals, Roman imperial sarcophagi and literature including the ancient novel and Lucianic dialogue.

Based on analysis of prehistoric objects found (such as complex sarcophagi, decorated stoneware, machetes, and axes), West Nusa Tenggara had previously been inhabited by people who come from Southeast Asia. The natives in this region are called the Sasak people, most of whom live on the island of Lombok. Meanwhile, on the island of Sumbawa are also natives consisting of two groups, namely ethnic Sumbawa (Samawa) and Bima. However, with the wave of migrants from Bali, Makassar, Java, Kalimantan, Nusa Tenggara, Maluku and East Nusa Tenggara, the indigenous people entered the farm and then stay in the interior.

The massive fresco is framed in quadri riportati and depicts Apollo in his Chariot preceded by Dawn (Aurora) bringing light to the world. The work is restrained in classicism, copying poses from Roman sarcophagi, and showing far more simplicity and restraint than Carracci's riotous Triumph of Bacchus and Ariadne in the Farnese. In this painting Reni allies himself more with the sterner Cavaliere d'Arpino, Lanfranco, and Albani "School" of mytho-historic painting, and less with the more crowded frescoes characteristic of Pietro da Cortona. There is little concession to perspective, and the vibrantly colored style is antithetical to the tenebrism of Caravaggio's followers.

The house tomb is a square building measuring approximately 4 meters in all its sides. It is located on the east slope of the North cemetery. First excavated by Boyd, in 1971 it was revisited by a different team of archaeologists, yielding numerous artifacts presumed to be funerary offerings. Among the findings were two small vases, a miniature jug, a mug with no handles from MM Ia found in situ; as well as a silver kantharos, two bird's nest bowls, a pair of bronze tweezers, stone vases, seals, jewelry and fragmentary sarcophagi with remains of 8 skulls and other unidentified bones.

A ring decorated with the image of a lion was found and dates to one of these time periods.Chancey, 2005, p. 216. In burial caves carved into the rock, sarcophagi and ossuaries containing pottery, glass vessels, and jewelry were found. Also dated to the Byzantine period are agricultural installations, carved into the rock and plastered, inside of which were found part of a winepress. In 536 a Council was held in Jerusalem to condemn Severus of Antioch and his followers. Present at that Council were 45 bishops from Palestine, including one Parthenius, bishop of Exalus, which is identified with Iksal.

Thus, in 1851, he made his celebrated discovery of this avenue and eventually the subterranean tomb-temple complex of catacombs with their spectacular sarcophagi of the Apis bulls. Breaking through the rubble at the tomb entrance on November 12, he entered the complex, finding thousands of statues, bronze tablets and other treasures, but only one intact sarcophagus. He also found the virtually intact tomb of Prince Khaemweset, Ramesses II's son. Accused of theft and destruction by rival diggers and by the Egyptian authorities, Mariette began to rebury his finds in the desert to keep them from these competitors.

The position of her tomb, next to the pyramid of king Senusret III makes it highly likely that she was his wife. Dieter Arnold, who re-excavated the pyramid complex and the tomb of the queen noted the low quality of the inscription on her sarcophagus, which is in stark contrast to the sarcophagi of other royal women buried next to the pyramid. Her tomb was found robbed, only two mace heads were discovered by Jacques de Morgan who excavated the tomb first in 1894. D. Arnold: The Pyramid Complex of Senwosret III at Dahshur, Architectural Studies, New York 2002, pp.

The codex was in the grave of a young girl, open, with her head resting on it. Scholar John Gee has argued that this represents a cultural continuation of the ancient Egyptian tradition of placing the Book of the Dead in tombs and sarcophagi. The Pahlavi Psalter is a fragment of a Middle Persian translation of a Syriac version of the Book of Psalms, dated to the 6th or 7th century. In Eastern Christianity (Eastern Orthodox, and in modern times also Byzantine Catholic), the Book of Psalms for liturgical purposes is divided into 20 kathismata or "sittings", for reading at Vespers and Matins.

On 5 July 1945 the American occupying army removed the bodies from the Ehrentempel and contacted their families. They were given the option of having their loved ones buried in Munich cemeteries in unmarked graves or their family plots or having them cremated, common practice in Germany for unclaimed bodies. The columns of the structures were recycled into brake shoes for municipal buses and new material for art galleries damaged in the war. The sarcophagi were melted down and given to the Munich tram service who used it for soldering material to repair rail and electrical lines damaged by the war.

Pulpit of St. Andrew. The pulpit in the pieve of Sant'Andrea, Pistoia, Italy is a masterpiece by the Italian sculptor Giovanni Pisano. The work is often compared to the pulpits sculpted by Giovanni's father Nicola Pisano in the Baptistery of Pisa and the Duomo of Siena, which Giovanni had assisted with. These very advanced works are often described in terms such as "proto- Renaissance", and draw on Ancient Roman sarcophagi and other influences to form a style that represents an early revival of classical sculpture, while also remaining Gothic, and drawing on sources such as French ivory carvings.

"Military Artists" in the Oxford Companion to Military History, on Answers.com Many Hellenistic and Roman sarcophagi showed crowded scenes of combat, sometimes mythological (an amazonomachy is a term for a scene of battle between Amazons and Greeks), and usually not relating to a particular battle; these were not necessarily used to bury people with military experience. Such scenes had a great influence on Renaissance battle scenes.Pepper, 1 (i) By the Late Roman Empire the reverse of coins very often showed soldiers and carried an inscription praising 'our boys', no doubt in hope of delaying the next military revolt.

The objects obtained are described and illustrated in Excavations in Cyprus, published by the trustees of the museum in 1900. Murray's other official publications include three folio volumes on Terra-cotta Sarcophagi, White Athenian Vases and Designs from Greek Vases. In 1898 he wrote for the Portfolio a monograph on Greek bronzes, founded on lectures delivered at the Royal Academy in that year, and he contributed many articles on archaeology to standard publications. In recognition of his services to archaeology he was made LL.D. of Glasgow University in 1887 and elected a corresponding member of the Berlin Academy of Sciences in 1900.

Drawing based on Piranesi's plan view, criticised by LancianiLanciani (1897) p.324. as being too idealized. Only the general direction of the tomb along the Via Appia to the south was known from the written sources. The question of whether it was inside or outside the city caused some confusion, apparently without realization that the city had expanded to include it. The tomb was rediscovered in 1614 in a vineyard, broken into (the term "excavated" in the modern sense does not apply), two sarcophagi were found, the inscription (titulus) of L. Cornelius, son of Barbatus, consul 259, was broken out and was sold.

A Memorial Chapel was later added to the left of the chapel by the Duke Memorial Association. Intended as a place for reflection and prayer, the Memorial Chapel is open to visitors, and is separated from the rest of the Chapel by large iron gates. Along the left wall, the University's benefactors--Washington Duke and his two sons, James B. Duke and Benjamin N. Duke--are entombed in three 30-ton, white Carrara marble sarcophagi carved by Charles Keck. Over the altar are three limewood figures: Jesus stands in the center, with St. Paul on the left and St. Peter on the right.

In February 2019, fifty mummy collections wrapped in linen, stone coffins or wooden sarcophagi dated back to the Ptolemaic Kingdom were discovered by Egyptian archaeologists in the Tuna El-Gebel site. 12 of the graves in four burial chambers 9m (30ft) deep, belonged to children. One of the remains was the partly uncovered skull enclosed in linen. In May 2020, Egyptian-Spanish archaeological mission headed by Esther Ponce revealed a unique cemetery consist of one room built with glazed limestone dating back to the 26th Dynasty (so-called the El-Sawi era) at the site of ancient Oxyrhynchus.

He studied philosophy, archaeology and history at the Universities of Heidelberg, Berlin and Bonn, obtaining his doctorate in 1899 with the thesis "Studien zur unteritalischen Vasenmalerei". Later on, he worked as an assistant at the Royal Museum in Berlin. In 1904 he earned his habilitation in Berlin with a dissertation involving Greek wood sarcophagi from the time of Alexander the Great, titled "Griechische Holzsarkophage aus der Zeit Alexanders des Großen". In 1905 he became an associate professor of classical archaeology at the University of Rostock, where he specialized in studies of Hellenistic art and the archaeology of Palestine and Syria.

In this capacity he is sometimes shown on Etruscan sarcophagi—in one case side by side with Charun and Cerberus. In another depiction, in which the god is labelled as 𐌕𐌖𐌓𐌌𐌑 𐌀𐌉𐌕𐌀𐌑 Turmś Aitaś or ‘Turms of Hades’, he brings the shade of Tiresias to consult with Odysseus in the underworld. Turms also appears in images depicting the Judgement of Paris, as well as in scenes with Hercle (Heracles) or Perseus. The name Turms is of distinctively Etruscan origin, like that of Fufluns but in contrast to deities such as Hercle and Aplu (Apollo), whose names were borrowed from Greek.

From the beginning, HMANE was the home of the Department of Near Eastern Languages and Civilizations, a departmental library, a repository for research collections, a public educational institute, and a center for archaeological exploration. Among the museum's early achievements were the first scientific excavations in the Holy Land (at Samaria in 1907–1912) and excavations at Nuzi and Tell el- Khaleifeh in the Sinai, where the earliest alphabet was found. The museum's artifacts include pottery, cylinder seals, sculpture, coins, cuneiform tablets, and Egyptian mummy sarcophagi. Many are from museum-sponsored excavations in Jordan, Iraq, Egypt, Cyprus, Israel, and Tunisia.

The museum also has the largest collection of Classical sculpture in Portugal. From this period, items of particular technical and stylistic value are the toga-draped statues from Mertola, Apollo from the Herdade do Álamo (Alcoutim) and the sarcophagi from Tróia and Castanheira do Ribatejo. Of note is the collection found in the Sanctuary of S. Miguel da Mota, which is the largest collection of its kind sculpted in Vila Viçosa / Estremoz type marble. The latter collection was found extensively vandalised; this is presumed to be the result of iconoclasm carried out by early Christian communities.

Etruscan Civilization dancer in the Tomb of the Augurs, Tarquinia, Italy Etruscan dancers in the Tomb of the Triclinium near Tarquinia, Italy (470 BC) The population described by the inscriptions owned the tombs in which their relatives interred them and were interred in turn. These were the work of craftsmen who must have gone to considerable expense, for which they must have been paid. The interment chambers also were stocked with furniture, luxury items and jewelry, which are unlikely to have been available to the ordinary citizen. The sarcophagi were ornate, each one a work of art.

The modern city still exhibits faint traces of its former importance, notwithstanding the frequent earthquakes with which it has been visited. The marina is built upon foundations of ancient columns, and there are in the town an old gateway and other antiquities, as also sarcophagi and sepulchral caves in the neighbourhood. This gateway is a remarkable triumphal arch at the southeast corner of the town, almost entire: it is built with four entrances, like the Forum Jani at Rome. It is conjectured that this arch was built in honour of Lucius Verus, or of Septimius Severus.

On 23 December, Michiel's diary records that gold from the gold cloth came to eight pounds; furthermore the gold from the crown and the small cross were made into a new reliquary for the relic head of St Petronilla. The same events are noted in a letter by Pandolfo Pico to Isabella d'Este dated 26 November 1519. No other details are known about the other sarcophagi found at the same time, neither is it known whether they were Roman imperial tombs or later medieval burials. The best-attested and most significant exhumation was on the 3 February 1544.

Besides the Alabastrites, we find to the north of Antinoë the grottoes of Beni Hasan, the Speos Artemidos of the Greeks. Nine miles lower down are the grottoes of Kom el-Ahmar, and in the Arabian desert, on the east, quarries of the beautiful veined and white alabaster, which the Egyptians employed in their sarcophagi, and in the more delicate portions of their architecture. From the quarries of Tourah and Massarah, in the hills of Gebel-el-Mokattam, east of Memphis, they obtained the limestone used in casing the pyramids. The roads from these quarries may still be traced across the intervening plain.

Jewellery and engraved gems of high quality were produced.Boardman, 350–351 Etruscan sculpture in cast bronze was famous and widely exported, but relatively few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was relatively little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. The great majority of survivals came from tombs, which were typically crammed with sarcophagi and grave goods, and terracotta fragments of architectural sculpture, mostly around temples.

The inscription states that it was erected "In loving memory of my dearly beloved wife, little son, mother and sisters who lost their lives in the flood at Clermont, 28 Dec. 1916". The names listed are those of Maud Margaret Carsten (aged 30), Simon Henry Carsten (14 months), Kate Carsten (50), and Gretta and Eva Mary Carsten (22 and 26 respectively). Throughout the rest of the cemetery, a wide variety of monumental forms are found including sarcophagi, obelisks and columns. Headstones range from simple upright slabs to those featuring elaborate ornamentation such as angels, cherubs, bibles, urns, crosses and broken columns.

Roman children playing with nuts, child sarcophagi circa 270–300. Museum Pio Clementino, Vatican Game of Marbles, Karol D. Witkowski In the early twentieth century, small balls of stone from about 2500 BCE, identified by archaeologists as marbles, were found by excavation near Mohenjo-daro, in a site associated with the Indus Valley civilization. Marbles are often mentioned in Roman literature, as in Ovid's poem Nux (which mentions playing the game with walnuts), and there are many examples of marbles from excavations of sites associated with Chaldeans of Mesopotamia and ancient Egypt. They were commonly made of clay, stone or glass.

The mummy of Tjuyu Tjuyu was interred in tomb KV46 in the Valley of the Kings, together with her husband Yuya, where their largely intact burial was found in 1905. It was the best-preserved tomb discovered in the Valley before that of Tutankhamun, Tjuyu's great-grandson. The tomb was discovered by a team of workmen led by archaeologist James Quibell on behalf of the American millionaire Theodore M. Davis. Though the tomb had been robbed in antiquity, much of its contents were still present, including beds, boxes, chests, a chariot, and the sarcophagi, coffins, and mummies of the two occupants.

Graves at other Catholic cemeteries across St. Louis, such as Old Cathedral, Rock Springs, Holy Trinity, Old St. Patrick's, New Bremen and others were also dug up and reinterred at Calvary. As the number of graves steadily grew, the cemetery acquired more land, eventually reaching its present-day size of 470 acres. It has more than 300,000 casketed graves, and two public mausoleums and columbaria, as well as a number of private family mausoleums and sarcophagi."Calvary Cemetery Website", accessed 14 Jun 2013 Space for full- casket traditional burials is available for the next 300 years at Calvary Cemetery, according to Archdiocesan sources.

The other group of ruins, to the south, consists of columns, sarcophagi and marble slabs, indicating a city of considerable importance. Pritchard's excavations revealed many artifacts of daily life in the ancient Phoenician city of Sarepta: pottery workshops and kilns, artifacts of daily use and religious figurines, numerous inscriptions that included some in Ugaritic. Pillar worship is traceable from an 8th-century shrine of Tanit- Ashtart, and a seal with the city's name made the identification secure. The local Bronze Age-Iron Age stratigraphy was established in detail; absolute dating depends in part on correlations with Cypriote and Aegean stratigraphy.

Frier and McGinn, Casebook, pp. 49, 52, citing Ulpian, D. 24.1.3.1. If the donor died first, however, the gift to the surviving spouse was valid. CIL 14.5326) from Ostia Antica recording a decree that newlyweds are to pray and sacrifice before the altar to the imperial couple Antoninus Pius and Faustina as exemplifying Concordia, marital harmonyPaul Zanker and Björn C. Ewald, Living with Myths: The Imagery of Sarcophagi (Oxford University Press, 2012), p. 190; Maud Gleason, "Making Space for Bicultural Identity: Herodes Atticus Commemorates Regilla," in Local Knowledge and Microidentities in the Imperial Greek World (Cambridge University Press, 2010), p. 138.

The funerary urns in which the ashes of the cremated were placed were gradually overtaken in popularity by the sarcophagus as inhumation became more common. Particularly in the 2nd–4th centuries, these were often decorated with reliefs that became an important vehicle for Late Roman sculpture. The scenes depicted were drawn from mythology, religious beliefs pertaining to the mysteries, allegories, history, or scenes of hunting or feasting. Many sarcophagi depict Nereids, fantastical sea creatures, and other marine imagery that may allude to the location of the Isles of the Blessed across the sea, with a portrait of the deceased on a seashell.

The verb "to play the Siphnian" appears in a fragment of Aristophanes, and is explained in the Suda alongside "to Lesbianize" as a reference to transgression. Little is known of Sifnos during the Roman and Byzantine eras, though three Roman sarcophagi remaining in the streets of Kastro and a collection of 80 Byzantine coins in the Museum there testify to substantial continued population during those times. In the early 14th century Sifnos came under the power of the Italian or Spanish Hospitaller Januli I da Corogna, who proclaimed the island independent from the Sanudo dynasty which then ruled most of the Cyclades area.

Arahal's origins are a bit unclear because on June 30, 1857 all public records were burned in a riot. According to the remains of tombstones and sarcophagi found with the name of Basilippo, the history of Arahal seems to go back to Roman Empire. On 22 July 1240, Fernando III conquered the city, which served to be a strategic point in conquering the nearby city of Morón de la Frontera two days later. The February 20 of 1554 Arahal reached the plenty independence from Morón, Charles V gives this privilege to Arahal, the document was burned in the riots of 1857.

It appears as "Alinda" in Ptolemy's Geographia (Book V, ch. 2) of the 2nd century AD. Alinda remained an important commercial city, minting its own coins from the third century BC to the 3rd century AD. Stephanus records that the city had a temple of Apollo containing a statue of Aphrodite by Praxiteles. Alinda has a necropolis of Carian tombs and has been partially excavated. Alinda also had a major water system including a Roman aqueduct, a nearly-intact market place, a 5,000-seat Roman amphitheater in relatively good condition, and remains of numerous temples and sarcophagi.

Another notable feature of this section is the Ford Mandible dating from the 5th century BC showing the earliest known example of dentistry. The Bodashtar inscription is also displayed along with an explanation of the development of the linear alphabet. The Classical period collection includes funerary reliefs from Palmyra, Egypt and the Levant, a Byzantine mosaic and collection of funerary sarcophagi displayed on the staircase leading to the mezzanine. The Islamic period displays materials from the Umayyad Period in 656 AD to the Ottoman Empire in the 19th century where glazed tiles and plates are shown.

28 Apart from a foundation deposit of Hatshepsut, the only objects found in KV20 come from the burial chamber and the corridor leading into it. Items found were stone vases bearing the names of Ahmose-Nefertari, Thutmosis I, and Hatshepsut, two quartzite sarcophagi inscribed for Thutmose I and Hatshepsut (as pharaoh), a canopic chest for Hatshepsut (again as pharaoh), the limestone blocks bearing funerary text (see above), and several fragments of the usual funerary furnishings. The sarcophagus of Thutmose originally was inscribed for Hatshepsut, but later altered for the former king.Reeves, C.N., Valley of the Kings, (kegan Paul, 1990) p.

The canopic chests were placed close to the sarcophagi of their respective owners and were likewise facing west. The lids of both boxes had been moved but the embalmed viscera, which in the case of Tjuyu were shaped like mummies and wearing gilt masks, were undisturbed. Under the beds and in the corner by the door were caskets and boxes, while inside or under the upturned coffin lids and troughs were various items including cushions, a wig, alabaster vases, and lids of caskets. The chests and boxes contained items such as sandals, model tools for ushabti, cloth, and the lids of ushabti boxes.

Smith guessed his age at death to be 60 based on outward appearance alone. Modern CT scanning has estimated his age at death to be 50–60 years, based on the level of joint degeneration and tooth wear; his cause of death could not be identified. Maspero judged that, based on the position of the sarcophagi, Yuya was the first to die and be interred in the tomb. However, the large eyes and small nose and mouth seen on his funerary mask suggests it was made during the last decade of the reign of Amenhotep III, meaning he may have outlived Tjuyu.

In November 2018, an Egyptian archaeological excavation team uncovered the original entrance of the tomb; in addition to another tomb, that of Thaw-Rakht-If. Two huge wooden anthropoid sarcophagi were found, identified as Padiset and Nesmutamu; they are attributed to another occupant of the tomb of a later period and not Hori. The mission uncovered two wooden statues of the deceased, five painted wooden funerary masks, and a collection of ushabti figurines made of faience, wood, burnt clay, along with a papyrus containing Chapter 125 of the Book of the Dead. A cache of mummies were also found in the tomb.

271 The French explorer Victor Guérin visited in 1875, and noted "on the sides and top of the hill are found many rock-cut cisterns, a great many cut stones scattered here and there or built up in modern houses, fragments of columns, the vestiges of a surrounding wall, and remains of sarcophagi adorned with discs and garlands."Guérin, 1880, pp. 422-423; as translated by Conder and Kitchener, 1881, SWP I, p. 308 In 1881, the Palestine Exploration Fund's Survey of Western Palestine described Kabul as a moderate sized village, with olives to the north and south.

7 though there is some literary evidence that small domestic images were used earlier. The oldest known Christian paintings are from the Roman catacombs, dated to about 200, and the oldest Christian sculptures are from sarcophagi, dating to the beginning of the 3rd century. Although many Hellenistic Jews seem to have had images of religious figures, as at the Dura-Europos synagogue, the traditional Mosaic prohibition of "graven images" no doubt retained some effect, although never proclaimed by theologians. This early rejection of images, and the necessity to hide Christian practise from persecution, leaves few archaeological records regarding early Christianity and its evolution.

Architecturally, there are two types of altars: those that are attached to the eastern wall of the chancel, and those that are free- standing and can be walked around, for instance when incensing the altar. Coptic altar carved into the wall of the Temple of Isis on the island Philae in Egypt. In the earliest days of the Church, the Eucharist appears to have been celebrated on portable altars set up for the purpose. Some historians hold that, during the persecutions, the Eucharist was celebrated among the tombs in the Catacombs of Rome, using the sarcophagi (see sarcophagus) of martyrs as altars on which to celebrate.

The mausoleum was established in 1261, during the reign of Eiso, before Okinawa was divided into three kingdoms, when it was simply ruled by a network of local chieftains under the leadership of one head chieftain or "king". It was completed by 1271, and included a first and second gardens, stone gateways, and stone monuments written in Chinese and Ryukyuan. Like many other structures on the island, it was extensively damaged during the 1945 Battle of Okinawa, and later researched and restored. Eiso and two of his successors are entombed at Urasoe yōdore, in sarcophagi of a Chinese diorite stone; statues of the bodhisattvas Kannon and Jizō stand inside the cave.

The sarcophagi of George (right) and Martha Washington at the present tomb's entrance Washington was buried in the old Washington family vault at Mount Vernon, situated on a grassy slope overspread with willow, juniper, cypress, and chestnut trees. It contained the remains of his brother Lawrence and other family members, but the decrepit brick vault was in need of repair, prompting Washington to leave instructions in his will for the construction of a new vault. Washington's estate at the time of his death was worth an estimated $780,000 in 1799, approximately equivalent to $14.3million in 2010. Washington's peak net worth was $587.0 million, including his 300 slaves.

The facility was then used as a burial chamber from the 2nd century to the 4th century, before being rediscovered in 1900 when a donkey accidentally fell into the access shaft. To date, three sarcophagi have been found, along with other human and animal remains which were added later. It is believed that the catacombs were only intended for a single family, but it is unclear why the site was expanded in order to house numerous other individuals. Another feature of the catacombs is the Hall of Caracalla, which contains the bones of horses which were the tombs created for the horses of the emperor Caracalla in 215 AD.

Side view of Sona Mosjid The most important ornamentation of the mosque is to be seen on the frontal courtyard of the mosque, only recently excavated. The ornamentation consists of mosaic roundels in blue and white colours of variegated design. The mosaic design is not in situ, but a roundel has been composed by the excavators, putting the flakes in their appropriate places and exhibiting it in a room attached to the guesthouse nearby. At a distance of 14.5 m to the east of the gateway there is a stone platform containing two tomb sarcophagi inscribed with verses from the Quran and some names of God.

When Cigars of the Pharaoh was first published in the 1930s, Sarcophagus was an unnamed and beardless scholar who wore sunglasses. When Tintin explored the tomb, he found sarcophagi for himself and Snowy but not for the scholar, who does not even turn up in the Red Sea incident—thus, how he ends up in India is unexplained. Tintin finds Sophocles in the Indian jungle completely by chance in a string of absurd coincidences, painting the symbol of Kih-Oskh on palm trees. Tintin even speculates that the scholar is a member of the gang of drug smugglers that he finds himself pitted against.

The breakup of the classical style led to a period in which full mythological reliefs with an increase in the number of figures and an elongation of forms became more popular, as discussed above. The proportion of figures on the reliefs also became increasingly unbalanced, with the main figures taking up the greatest area with smaller figures crowded in the small pockets of empty space. In the third century, another transition in theme and style of sarcophagi involved the return in popularity of representing mythological and non-mythological portraits of the deceased. Imagery of the four seasons also becomes popular during the third and fourth centuries.

Roughly between 200 BCE and 800 CE, the San Agustín culture, masters of stonecutting, entered its "classical period". They erected raised ceremonial centres, sarcophagi, and large stone monoliths depicting anthropomorphic and zoomorphic forms out of stone. Colombian art has followed the trends of the time, so during the 16th to 18th centuries, Spanish Catholicism had a huge influence on Colombian art, and the popular baroque style was replaced with rococo when the Bourbons ascended to the Spanish crown. More recently, Colombian artists Pedro Nel Gómez and Santiago Martínez Delgado started the Colombian Murial Movement in the 1940s, featuring the neoclassical features of Art Deco.

Pyramid Text inscribed on the wall of a subterranean room in alt=A photograph taken inside the substructure of Teti I's pyramid, showing long lines of hieroglyphic text that cover the entire wall and gable of the room. The Pyramid Texts are the oldest ancient Egyptian funerary texts, dating to the late Old Kingdom. They are the earliest known corpus of ancient Egyptian religious texts. Written in Old Egyptian, the pyramid texts were carved onto the subterranean walls and sarcophagi of pyramids at Saqqara from the end of the Fifth Dynasty, and throughout the Sixth Dynasty of the Old Kingdom, and into the Eighth Dynasty of the First Intermediate Period.

Relief panel of the Great Ludovisi sarcophagus The Ludovisi Battle sarcophagus or "Great" Ludovisi sarcophagus is an ancient Roman sarcophagus dating to around AD 250–260, found in 1621 in the Vigna Bernusconi, a tomb near the Porta Tiburtina. It is also known as the Via Tiburtina Sarcophagus, though other sarcophagi have been found there. It is known for its densely populated, anti-classical composition of "writhing and highly emotive"Fred S. Kleiner, A History of Roman Art (Wadsworth, 2007, 2010, enhanced ed.), p. 272. Romans and Goths, and is an example of the battle scenes favored in Roman art during the Crisis of the Third Century.

Discovered in 1621 and named for its first modern owner, Ludovico Ludovisi, the sarcophagus is now displayed at the Palazzo Altemps in Rome, part of the National Museum of Rome as of 1901.Christopher S. Mackay, Ancient Rome: A Military and Political History (Cambridge University Press, 2004), p. 178. The sarcophagus is a late outlier in a group of about twenty-five late Roman battle sarcophagi, the others all apparently dating to 170-210, made in Rome or in some cases Athens. These derive from Hellenistic monuments from Pergamon in Asia Minor showing Pergamene victories over the Gauls, and were all presumably commissioned for military commanders.

The breakup of the classical style led to a period in which full mythological reliefs with an increase in the number of figures and an elongation of forms became more popular, as discussed above. The proportion of figures on the reliefs also became increasingly unbalanced, with the main figures taking up the greatest area with smaller figures crowded in the small pockets of empty space. In the third century, another transition in theme and style of sarcophagi involved the return in popularity of representing mythological and non-mythological portraits of the deceased. Imagery of the four seasons also becomes popular during the third and fourth centuries.

By 1960 it was obvious from the deteriorating condition of the tombs that the environment of changing heat and humidity needed to be controlled if the historic sarcophagi were to survive for future generations. The New Vault, north of the Tuscan, Ferdinand's and the Franz Joseph Vault, was built by architect Karl Schwanzer, with metal doors by sculptor Rudolf Hoflehner. It added about 20% to the space of the crypt, and was used as part of a massive rearrangement of the tombs in the vaults. The original small vault had held, besides the tombs of the two founders, those of a dozen children and had been called the Angel's Vault.

The poet Theodor Fontane argued against this, with his poem "Wo Bismarck liegen soll" ("Where Bismarck should lie"), which appeared in the newspaper on 3 August 1898, four days after Bismarck's death. Half a year after his death, on 16 March 1899, the coffins of Otto von Bismarck and his wife, who had been buried at the Bismarck estate in Varzin, Pomerania (now Warcino, Poland), were ceremonially interred in two marble sarcophagi in the Friedrichsruh chapel. This date was chosen because it was the 11th anniversary of the funeral of Kaiser Wilhelm I. The funeral was attended by Wilhelm II, with his wife and a large entourage.

Lawrence Durrell, Caesar's Vast Ghost,Faber and Faber, 1990; paperback with corrections 1995; ; see page 98 in the reset edition of 2002 Roman cities traditionally forbade burials within the city limits. It was therefore common for the roads immediately outside a city to be lined with tombs and mausoleums; the Appian Way outside Rome provides a good example. The Alyscamps was Arles' main burial ground for nearly 1,500 years. It was the final segment of the Aurelian Way leading up to the city gates and was used as a burial ground for well-off citizens, whose memorials ranged from simple sarcophagi to elaborate monuments.

During the Renaissance the necropolis was systematically looted, with city councillors giving sarcophagi as gifts to distinguished visitors and local people using funerary stones as building material. It was further damaged by the arrival of the railway and a canal in the 19th century, both of which sliced across the site. In late October 1888 Vincent van Gogh and Paul Gauguin chose the Alyscamps as the first site for their expeditions where they painted side by side;Martin Gayford, The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks in Arles, Fig Tree, Penguin, 2006. . See page 61 by this time it was a remnant of its former self.

Behind the staircase, under the loggia surrounding the villa, where there are four Roman sarcophagi, you enter the apartments on the ground floor. This floor in the sixteenth century was considered still secondary to the noble floor, so the upgrading of these environments dates back mostly to the following centuries, with the exception of Bianca Cappello's apartments. The entrance hall is plastered in A light yellow color and contains some inscriptions on Vittorio Emanuele II and the plebiscite that united Tuscany to the nascent Kingdom of Italy. He subsequently entered the "Teatro delle Commedie", which was first created by 1675 Marguerite Louise d'Orléans the little-known wife of Cosimo III.

The collection includes a multitude of partially and wholly complete limestone and marble stele and reliefs. Many of the exhibits are funerary monuments, notably inscribed Roman sarcophagi originating from Ravenna in the 2nd and 3rd centuries A.D. Many of the museum's corridors are dedicated to the local remains in and around Modena from 183 BC when it became the Roman military colony of Mutina. The collections also contain works transferred from Modena's cathedral (such as Wiligelmo's Romanesque sculptures) and neighbouring city churches, in the interest of preserving such antique works following the unification of Italy from 1815-1871. Preserved medieval columns in the inner loggia of the Estense Lapidary Museum.

Lehner 1997, p. 178 Many shaft tombs belonged to the royal women were discovered on the northern and southern sides of the main pyramid; it was believed that these shafts were topped by mastabas until Arnold in 1997 demonstrated that these consisted in the intricated rock-cut hypogea of seven small pyramids. Explorations of the northern tombs led to the discovery of the treasures of princesses Sithathor and Mereret (among these objects, the famous pectorals with the names of Senusret II, Senusret III and Amenemhat III now exhibited at the Cairo Museum), as well as the sarcophagi of princesses Menet and Senetsenebtysy and of queen Neferthenut.Grimal 1992, p.

The name of Pihen appeared for the first time in the founding charter of the abbey of Andres in 1084, in the form of Pithem, from the Germanic pit (wells ) + Heim (home, village), which became Pihen in the Calaisis and Boulonnais dialect, but -hem elsewhere. Pihem (near to Wizernes) is almost the same as Pihen, which led to so many errors with the mail that the commune decided to add ‘lès-Guînes’ to its name in 1923. There is no doubt that the village is very old. Tombs have been discovered dating back to the medieval period, including shaped sarcophagi and skeletons buried directly in the chalk.

From 1956 to 1957, Spero and Golub lived and collaborated in Italy, while raising their three sons. Spero and Golub were equally committed to exploring a modernist representation of the human form, with its narratives and art historical resonances, even as Abstract Expressionism was becoming the dominant idiom. In Florence and Ischia, Spero became intrigued by the format, style and mood of Etruscan and Roman frescoes and sarcophagi which would have influence on her later work. Finding a more varied, inclusive and international atmosphere in Europe than in the New York art world of the time, Spero and her family moved to Paris, living there from 1959 to 1964.

According to the mediaeval Liber Pontificalis Ecclesiae Ravennatis, an inscription on the apse of that basilica recorded the buildings status as an ex-voto in gratitude for Galla Placidia's survival at sea. The Liber Pontificalis also claims her burial was at the monasterium of Saint Nazarius at Ravenna. This claim, originally probably made in Rome, is the probable origin of the misconception that Galla Placidia was buried in Ravenna, rather than in Rome, which culminated in the Ravennates' claim that she was buried in the chapel now known as her "mausoleum". The building was formerly the oratory of the Church of the Holy Cross and now contains three sarcophagi.

This revelation leads to confusion among the protagonists who no longer know whom to believe and threaten each other. Faced with this distressing spectacle, Life decides to send them back to the outside world, having erased their memory of the place in order to protect the incubator. On the shore of the lake, Olrik (in the body of Mortimer) is arrested by Captain Blake whom Mortimer (in Olrik's body) had convinced of his good faith in London. All of them board the seaplane of Lord Archibald Mac Auchentoshan, a billionaire protector of nature, which carries the Açoka sarcophagi found by Professor Labrousse in the ruins of the Indian Antarctic base.

At Ghiouristan there are three Lycian rock tombs, one of which has a Lycian and Greek inscription. There are many tombs and sarcophagi here. This is another example of the discovery of Lycian towns of which no historical record has been preserved except the names. It is not easy to conjecture why all these places had the same name, But it is very possible that one of them, Yarvu, was the chief place under the name of Cyaneae; and that the other two, which belonged to Cyaneae, might have other names, and yet be considered as dependent on the chief place, and might be comprehended under the same name.

Though evidences of neolithic and Celtic occupation exist on the commune's territory, the village itself was probably only founded during or after the Gallo-Roman era, near the site of a villa not yet excavated. Some evidences suggest the presence of other villas and of a tile factory. The name of the village if of Latin origin, possibly derived from a family name. During the Middle Ages, Espagnac seems to have become a dwelling of local importance, as attested by the existence of a Merovingian mint (three gold coins with the mention "Spaniaco Fit" have been found), of a large cemetery where sarcophagi have been exhumed and of an abbey.

One of these bears traces indicating that the entrance was lined with a series of Sphinx statues similar to those of the pharaonic era. Behind the temple, a necropolis was discovered, containing many Greco- Roman style mummies. Early investigations, said Dr Hawass, show that the mummies were buried with their faces turned towards the temple, which means it is likely the temple contained the burial of a significant royal personality, possibly Cleopatra VII. The expedition, started in 2002 as a self-funded expedition led by Dominican lawyer Kathleen Martinez, has found 27 tombs, 20 of which are shaped like vaulted sarcophagi, partly underground and partly aboveground.

Holidaying on a Mediterranean cruise ship, Tintin and his dog Snowy meet wealthy film producer Rastapopoulos and eccentric Egyptologist Sophocles Sarcophagus. When two policemen (Thomson and Thompson) accuse Tintin of opium smuggling, he escapes the ship and joins Sarcophagus on his search for the undiscovered tomb of the Pharaoh Kih-Oskh. Tintin discovers that the tomb is full of boxes of cigars labelled with a mysterious symbol, but he and Sarcophagus fall unconscious after an unseen enemy gasses them. They are then taken aboard a ship inside wooden sarcophagi, captained by smuggler Allan, but to avoid the coastguard Allan orders Tintin and Snowy thrown overboard.

Of these, most still exist in complete or fragmentary form, despite depredations by later Byzantine Emperors, Crusaders, and Ottoman conquerors. Four presently adorn the facade of the main building of the İstanbul Archaeology Museums, including one whose rounded shape led Alexander Vasiliev to suggest attribution to Emperor Julian on the basis of Constantine Porphyrogenitus's description. Vasiliev conjectures that the nine imperial sarcophagi, including one which carries a crux ansata or Egyptian cross, were carved in Egypt before shipment to Constantinople. The tradition was emulated by Ostrogothic King Theodoric the Great (454-526), whose mausoleum in Ravenna still contains a porphyry tub that was used as his sarcophagus.

An imago clipeata on a consular diptych of Areobindus, Roman consul in 506 A.D. Musée du Louvre. Imago clipeata (Latin: "portrait on a round shield") is a term in art usually used in reference to the images of ancestors, famous people or deceased on round shields (in Latin: clipeus). In the Roman world they were used to depict the ancestral family tree in patrician houses of the Republic as described by Pliny (Historia Naturalis 35: 4-11). These shield portraits can be seen in architectural sculptural decorations, on sarcophagi and on standards of the Roman legions among many other types of representations in the Roman and Early Christian world.

Cyfarthfa, the former home of the ironmaster William Crawshay II, an opulent mock-castle, is now a museum. It houses a number of paintings of the town, a large collection of artefacts from the town's Industrial Revolution period, and a notable collection of Egyptian tomb artefacts, including several sarcophagi. On 21 October 1966 a colliery tip slid down a mountain at Aberfan, 4 miles (6.4 km) south of Merthyr, covering the village school and causing the Aberfan disaster. In 1992, while testing a new angina treatment in Merthyr Tydfil, researchers discovered that the new drug had erection-stimulating side effects for some of the healthy volunteers in the trial study.

The part above ground has been almost entirely reconstructed and is noteworthy for a portico with two columns at the front. Beyond the entrance there is an area open to the sky from where two symmetrical staircases lead to the two underground burial chambers, which were originally richly decorated with slabs of marble. Only the underground part of the Tomb of the Pancratii () survives, and the tomb is now covered with a modern building. The name comes from an inscription referring to the funerary collegium of the Pancratii, inscribed on a large marble sarcophagus that remains in situ; seven other sarcophagi found here are now in the Vatican Museum.

There are several paintings by Dono Doni: Christ adored by Saints (1555); on the two altars on both sides of the major one, there are two more works: Deposition (1562) and Crucifixion (1563). Under the cathedral there is a crypt with the pagan Roman sarcophagus from the 3rd century, asserted to have once contained the remains of Saint Rufinus. It bears across its front, as many sarcophagi do, a bas- relief with the myth of Diana and Endymion, offering a pagan vision of tranquil afterlife. Here are also the Pozzo della Mensa, a medieval well, and the ruins of a Carolingian cloister from the 10th century.

The tour also saw the band play to the largest crowd of their career, approximately 300,000 people at the first edition of the Brazilian rock festival, Rock in Rio in 1985. The tour was notable for its use of props, such as the sarcophagi, 30-foot mummified Eddie and extensive pyrotechnics. Steve Harris referred to it as "probably the best stage show we ever did," and Dickinson commented that, "You could set it up in small theatres or big arenas and it would always look fantastic." The band's 2008–2009 tour, Somewhere Back in Time World Tour, featured a stage set which largely emulated the World Slavery Tour.

The exhibition feature pieces from various civilizations and geographical environments including the 8000-year-old American "Chinchorro". There was also be a representation of the sarcophagi of Egypt, the arid zones of the Andes, the marshes of Denmark, the "men of the ice" (like the mummy Ötzi), which appear from time to time in the cemeteries of Spanish and Guanche mummies in the museum.Great Exhibition on mummies 2010 (in Spanish) Between 2014 and 2016La exposición «Momias. Testigos del pasado» se amplía hasta 2016 he held a similar exhibition entitled Momias, testigos del pasado (Mummies, witnesses of the past), held in the Parque de las Ciencias de Granada in Andalusia.

It is a masterpiece of Seljuk woodcarving. The silver lattice, separating the sarcophagi from the main section, was built by Ilyas in 1579. The Ritual Hall (Semahane) was built under the reign of Süleyman the Magnificent at the same time as the adjoining small mosque. In this hall the dervishes used to perform the Sema, the ritual dance, on the rhythm of musical instruments such as, the kemence (a small violin with three strings), the keman (a larger violin), the halile (a small cymbal), the daire (a kind of tambourine), the kudüm (a drum), the rebab (a guitar) and the flute, played once by Mevlâna himself.

It was probably the hall where the bathers first assembled prior to passing through the various hot baths (caldaria) or taking the cold bath (frigidarium). The tepidarium was decorated with the richest marbles and mosaics; it received its light through clerestory windows on the sides, the front, and the rear, and would seem to have been the hall in which the finest treasures of art were placed. In the Baths of Caracalla, the Farnese Hercules and the Farnese Bull (now in the National Archaeological Museum, Naples), the two gladiators, the sarcophagi of green basalt, and numerous other treasures were found during the excavations by Pope Paul III.

The ascension of Elijah was believed to typify the ascension of Jesus Christ, who was regarded by Christian symbolism as an analogue to Elijah, although this ascension was also taken as a type of the general resurrection from the dead. Job sitting among the ashes was the symbol of patience and of the power of resistance of the flesh; and Hananiah, Mishael, and Azariah in the fiery furnace typified steadfastness in persecution and faith in the aid of God. Christian sarcophagi contained artistic representations of the fall of man, Noah and the ark, scenes from the life of Moses in three variations, Joshua, David, and Daniel.

Below the village, the upper slopes of the hill are cultivated in terraces, and planted with vines, fig-trees, pomegranates, olives, and filberts. Here I found several cisterns, a great sepulchral cave, ornamented with arched arcosolia, each surmounting two sarcophagi, contiguous and parallel, a press with two compartments, one square and the other circular, the whole cut in the living rock. Ascending towards the east, I passed beside an ancient pool half cut in the rock and half built. Not far is an old evergreen oak, one of the most remarkable that I have seen in Palestine, to which the inhabitants offer a kind of worship.

Magi bearing gifts, 4th-century sarcophagus, Rome The earliest pictorial representations of Jesus' Nativity come from sarcophagi in Rome and Southern Gaul of around this date.Schiller:59 They are later than the first scenes of the Adoration of the Magi, which appears in the catacombs of Rome, where Early Christians buried their dead, often decorating the walls of the underground passages and vaults with paintings. Many of these predate the legalisation of Christian worship by the Emperor Constantine in the early 4th century. Typically the Magi move in step together, holding their gifts in front of them, towards a seated Virgin with Christ on her lap.

The complex is very close to several catacombs. The mausoleum is believed to have been a two-story, cylindrical rotunda with a diameter of around 35 metres, but only its semi-underground floor survives. There is a central octagonal pillar with a diameter of more than nine meters and this is circled by a seven-meter-wide, vaulted corridor with open niches for the sarcophagi. There is no trace of floor or wall decoration, suggesting that the building was never completed. An 18th century home largely obscures the mausoleum from the Appian Way and stands where a columnar porch once framed the tomb’s principal entrance.

By 1890, the GMA had a defined design and architect. Although the GMA was becoming more organized and the reality of the monument was becoming clearer, the debate over the monument's location reopened in Congress. In October 1890, U.S. Senator Hale introduced legislation to have the sarcophagi placed at a monument in Washington, DC. The legislation did not pass, but the effort reopened the debate over the proper place for the remains of Grant. A groundbreaking ceremony had already been scheduled for April 27, 1891, and although the parties had not agreed on a location for the monument by that date, a groundbreaking ceremony was still held.

"Conder and Kitchener, 1881, SWP I, p. 48 They further noted: "A few more minutes to the west, Guérin found a ruin called Kh. Kerry el Meserta, where he observed the uprights of grooved oil-presses, broken sarcophagi, mill stones, numerous little cubes of mosaic scattered about, and a great cistern extending under a platform. At twenty minutes' march west-south-west of El Meserta, he observed a hillock with the remains of a ruined village called Kh. Halua. Not far from this place, to the east-north- east, he found a platform surrounded by a wall of large stones, having a great cistern hollowed in the middle.

The space was filled with a jumble of objects including sarcophagi, gilded and silvered coffin sets, canopic chests, a chariot, beds, chairs and other items of furniture, and various vessels. The rifled but intact mummies of Yuya and Tjuyu were still lying in their coffins. The risk of robbery was felt to be very real despite the presence of guards, so the contents were planned, recorded, photographed, and packed for transport to the Egyptian Museum in Cairo as quickly as possible. On 3 March the entire contents of the tomb had reached the river; they were loaded onto a train the next day and arrived under armed guard to the museum.

The sculptor's work was first encountered in the 1930s with the discovery of a Romanesque-style tympanum, found during restoration work at the parish church of Cabestany. The high technical quality of the carving, combined with the originality of the theme drew the interest of scholars of medieval art, who began to compare the sculpture with other known works. They concluded that the carver was an as-yet unknown figure, dubbed the "Master of Cabestany", who was responsible for sculpting capitals, sarcophagi, and corbels that may still be seen in various religious structures. In total, 121 sculptures have been attributed to the Master and to his studio.

Luya is a district of the Province of Luya in the Amazonas Region of Peru. Luya is home to several archaeological sites of the Chachapoya culture, such as Wanglic, and is a point of access to some of the Province's main tourist destinations, including the sarcophagi of Karajía and the valley of Huaylla Belén. The district also has several seasonal waterfalls and mountain trails for hiking. Luya borders Lámud District, Trita District and San Cristóbal District in the north; the Chachapoyas District in the east; the Lonya Chico District in the south and the districts of Luya Viejo District and Santa Catalina to the west.

Excavations under the pavement and in the area in front of today's west front have brought to light walls and pavements of Roman age as well as pre-Christian sarcophagi, suggesting the existence of a burial ground in the site. Later a church devoted to the Twelve Apostles was built, which was in turn flanked and replaced by a new cathedral dedicated to Saint Lawrence, in Romanesque style. Money came from the successful enterprises of the Genoese fleets in the Crusades. The first cathedral, now the basilica of St. Syrus, was founded probably in the 5th or 6th century AD, devoted to Saint Sirus, bishop of Genoa.

In 2008 the Art Fund purchased Monumental Jar V for Middlesbrough Institute of Modern Art (mima) and in 2014 purchased "Reliquary for a Common Man" for the Crafts Council. In 2017 Julain was the recipient of the bavarois State Prize in recognition of outstanding contribution to contemporary art and design. Recent projects include the solo exhibitions: "Quotidian", the re-imagining of the historic 'Grand Service at Corvi-Mora Gallery, London and Quietus: The Vessel, Death and the Human Body which was commissioned by mima and supported by Arts Council England. This exhibition addressed the containment of the human body in death and featured a series of funerary works, from cinerary jars to life- size sarcophagi.

Southern opposition was intense, antagonized by an ever-growing rift between North and South; many were concerned that Washington's remains could end up on "a shore foreign to his native soil" if the country became divided, and Washington's remains stayed in Mount Vernon. On October 7, 1837, Washington's remains were placed, still in the original lead coffin, within a marble sarcophagus designed by William Strickland and constructed by John Struthers earlier that year. The sarcophagus was sealed and encased with planks, and an outer vault was constructed around it. The outer vault has the sarcophagi of both George and Martha Washington; the inner vault has the remains of other Washington family members and relatives.

He concludes that Jesus brought "an encounter with the Lord of all lords, an encounter with the living God and thus an encounter with a hope stronger than the sufferings of slavery, a hope which transformed life and the world from within", something that these revolutionaries could not. These paragraphs recall Benedict's persistent rejection of Marxism and Liberation Theology throughout his teachings and specifically in Deus caritas est.Paragraphs 26-27 Benedict then draws on early Christian sarcophagi representations of Jesus as philosopher and shepherd to illustrate that Christian hope extends beyond this life on earth. The Good Shepherd, who has himself passed through death, guides his followers beyond it, so that death itself is not something to be feared.

Durrës is home to the largest archaeological museum in the country, the Durrës Archaeological Museum, located near the beach. North of the museum are the sixth-century Byzantine walls constructed after the Visigoth invasion of 481. The bulk of the museum consists of artifacts found in the nearby ancient site of Dyrrhachium and includes an extensive collection from the Illyrian, Ancient Greek, Hellenistic and Roman periods. Items of major note include Roman funeral steles and stone sarcophagi, an elliptical colourful mosaic measuring 17 by 10 feet, referred to as The Beauty of Durrës, and a collection of miniature busts of Venus, testament to the time when Durrës was a centre of worship of the goddess.

Mausolea continued to be a prime means of interring multiple individuals in the Middle Ages. The Mausoleum of Helena in Rome, built by Constantine I for himself, but later used for his mother, remains a traditional form, but the church of Santa Costanza there, built as a mausoleum for Constantine's daughter, was built over an important catacomb where Saint Agnes was buried, and either was always intended, or soon developed as, a funerary hall where burial spots could be bought by Christians. Most of the great Christian basilicas in Rome passed through a stage as funerary halls, full of sarcophagi and slab memorials, before being turned into more conventional churches in the Early Middle Ages.

The oldest of them probably pre-Etruscan; in some of these tombs are hut-shaped urns, many of which contain well-preserved paintings of various periods; some show close kinship to archaic Greek art, while others are more recent, and one may belong to the middle of the 4th century BC. Sarcophagi from these tombs, some showing traces of painting, were preserved in the municipal museum, as were numerous Greek vases, bronzes and other objects. The name of Corneto was changed to Tarquinia in 1922. Reversion to historical place names (not always accurately), was a frequent phenomenon under the Fascist Government of Italy as part of the nationalist campaign to evoke past glories.

Translated by Ruth Kirsch. Masalov's actions are summarized on pages 210-212. Before the monument is a central area lined on both sides by 16 stone sarcophagi, one for each of the then 16 Soviet RepublicsBetween 1940–56 (up to the reorganization of the Karelo-Finnish SSR into the Karelian ASSR) there were 16 "union republics" with relief carvings of military scenes and quotations from Joseph Stalin, on one side in Russian, on the other side the same text in German: "Now all recognize that the Soviet people with their selfless fight saved the civilization of Europe from fascist thugs. This was a great achievement of the Soviet people to the history of mankind".

Lutraan, 67–69 These persons are rather grand, and one might think belonged to the classes buried in sarcophagi rather than loculi; the glasses perhaps belonged to "amici", clients or dependents, or had passed as gifts or legacies by the subjects.Grig, 211–212 One glass in the British Museum is unusual in a number of respects: between a named couple is a smaller figure of Hercules, and the inscription: "ORFITVS ET CONSTANTIA IN NOMINE HERCVLlS ACERENTINO FELICES BIBATIS" or "Orfitus and Constantia, may you live/drink in happiness in the name of Hercules of Acerentia". This may well represent Memmius Vitruvius Orfitus, prefect of Rome, and his wife. Acerentia in southern Italy had a local cult of Hercules.

However, it is typically for these features to be lacking on privately commissioned works like sarcophagi. By the second century AD most reliefs would use a generic barbaric figure because they valued the general theme of Roman conquest over non-Roman enemies more than an accurate portrayal of the Barbarians. This practice is described by Jane Francis: > For the purchaser of a battle sarcophagus, the desire to ally himself with > the glories of Rome and the part that whether directly or indirectly, was > more important than specific foe. This attitude would have been particularly > convenient for men who had seen no significant military action but who could > still claim to be part of the war machine of the empire.

The account in Genesis naturally credits the Creation to the single figure of God, in Christian terms, God the Father. However the first person plural in Genesis 1:26 "And God said, Let us make man in our image, after our likeness", and New Testament references to Christ as creator (John 1:3, Colossians 1:15) led Early Christian writers to associate the Creation with the Logos, or pre-existing Christ. A number of other sarcophagi, most conveniently collected in the same Vatican collection as the Dogmatic Sarcophagus, also show groups of three figures usually interpreted as representing the Trinity in scenes from Genesis. Sometimes one figure is beardless, while the other two are bearded.

Persephone, like the deceased loved one that rests within, was taken in her prime, without the chance of leading a full life. The tragedy of the loss of the deceased is felt throughout their own personal world, just like in the Hymn to Demeter. Additionally, this imagery could also have been used on other sarcophagi that put portrait features on Hades riding his chariot to show that the husband, who perhaps died first, is finally in union with his wife again in the afterlife. Rather than evoking a sense of tragedy of her loss, it could bring some reprieve to the family members the deceased left behind that they are finally united with their spouse in the afterlife.

Panoramic view of the catacomb of Saint Sebastian. Catacombs of San Sebastiano – entrance. One of the smallest Christian cemeteries, this has always been one of the most accessible catacombs and is thus one of the least preserved (of the four original floors, the first is almost completely gone). On the left hand end of the right hand wall of the nave of the primitive basilica, rebuilt in 1933 on ancient remains, arches to end the middle of the nave of the actual church, built in the 13th century, are visible, along with the outside of the apse of the Chapel of the Relics; whole and fragmentary collected sarcophagi (mostly of 4th century date) were found in excavations.

Franciscan church in Slano The area of Slano was already populated in the prehistoric period (ruins of a hill-fort and tumuli on the nearby hills) and in ancient times (a Roman castrum on the hill Gradina; early Christian sarcophagi, today exhibited in front of the Franciscan church).Croatia: Aspects of Art, Architecture and Cultural Heritage by John Julius Norwich In 1399, Slano fell under the rule of the Republic of Ragusa; once the duke's seat (duke's palace, reconstructed at the end of the 19th century). The summer villa of the Ohmučević family is situated in the vicinity. The present Franciscan church was built in the 16th century; the main altar is adorned with a polyptych by Lovro Dobričević.

In 2005, during construction in the vicinity of the cathedral, excavations uncovered the north wall of the medieval church of Saint-Julien, the discovery of a cemetery and three granite sarcophagi dating from the High Middle Ages. In addition, the Gothic cloister is the last one preserved in Limousin. In 1317, Pope John XXII created the diocese of Tulle by detaching fifty-two parishes from the diocese of Limoges and the abbey-church became a cathedral. During the Hundred Years' War, the English took the city in 1346 before being driven out of it a month later by the Count of Armagnac, suffering in quick succession two trying sieges during which the inhabitants were reduced to famine.

Over the centuries, constant humidity, variations in temperature, and the host of visitors had taken a great toll on the sarcophagi. Corrosion craters, holes and tears had developed. Layers of the horizontal surfaces had peeled, base plates had broken through, decorative fixtures had been broken or stolen by visitors, the cast metal absorbed too much humidity and puffed up, and heavy covers had caused some sidewalls to bend or cave. The first major restoration effort was undertaken in 1852, but further work was needed by 1956 when the Gesellschaft zur Rettung der Kapuzinergruft (Association for Saving the Capuchin Crypt) came into being to inform the public of the problem, raise funds, and preserve and restore the tombs.

Location of the boulevard was always important for the traffic. In Roman period, it was a starting section of the 924 kilometers long Via Militaris, which connected Singidunum, predecessor of Belgrade, and Constantinople, and in more local terms, Singidunum with fortresses and settlements along the Danube border of the Roman Empire, like Viminacium. Built in the 1st century AD, the road was six meters wide, with rows of shops, forges and arsenals, while Romans were buried along the road in stone sarcophagi. Archeological remnants of the Roman road can still be seen below the “Depo”, former depot of the city’s public transportation company. Majority of boulevard's course is part of the “Ancient Singidunum” archeological locality.

Some massive but mostly plain porphyry sarcophagi from the church are now placed outside the Istanbul Archaeology Museums.Downey. The Tomb of Antipope John XXIII in Florence is a grand Early Renaissance wall tomb by Donatello and Michelozzo; although classical in style, it reflects the somewhat inharmonious stacking up of different elements typical of major Gothic tombs. It has a life-size effigy, also known as a gisant, lying on the sarcophagus, which was common from the Romanesque period through to the Baroque and beyond.Levey 1967, 57–59 Ruling dynasties were often buried together, usually in monasteries; the Chartreuse de Champmol was founded for that purpose by the Valois Dukes of Burgundy in 1383.

On the ground floor of the museum is an extensive collection of stone artifacts from prehistoric cultures. On display are a number of stone tools, arrows, axes, swords, items of pottery, altars and sarcophagi and polished stones and stelae carved with inscriptions. The floor also has a number of tomb fragments and rock carvings. It covers Acheulian culture from sites such as Sidi Abderrahmane and Daya el-Hamra, Pebble culture from sites such as Arboua, Douar Doum and Casablanca, as well as the Neanderthal-associated Mousterian industry and Aterian culture dating back to 4000 BC. The museum also contains the Jebel Irhoud fossils, which are the oldest human remains found in Morocco.

Although they have been called a dozen other names (later fisherman upon seeing floating coffins, ghostly faces and shrouded bodies amid the rocks dubbed them: Old Stone Face, The Sarcophagi, Dead Man's Island, and Corpus Christi) they also have been provocatively called The Sentries of San Diego Bay even though they belong to Mexico. In October 1775, the Spanish Duque Miguel Eduardo de la Huerta from La Rioja (Northern Spain) came to the islands. The Duque had left his family on the kings request to obtain what Juan Cabrillo did not (gold from natives) . He saw the land of what Cabrillo called San Miguel ( now San Diego ) and continued to San Juan Capristrano.

The limestone from Tura was the finest and whitest of all the Egyptian quarries, so it was used for facing stones for the richest tombs,Tura Accessed 2009-06-16 as well as for the floors and ceilings of mastabas, which were otherwise made of mudbrick.Helwan Accessed July 28 It was used during the Old Kingdom and was the source of the limestone used for the "Rhomboidal Pyramid" or Bent Pyramid of Sneferu,Grimal, Nicholas. A History of Ancient Egypt. p. 109. Librairie Arthéme Fayard, 1988 the Great Pyramid of Khufu,Great Pyramid Accessed July 28, 2006 the sarcophagi of many Old Kingdom nobles,Grimal, Nicholas. A History of Ancient Egypt. p. 129.

In 1934 no commemorative march was made on the anniversary because of Hitler’s purge of the SA’s ranks in the Night of the Long Knives. The next year on 8 November the putschists were exhumed from their graves and taken to the Feldherrnhalle, where they were placed beneath sixteen large pylons bearing their names. The next day, after Hitler had solemnly walked past from one to the next, they were taken down the monument’s steps and taken on carts, draped in flags to Paul Ludwig Troost’s new Ehrentempel monuments at the Königsplatz, through streets lined with spectators bustling between 400 columns with eternal flames atop. Flags were lowered as veterans slowly placed the heavy sarcophagi into place.

The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world (see creation of man from clay, theft of fire, and references for eternal punishment). It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis. As stated by Olga Raggio, "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by TertullianTertullian.

In Tanganyika, Professor Heidegang discovers in the lake of the Ngorongoro crater a secret entrance leading to a sort of sanctuary. He seizes a ring as proof of his discovery but menacing men appear and he flees, wounded in the thigh. In London, professor Philip Mortimer, fatigued and suffering from memory problems since his experience in the sarcophagi of Açoka, is recommended by his doctor to rest. Nastasia Wardynska, of the CSIR, brings the results of the analysis of the rock he brought back from Antarctica: it is a 350 million year old gold and diamond rock on which is engraved enigmatic signs that would prove the existence of a civilization at that time.

They find themselves in a huge room with an extraordinary machine and Life explains to them: more than 300 million years ago, a civilization developed like theirs, but before the tensions engendered by growing injustices, scientists created an incubator to spawn new individuals if humanity were to disappear, which eventually happened. Olrik and Razul appear and threaten Mortimer, Sarah, Nastasia and Bombo with their weapons. Olrik makes an astonishing revelation: since their experience of the Açoka sarcophagi, Mortimer's body is controlled by the spirit of Olrik while the spirit of Mortimer is stuck in the body of the criminal! The proof is Mortimer's signature, which is related to the mind and not the body.

The types of tombs include loculi, arcosoli, pits dug in the ground, and less often, sarcophagi made of tuff, or recycled marble and stone from older graves. The loculi are aligned vertically and the most simple style of burial found in the catacombs but not indicative of the status of the deceased. Arcosoli, made for family funeral areas, are built into the walls of the galleries and cubicles and are more sophisticated than the loculi. Sometimes decorated with mosaics or frescoes, the burials may be stacked horizontally. This type of burial is often found in Sicilian catacombs as well, and can be described as a “Siracusa” burial and is often found in Greek areas of catacombs.

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi. How the water enters is unclear, but it leaves through a phallic- looking brass spout between the two women, next to an anachronistic coat of arms in the carving. This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Jaffé, 92; Brilliant, 75; Brown, 238 Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.

Hellenistic glass industry also included a range of other objects, mainly for decorative purposes. The broadest groups of glass objects were these of glass beads and inlays, like in all periods since the introduction of glassmaking in the ancient world. The mass production of glass beads of many varieties is well represented in the context of a Hellenistic glass workshop in Rhodes, where 10,000 beads of 40 different shapes and colours have been found;Weinberg 1983Triantafyllidis 2002 Rings, pendants, gemstones, amulets, small sculptures were also made with the mould-casting technique.Grose 1989 Inlays were produced to decorate wooden articles, furniture, chests, sarcophagi and jewellery in combination with other, often precious materials, such as gold leaf or ivory.

Because of the planned construction of a levee in the Nile river that would flood the zone, UNESCO, and the Sudanese, Egyptian and Argentine governments funded a reservation and investigation rescue mission. This resulted in three excavation campaigns carried out by Argentine archaeologists between 1961 and 1963. They excavated the temple of Ramesses II from the thirteenth century and in return for their work, the La Plata Museum received 300 items, 60 of which pertained to the temple of Ramesses II. The remaining items were found in an Egyptian tomb or other prehistoric sites and cemeteries. Dardo Rocha also donated three mummies dating from around 2,700 years ago that were conserved in their sarcophagi.

Dodson, A. "Bull Cults"(2005); Ibrahim, A., Rohl, D. "Apis and the Serapeum"(1988) A second gallery of chambers, now known as "The Greater Vaults", was excavated under Psamtik I (664–610 BC) of the Twenty-sixth Dynasty and later extended to approximately 350 m in length, 5 m tall and 3 m wide () by the Ptolemaic dynasty along with a long, parallel service tunnel . These gallery chambers contained granite and diorite sarcophagi weighing up to 70 tonnes each, though all were found empty. The long boulevard leading to the ceremonial site, flanked by 600 sphinxes, likely was built under Nectanebo I, (379/8–361/0 BC) the founder of the Thirtieth Dynasty (the last native one).

Pottery remains from the Middle Bronze Age, Iron Age II, Persian, early Roman and from the Byzantine era have been excavated.Feig, 2011, ‘Elabbon, Final report Rock-cut sarcophagi have been found to the west of the village.Conder and Kitchener, 1881, SWP I, p. 381 In 2013, excavations were conducted in Eilabun by Gilad Cinamon on behalf of the Israel Antiquities Authority (IAA), during which time remains from the Mamluk era were discovered.Gosker, 2013, ‘ElabbonCinamon, 2013, ‘Elabbon Israel Antiquities Authority, Excavators and Excavations Permit for Year 2013, Survey Permit # A-6783 Elibabun is mentioned as one of the cities associated with one of the twenty-four priestly divisions, the residence of the priestly clan known as Haqoṣ.

On the west-facing terrace there is a granite monument to the crews of the four airships (SL 11, L32, L31, L48) shot down in World War I and who lie buried here in a tomb in separate sarcophagi. Cannock Chase German Military Cemetery - Fallen Soldier by Hans Wimmer The other terrace forms a link between the Hall of Honour and the cemetery. The graves of the dead of the First and Second World War are generally separated and lie on either side of the gentle slopes of the cemetery with a valley between them. The burials are marked by headstones from Belgian Petit Granit and are usually inscribed for two individuals on the front and on the back.

Due to the early 19th century demolitions, only the apse chapel, the bell tower and a few other structures remain of the original Romanesque-Gothic structure. The base of the bell tower include antique elements, such a bas-relief with a Maenad, dating from the 1st century AD. Other sights include the 13th century portico- courtyard, with Verona marble columns, and a 15th-century chapel dedicated to the Holy Virgin. The apse has frescoes by Filippo Zaniberti (early 17th century), depicting the Miracles of the Virgin. The square in front the church houses two sarcophagi of members of the Este family, including the tomb of Albert Azzo II, Margrave of Milan, and that of Azzo VI of Este.

Goujon was one of the first French sculptors to draw inspiration from the sculpture of ancient Rome, particularly the bas-relief sculptures on Roman sarcophagi. The nymph and triton on one of the fountain panels (see illustration) resembled a Roman sarcophagus in Grottaferrata, which was on display when Goujon was in Rome, and which had been the subject of several 16th century artists. The Triton’s hair resembled that in an ancient statue of The River Tiber, which had been discovered in Rome in 1512. Goujon’s work on the fountain was also inspired by the Italian artists who had come to work for Francis I at the Château de Fontainebleau, Rosso Fiorentino (1495-1540) and Francesco Primaticcio (1504-1570).

The collection of 620 marble and alabaster statues and sarcophagi dating to the Roman Empire periodBruce Johnston (23 May, 2005). Roman statues go on show after 40 years in store. The Daily Telegraph (retrieved February 28, 2011) has been described as the "most important private museum of sculpture in the world" by Italian art critic Federico Zeri and, according to The Daily Telegraph, has been "said to rival [the ancient sculptures] of the Vatican." The Encyclopædia Britannica considers the most significant of the works a relief of Heracles freeing Theseus and Peirithoos (4th century BC, attributed to the school of Phidias) and a sculpture of "Hestia Giustiniani" (5th century BC, attributed to Kalamis).

On 27 August 1968, as restoration work on the Margrethe spire was nearing completion, the spire burned, threatening to collapse into the choir. During firefighting operations, members of the civil defense and church staff covered the canons' chairs, the altar, and the sarcophagi in the retrochoir with damp fire blankets, hoping to prevent damage to the invaluable items. The Defence Minister of Denmark ordered a complete ban on jet operations in the area, pending investigations into whether the vaults were in danger of collapsing. It was later discovered, that despite a total ban on any heat sources in the area where the restoration was taking place, the craftsmen had been smoking and using blowtorches in the loft.

In the garden to the west of the museum, large-sized stone artifacts are on display from the periods of Hittites, Hellenistic, Byzantine, Ilkhanate, Seljuk and Ottoman. These are Hittite gate lion statues, Hellenistic and Roman epigraphies, Ionic order and Corinthian order capitals, Roman sarcophagi made of marble and limestone, inscriptions and milestones, Byzantine steles and architectural elements as well as inscriptions of buildings, headstones, terracotta jars and mosque column capitals from the Ilkhanate, Seljuk and Ottoman periods. Six mummies from the Ilkhanate period (1256–1335/1353) are on display inside the Tomb of Mesud I. This part of the museum is the most visited. The mummies were transferred here from two mosque graveyards in Amasya.

A railway between York and Darlington via Northallerton was suggested in 1826 in the York Herald, but the first railway, built by the Great North of England Railway (GNE), following the proposed route, only opened to mineral traffic in January 1841 and to passengers in March of the same year. When navvies were digging in the Castle Hills area of Northallerton, three Roman sarcophagi were unearthed which were taken to Darlington. station opened in March 1841, and the "York Herald" described it as "in the Elizabethan Gothic style". Although much remodelled, the station is in the same location, with staggered platforms as when first built. Opening beyond to did not come until 1844.

The Royal Mausoleum contains two sarcophagi: in a white sarcophagus of marble rest King Haakon VII of Norway (1872–1957) and Queen Maud of Norway (1869–1938), née Princess Maud of Wales, and in a green sarcophagus rest King Olav V of Norway (1903–1991) and Crown Princess Märtha of Norway (1901–1954), née Princess of Sweden. The Royal Mausoleum also contains, in its walls, the remains of King Haakon V of Norway (1270–1319) and Queen Euphemia of Norway (1270–1312), née von Rügen, as well as that of King Sigurd I of Norway (c. 1090–1130). The remains were transferred from St. Mary's Church and St. Hallvard's Cathedral, respectively, both in Oslo.

In the late 1860s a French archaeologist, Louis Félicien de Saulcy, investigating the tombs, discovered an ossuary lid inscribed with the name Yitzchak (Isaac) in Hebrew, which he took back with him to France, where it is still held by the Louvre Museum. Opinions differ as to how the bodies were placed in the niches. According to Har-El, Jews placed their deceased either in stone sarcophagi in the niches; or laid them on the floor until the soft tissue decayed, and the collected their bones into ossuaries, which they placed in vaults. Williams and Willis quote an archaeologist who opines that the bodies, swathed in burial clothes, were placed directly into the niches, which were then closed or sealed with a stone slab.

Alawite man in Latakia, early 20th century Other beliefs and practices include: the consecration of wine in a secret form of Mass performed only by males; frequently being given Christian names; entombing the dead in sarcophagi above ground; observing Epiphany, Christmas and the feast days of John Chrysostom and Mary Magdalene; the only religious structures they have are the shrines of tombs; the book Kitab al Majmu, which is allegedly a central source of Alawite doctrine, where they have their own trinity, comprising Mohammed, Ali, and Salman the Persian. In addition, they celebrate different holidays such as Old New Year, Akitu, Eid al-Ghadir, Mid-Sha'ban and Eid il-Burbara. They also believe in intercession of certain legendary saints such as Khidr (Saint George) and Simeon Stylites.

Many of the superstitious citizens left the city despite Knygathin Zhaum's third arrest and execution on the same day. This time no chances were taken; the body Knygathin Zhaum was buried in a bronze sarcophagus under heavy guard, while on the other side of the city his head was placed in a small bronze sarcophagus and placed under guard of Athammaus and his remaining men. For the first hours everything proceeded as normal, but then the men heard a banging from within each of the sarcophagi, which then burst open as from some incredible force, revealing masses of strange liquid which proceeded towards each other, then merged and once again formed Knygathin Zhaum. The monster now commits more cannibal atrocities.

After the excavation of building C, the same team started to investigate an area where there was a large concentration of materials as well as a monolithic stone sarcophagus on the surface.Only two stone sarcophagi have been found in Menorca: one at Sanitja and another at Es Cap des Port in Fornells, where there was another Early Christian basilica Archaeologists located a building with rectangular rooms and Opus signinum pavements that presented a cluster of tombs both inside and outside its limits. The four tombs located inside the building (underneath its pavement) were of the cista type (rectangular pits lined by stone slabs). Also, 21 cist tombs were excavated in its surroundings, all of them containing single burials (except one tombs that presented a multiple inhumation).

In addition to exhibits within the museum, the grounds contain small sculptures, sarcophagi, column heads, and epigraphy. Exhibits are also maintained at the entrance porch and in the front garden. The porch has exhibits of the Byzantine Period in the form of stone and marble antiquities of grave stones from Sille and Konya; and cemetery slabs of the Roman Period. Two important sculptures exhibited in the open yard of the museum are a limestone block with an inscription of Derbe ascribed to the period of Paul the Apostle, and two stone monuments with inscriptions; one is a limestone block with the name of the city of Derbe and the other is an altar piece with the name Lystra inscribed on it.

The Hermaïon of El Guettar, discovered near the city of El Guettar in the south, is the oldest extant religious display discovered. The dawning era of Tunisian cultural history was shaped by Carthaginian influences including Phoenician, Greek. There is much evidence of Phoenician and western artwork and glass work found in Punic tombs, notably in masks which the Phoenician used to drive out evil spirits or demons of death with their decorations, such as the lotus motifs found on many objects or in the artistic design buildings. The paintings and sculptures of the lids of sarcophagi from the necropolis of Carthage and El Alia, the architecture of the mausoleum of Dougga are characterized by the combined influence of Greece and Egypt.

The entrance has a portico with 28 antique columns whose pointed arches, with lava rock intarsia, show influence of Arab art, and contains a series of ancient Roman sarcophagi. The interior has a nave and two aisles, divided by pilasters in which the original columns are embedded, and three apses. Artworks include two pulpits with mosaic decorations, paintings by Francesco Solimena, a 14th-century Gothic statue of Madonna with Child and the sepulchres of the Neapolitan queen Margaret of Durazzo, of Roger Borsa and of archbishop Bartolomeo d'Arpano, and the tomb of Pope Gregory VII. The Crypt The crypt, believed to house the remains of Matthew the Apostle, is a groin vaulted hall with a basilica-like plan divided by columns.

In the vestibule and stairwells, memorials include a vesica panel in memory of the children of Francis Redfern with a relief of Christ blessing children by John Flaxman (1802); a Mannerist tablet to John Napier (1842); aedicules to Rocheid of Inverleith (1737) and Watson of Muirhouse (1774); a pair of wall sarcophagi on lion's feet by Wallace and Whyte commemorating Henry Moncreiff-Wellwood and William Paul (1841); and a stone marker from the grave of Robert Pont (1608).Dunlop 1988, p. 108. To the left of the chancel arch stands a bust of John Paul (died 1872) by William Brodie. To the right of the chancel arch rests the Art Nouveau McLaren Memorial with a low relief portrait by George Frampton (1907).

The most important sarcophagi are those of Scipio Barbatus, now at the Vatican Museums, and that considered to belong to Ennius, both of substantial bulk. They do not entirely correspond with Etruscan sculpture, but show the elements of originality in Latin and particularly Roman culture, and are comparable with other Roman tombs (such as the Esquiline Necropolis) in other cities such as Tusculum. Floor plan of the tomb, based on a plan by Filippo Coarelli. 1 is the old entrance fronting on the park road, 2 is a "calcinara", an intrusive mediaeval lime kiln, 3 is the arched entrance seen in the photographs (street number 6), anciently overlooking the Via Appia, 4 is the entrance to the new room (street number 12).

Canaanite sarcophagi (Israel Museum) Periods of rapid climate change generally saw a collapse of this mixed Mediterranean farming system; commercial production was replaced with subsistence agricultural foodstuffs; and transhumance pastoralism became a year-round nomadic pastoral activity, whilst tribal groups wandered in a circular pattern north to the Euphrates, or south to the Egyptian delta with their flocks. Occasionally, tribal chieftains would emerge, raiding enemy settlements and rewarding loyal followers from the spoils or by tariffs levied on merchants. Should the cities band together and retaliate, a neighbouring state intervene or should the chieftain suffer a reversal of fortune, allies would fall away or intertribal feuding would return. It has been suggested that the Patriarchal tales of the Bible reflect such social forms.

Plutarch writes that Persephone was identified with the spring seasonPlutarch, Moralia (On Isis and Osiris, Ch. 69) and Cicero calls her the seed of the fruits of the fields. In the Eleusinian Mysteries, her return from the underworld each spring is a symbol of immortality, and hence she was frequently represented on sarcophagi. In the religions of the Orphics and the Platonists, Kore is described as the all- pervading goddess of natureOrphic Hymn 29.16 who both produces and destroys everything, and she is therefore mentioned along with or identified as other such divinities including Isis, Rhea, Ge, Hestia, Pandora, Artemis, and Hecate.Schol. ad. Theocritus 2.12 The Orphic Persephone is said to have become by Zeus the mother of Dionysus, Iacchus, Zagreus, and the little-attested Melinoe.

Sarcophagus of emperor Karl VI (detail with the Imperial Crown of the Holy Roman Empire) He also worked on the sarcophagi of emperor Karl VI (with the famous skull with the crown of the Holy Roman Empire), his wife the empress Elisabeth Christine, and emperor Joseph I. He decorated numerous Austrian churches, palaces and castles with statues, bas-reliefs and crucifixes. He also participated at the decoration with statues of the Triumphal Arch for Emperor Leopold II at Innsbruck. He produced the 1781 equestrian statues of that emperor Franz II that stands in the Burggarten and of field marshal Joseph Wenzel Fürst Liechtenstein. The marble statue of emperor Franz Stephan von Lotharingen in the Belvedere is also attributed to him.

Bronze cista handle with Sleep and Death Carrying off the Slain Sarpedon, 400–380 BC, Cleveland Museum of Art, Cleveland Fragments from a temple pediment group in terracotta, late period, National Archaeological Museum, Florence Cista depicting a Dionysian Revel and Perseus with Medusa's Head from Praeneste 4th century. The complex engraved images are hard to see here. Walters Art Museum, Baltimore Etruscan art was produced by the Etruscan civilization in central Italy between the 10th and 1st centuries BC. From around 750 BC it was heavily influenced by Greek art, which was imported by the Etruscans, but always retained distinct characteristics. Particularly strong in this tradition were figurative sculpture in terracotta (especially life-size on sarcophagi or temples), wall-painting and metalworking especially in bronze.

It looked like it had once been used, as there was an impression of a human body in the bottom of the coffin. It is theorized that this body was moved or destroyed in antiquity. Due to its proximity to the tomb of Tutankhamun and the resemblances between the portraits in the sarcophagi, as well as the style contemporary to the latter part of the 18th Dynasty, there was groundless speculation at the time of the first discovery that the coffins were once used for the bodies of Kiya and/or even Ankhesenamen. However, there is no reason to believe that the coffins were other than that of basic types used for private persons, probably derived from undertakers' stock for use to contain embalming debris.

Beneath the acropolis itself are the subterranean remains of the Serapeum, where the mysteries of the god Serapis were enacted, and whose carved wall niches are believed to have provided overflow storage space for the ancient Library. In more recent years, many ancient artifacts have been discovered from the surrounding sea, mostly pieces of old pottery. Alexandria's catacombs, known as Kom El Shoqafa, are a short distance southwest of the pillar, consist of a multi-level labyrinth, reached via a large spiral staircase, and featuring dozens of chambers adorned with sculpted pillars, statues, and other syncretic Romano-Egyptian religious symbols, burial niches, and sarcophagi, as well as a large Roman-style banquet room, where memorial meals were conducted by relatives of the deceased.

Crying Over the Dead Christ, Pedro Millán, Museum of Fine Arts of Seville. The Iberian reliefs of Osuna, Lady of Baza, and León de Bujalance, the Phoenician sarcophagi of Cádiz, and the Roman sculptures of the Baetic cities such as Italica give evidence of traditions of sculpture in Andalusia dating back to antiquity. There are few significant surviving sculptures from the time of al-Andalus; two notable exceptions are the lions of the Alhambra and of the Maristán of Granada (the Nasrid hospital in the Albaicín). The Sevillian school of sculpture dating from the 13th century onward and the Granadan school beginning toward the end of the 16th century both focused primarily on Christian religious subject matter, including many wooden altarpieces.

This country is one of the primary target countries because it has allowed euthanasia, with the help of which one can create better conditions for cryopreservation. Also, representatives of the company named one of the objectives the improvement of the cryopatient preparation and transportation procedures, which will enable the provision of cryonics services to customers from all over the world, including such countries as Ecuador and China. Among other potential business activities of the company, was mentioned sperm freezing, as were freezing of embryos and organs, Cryobank creation, tours of cryostorage facilities, visiting relatives provided patients are stored in transparent sarcophagi, introduction of cryonics to the voluntary health insurance, etc. KrioRus conducts its research in two laboratories — in Moscow and in Voronezh.

In a culture where chairs were reserved for important personages, often pillows scattered upon the floor of a chamber provided informal seating, and a cassone could provide both a backrest and a table surface. The symbolic "humility" that modern scholars read into Annunciations where the Virgin sits reading upon the floor, perhaps underestimates this familiar mode of seating. At the end of the 15th century, a new classicising style arose, and early Renaissance cassoni of central and northern Italy were carved and partly gilded, and given classical décor, with panels flanked by fluted corner pilasters, under friezes and cornices, or with sculptural panels in high or low relief. Some early to mid-sixteenth-century cassoni drew their inspiration from Roman sarcophagi (illustration, right).

Almost two millennia ago, Romans were extracting stone from the quarry located in the area for the building of Belgrade's predecessor, Singidunum and for many surviving sarcophagi from that period. It was recorded that the Romans used this stone for the construction of the city's aqueduct in 69 AD. The castrum of Singidunum had tall walls, built from the white Tašmajdan limestone. After the Slavs settled in the area, because of the white stones of the fortress they named the city Beligrad, or "white city". The quarry remained operational during Ottoman period, thus giving the name to the entire location (Turkish taş, stone and meydan, square), though it was also used for the extraction of saltpeter by Ilija Milosavljević Kolarac, which was used in the gunpowder production.

Rubens frequently returned to the theme of Bacchus, such as in his Drunken Hercules (1612-1618, Gemäldegalerie, Dresden) Young Bacchus Supported by Two Satyrs (post 1614, now lost but known through the engraving of Jonas Suyderhoef CG Voorhelm-Schneevoogt's engraving in Catalog des estampes gravees d'apres PP Rubens, Haarlem 1875, p.133.), Sylvester's Retinue (1618, Alte Pinakothek, Munich) and the studio work Bacchanalia (1612-1614, Palazzo Durazzo-Pallavicini, Genoa). They all draw on classical art, particularly a relief sculpture of a drunken Hercules and Bacchic sarcophagi scenes - one of the latter is now in Moscow and was known to Rubens, who based a sketch entitled Drunken Heracles with a Faun on it. Matilde Battistini: Symbole i alegorie. Warszawa: Wydawnictwo „Arkady”, 2005, s. 207. .

The Tyrian municipality of Ain Baal is apparently also named after the Phoenician deity. The most visible part of ancient and medieval history on the other side have been the archaeological sites though: Honor Frost After the first archaeological excavations by Renan - who became controversial because of his racist view - and Sepp in the 1860s and 1870s respectively, more were undertaken in 1903 by the Greek archaeologist Theodore Makridi, curator of the Imperial Museum at Constantinople. Important findings like fragments of marble sarcophagi were sent to the Ottoman capital. In 1921, an archaeological survey of Tyre was done by a French team under the leadership of Denyse Le Lasseur in 1921, followed by another mission between 1934 and 1936 that included aerial surveys and diving expeditions.

A cult center of Hedjhotep might have existed at the time east of the Faiyum in el Lahun. It is in nearby Harageh that archaeological excavations unearthed the only stele known to be dedicated explicitly to Hedjhotep, stele AEIN 1540, from the tomb of a man named Nebipu who held the titles of "libationer" and "keeper of clothing". The onomastic of individuals who lived in the region of Heracleopolis Magna during the Middle Kingdom indicates that Hedjhotep then benefitted from a growing cult and dedicated priesthood. In spite of this, Hedjhotep does not seem to have been honoured by dedicated priests in subsequent periods of Ancient Egyptian history, during which he appears only sporadically on sarcophagi and liturgical contexts centered on rituals devoted to the king.

The many well crafted Roman sarcophagi (stone coffins and matching lids, hewn from single large blocks of Portland stone) that have been unearthed locally over the years, testify to the skill of their makers. The earliest known building to be constructed using Portland stone is Rufus Castle at Church Ope Cove, Portland. The original structure was probably built around 1080, rebuilt around 1259 and rebuilt yet again around 1450, which is the likely date of the walls seen today. The first known Portland stone quarries were situated on the northeastern coast of the Isle, close to Rufus Castle, where huge landslips made the stone more easily accessible, and the proximity of the sea allowed the quarried stone blocks to be moved over relatively large distances by barge.

Tomb of I'timād-ud-Daulah from Agra Tomb of Akbar in Akbar's Tomb A type of tomb: a mausoleum in Père Lachaise Cemetery. Pyramid tomb of Khufu Ohel, gravesite of the Lubavitcher Rebbes Yosef Yitzchak Schneersohn and Menachem Mendel Schneerson, and a place of pilgrimage, prayer, and meditation Tombs and sarcophagi at Hierapolis Mannerheim Family in Askainen, Masku, Finland Hussain's tomb (shrine), in Karbala, Iraq A "tomb" ( tumbosτύμβος, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library) is a repository for the remains of the dead. It is generally any structurally enclosed interment space or burial chamber, of varying sizes. Placing a corpse into a tomb can be called immurement, and is a method of final disposition, as an alternative to for example cremation or burial.

Berlin Cathedral (2018) with the Fernsehturm in the background. However, in the 19th century, a new building was under discussion, but the post-Napoleonic poverty made its realization impossible. After dismantling the movable interior (altar, paintings, sarcophagi), Boumann's building was demolished in 1893 and Julius and Otto Raschdorff, father and son, built the present Supreme Parish and Cathedral Church in exuberant forms of high Neo-Renaissance style. The organ in 1964 – on the floor the rubble of the dome, destroyed in an Allied bombing 1944. With no separation of Protestant church and state of Prussia, Wilhelm II officiated as the summus episcopus (Supreme Governor of the Evangelical State Church of Prussia's older Provinces, as it was named since 1875) and the state paid the complete construction cost of 11,5 million Marks.

Originally the tomb complex included the burial of Salah al-Din and Madrassah al-Aziziah of which little remains except a few columns and an internal arch adjacent to the renovated tomb of Saladin. The mausoleum presently houses two sarcophagi: one made of wood, said to contain Saladin's remains, and one made of marble, was built in homage to Saladin in late nineteenth century by Ottoman Sultan Abdulhamid II and was later restored by German emperor Wilhelm II.Saladin, 2011, Anne-Marie Edde, Caption to PictureMan, 2015, p.264. Along with a marble sarcophagus, Wilhelm II, a golden ornate gilt bronze wreath was also put on the marble sarcophagus, which was later removed by either Faisal I or Lawrence of Arabia who later deposited it in the Imperial War Museum.

Paper spread from China via the Islamic world to Europe by the 14th century, and by the late 15th century had largely replaced parchment for many purposes. When Greek or Latin works were published, numerous professional copies were made simultaneously by scribes in a scriptorium, each making a single copy from an original that was declaimed aloud. The oldest written manuscripts have been preserved by the perfect dryness of their Middle Eastern resting places, whether placed within sarcophagi in Egyptian tombs, or reused as mummy-wrappings, discarded in the middens of Oxyrhynchus or secreted for safe-keeping in jars and buried (Nag Hammadi library) or stored in dry caves (Dead Sea scrolls). Manuscripts in Tocharian languages, written on palm leaves, survived in desert burials in the Tarim Basin of Central Asia.

While some Christians also believe that God appeared as the Father in the Old Testament, it is agreed that he appeared as the Son in the New Testament, and will still continue to manifest as the Holy Spirit in the present. But still, God still existed as three persons in each of these times.Oxford, "Encyclopedia of Christianity, pg1207 However, traditionally there is a belief that it was the Son who appeared in the Old Testament because, for example, when the Trinity is depicted in art, the Son typically has the distinctive appearance, a cruciform halo identifying Christ, and in depictions of the Garden of Eden, this looks forward to an Incarnation yet to occur. In some Early Christian sarcophagi the Logos is distinguished with a beard, "which allows him to appear ancient, even pre-existent.

Roman sarcophagus with Cupids holding seasonal garlands; episodes from the story of Theseus & Ariadne above the swags; on the lid, Cupids race chariots. Ca. 120–150 AD. Metropolitan Museum, New York Representations of the seasons on Roman sarcophagi typically showed the gifts that nature had to offer people during each season, and thus also evoked associations with the cycle of nature and of life. The sarcophagus showing Cupids holding seasonal garlands in New York's Metropolitan Museum furnishes a good example. The Cupids here hold garlands composed of various flowers, fruits, and agricultural products, each associated with a different one of the four seasons: on the very left, flowers, representing spring, then sheaves of grain representing summer, then fruit (especially grapes and grape leaves) representing autumn, and then lastly olives representing winter.

The Portonaccio sarcophagus is an example of one of a group of about twenty-five late Roman battle sarcophagi, with one exception all apparently dating to 170–210, made in Rome or in some cases Athens. These derive from Hellenistic monuments from Pergamon in Asia Minor showing Pergamene victories over the Gauls, and were all presumably commissioned for military commanders. The Portonaccio sarcophagus is the best known and most elaborate of the main Antonine group, and shows both considerable similarities to the Great Ludovisi sarcophagus, the late outlier from about 250, and a considerable contrast in style and mood.Strong, 205 The face of the general is unfinished, either because the sculptors awaited a model to work from, or they had produced the work speculatively with no specific commission.

Inside the church, there are sarcophagi from the 2nd and 4th centuries AD, that prove the existence of inhabitants in the area of Herculaneum in the aftermath of the eruption in AD 79; the exquisite wooden statues of Madonna di Pugliano and Black Crucifix, both of the 14th century; the font of 1425, one of the oldest outside the cathedral of Naples; the high altar, of the 16th century; the wooden bust of St. Januarius of the 17th century, the magnificent wooden pulpit of 1685, coeval to the wooden choir and behind the altar. Most of the paintings were made by local artists in the 16th and 17th centuries. The Madonna di Pugliano is worshipped since ever, but before the statue of the 14th century the painted Byzantine-like Madonna di Ampellone was venerated.

Exterior The Basilica of Santa Maria a Pugliano is the main church in Ercolano and the oldest church in the area around Mount Vesuvius. The church contains two pagan marble sarcophagi from the 2nd and 4th centuries AD, later adapted into Christian altars, probably in the 11th century. There are records of an oratory dedicated to the Virgin Mary in the 11th century on a hill called Pugliano, whose name probably derives from the 'praedium pollianum', a farm on the outskirts of Ercolano belonging to someone called Pollio or Pollione. One noblewoman in Naples in 1076 left legacies to various churches in the city as well as to 'S.Maria at Pugnanum tari 8'. Her will is the oldest document that confirms the existence and the high reputation of the church in the 11th century.

The effigies were executed by Reinhold Begas, who also completed the sarcophagi which stand on the side walls of the altar room and contain the remains of Prince Sigismund (1864–1866) and Prince Waldemar (1868–1879), sons of the imperial couple who both died at a young age; they were transferred into the mausoleum from the Church of Peace. Since 1991, the plain coffin of the Soldier-King Frederick William I has stood on the steps to the altar. Originally entombed in the now destroyed Garrison Church in Potsdam, like his son Frederick the Great, the coffin was moved shortly before the end of the war in 1945. Until 1953 it lay in the Elisabeth Church in Marburg, Hesse, and until 1991 in Burg Hohenzollern at Hechingen, Baden- Württemberg.

Carved Roman Sarcophagus The Etruscan civilization, which dominated a territory including the area which now includes Rome from perhaps 900 to 100 BC, like many other European peoples, had buried its dead in excavated underground chambers, such as the Tomb of the Capitals, and less complex tumuli. In contrast, the original Roman custom had been cremation of the human body, after which the burnt remains were kept in a pot, urn or ash-chest, often deposited in a columbarium or dovecote. From about the 2nd century AD, inhumation (burial of unburnt human remains) became customary, either in graves or, for those who could afford them, in sarcophagi, often elaborately carved. By the 4th century, burial had overtaken cremation as the usual practice, and the construction of tombs had grown greater and spread throughout the empire.

Since Caesarea Philippi had been celebrated for its temple of the god Pan, a Christian tourist attraction was no doubt welcome news for the city's economy. Representations of the episode which seem clearly to draw on the lost statue, and so resemble surviving coins of the imperial image, appear rather frequently in Early Christian art, with several in the Catacombs of Rome, as illustrated above, on the Brescia Casket and Early Christian sarcophagi, and in mosaic cycles of the Life of Christ such as San Apollinare Nuovo in Ravenna. It continued to be depicted sometimes until the Gothic period, and then after the Renaissance. The story was later elaborated in the 11th century in the West by adding that Christ gave her a portrait of himself on a cloth, with which she later cured Tiberius.

Caucig was born in Gorizia, at the time the capital of the Princely County of Gorizia and Gradisca. The count Guido von Cobenzl, who spent the last years of his life in Gorizia, recognised the talent in the young boy, so when he was 20, he sent him to his son Philipp, who was very influential at the Austrian court, and who then greatly contributed to Caucig's education and further career. Caucig studied the first principles of art at Vienna, and went, aided by a grant, in 1779, to Bologna and to Rome, where he remained until 1787. From 1787 till 1791, he lived in Vienna, and in 1791, he was enabled in the same way to visit Mantua, where he particularly copied Giulio Romano and reliefs on ancient sarcophagi.

The similarity of the tomb of Payava, and more generally the Lycian barrel-vaulted tombs, with the Indian Chaitya architectural design (starting from circa 250 BCE with the Lomas Rishi caves in the Barabar caves group) has also been remarked on. James Fergusson, in his " Illustrated Handbook of Architecture", while describing the very progressive evolution from wooden architecture to stone architecture in various ancient civilizations, has commented that "In India, the form and construction of the older Buddhist temples resemble so singularly these examples in Lycia". The Lycian tombs, dated to the 4th century BCE, are either free-standing or rock- cut barrel-vaulted sarcophagi, placed on a high base, with architectural features carved in stone to imitate wooden structures. There are numerous rock-cut equivalents to the free-standing structures.

One of the anthropomorphic sarcophagi from the Ford collection, marble, 4th century BCE Opening of the underground gallery was scheduled for November 2010,Beirut Museum to Open Basement in November – Jad Aoun but was delayed for technical and financial difficulties. Restoration works for the floor were begun in 2014 under the initiative of Lebanese culture minister Rony Araiji and were carried out with financial and technical support from the Italian government who provided €1.2million for the project through the Italian Development Cooperation. The basement was finally reopened on October 7, 2016 with an official ceremony presided by Tammam Salam, the Lebanese prime minister and the Italian Minister of Foreign Affairs and International Cooperation Paolo Gentiloni. The basement collection showcases funerary art and practices beginning with articles dating back from prehistory until the Ottoman era.

The inscriptions on the sarcophagi also suggest that the hypogeum was complete about 150 BC. At that time it came to be supported by another quadrangular room, with no passage to the hypogeum - in this were buried a few others of the family. The creation of a solemn "rupestre" facade also dates to that period. The decoration is attributed to the initiative of Scipio Aemilianus, and is a fundamental example of Hellenization of Roman culture in the course of 2nd century BC. At that period the tomb became a kind of family museum, that perpetuated and publicised the deeds of its occupants. The last well-known use of the tomb itself was in the Claudio-Neronian period, when the daughter and the grandchild of Gnaeus Cornelius Lentulus Gaetulicus were buried here.

Bristol Biplane replica hangs from the ceiling of the main hall of the Museum. This aircraft was made in 1963 for the film Those Magnificent Men in their Flying Machines. The museum's natural history galleries include a large selection of taxidermied animals Sarcophagi in the Egyptology collections Assyrian reliefs The Museum and Art Gallery's origins lie in the foundation, in 1823, of the Bristol Institution for the Advancement of Science and Art, sharing brand-new premises at the bottom of Park Street (a downhill from the current site) with the slightly older Bristol Literary and Philosophical Society. The neoclassical building was designed by Sir Charles Robert Cockerell (1788–1863), who was later to complete the Fitzwilliam Museum, Cambridge, and build St. George's Hall, Liverpool, and was later used as the Freemasons Hall.

A Greek rhyton The ancient Egyptian, Greek and Roman antiquities are the oldest works in Hearst's collection. The oldest of all are the stone figures of the Egyptian god Sekhmet which stand on the South Esplanade below Casa Grande and date from the Eighteenth and Nineteenth Dynasties, approximately 1550 to 1189 BC. Morgan designed the pool setting for the pieces, with tiling inspired by ancient Egyptian motifs. In the courtyard of Casa del Monte is one of a total of nine Roman sarcophagi collected by Hearst, dated to 230 AD and previously held at the Palazzo Barberini, which was acquired at the Charles T. Yerkes sale in 1910. The most important element of the antiquities collection is the holding of Greek vases, on display in the second-floor library.

Over the centuries many hypotheses on the Etruscan language have been developed, many of which have not been accepted or have been considered highly speculative. The interest in Etruscan antiquities and the Etruscan language found its modern origin in a book by a Renaissance Dominican friar, Annio da Viterbo, a cabalist and orientalist now remembered mainly for literary forgeries. In 1498, Annio published his antiquarian miscellany titled Antiquitatum variarum (in 17 volumes) where he put together a theory in which both the Hebrew and Etruscan languages were said to originate from a single source, the "Aramaic" spoken by Noah and his descendants, founders of the Etruscan city Viterbo. Annio also started to excavate Etruscan tombs, unearthing sarcophagi and inscriptions, and made a bold attempt at deciphering the Etruscan language.

The most ancient burials found at this site date back to the reign of Amenhotep III, the ninth pharaoh of the Eighteenth Dynasty during the 1350s BC. Working as an administrator during the reign of his father, Khaemweset, a son of Ramesses II (1279–1213 BC) of the Nineteenth Dynasty, ordered that a tunnel be excavated at the site, and a catacomb of galleries – now known as "The Lesser Vaults" – be designed with side chambers to contain the sarcophagi for the mummified remains of the bulls. But for one, all chambers were found emptied of their contents except for a disarray of dedication stelae.Mathieson, I., Bettles, E., Clarke, J., Duhig, C., Ikram, S., Maguire, L., et al. (1997). The National Museums of Scotland Saqqara survey project 1993-1995. Journal of Egyptian archaeology, 83, 17-53.

A controversial aspect of the Saqqara find is that for the period between the reign of Ramesses XI and the twenty-third year of the reign of Osorkon II - about 250 years - only nine burials have been discovered, including three sarcophagi Mariette reported to have identified in a chamber too dangerous to excavate (that have not been located since). Because the average lifespan of a bull was between 25 and 28 years, Egyptologists believe that more burials should have been found. Furthermore, four of the burials attributed by Mariette to the reign of Ramesses XI have since been retrodated. David Rohl advocates changes to the standard Egyptian chronology and has argued that the dating of the Twentieth Dynasty should be pushed some 300 years later on the basis of the Saqqara discovery.

Four Salian princes were buried in the altar space of the Frankish church and were then built over. Another five followed by 1046. These are the ancestors and relatives of Emperor Conrad II: Salian crypt, left side # Conrad the Red, Duke of Lorraine (Great- grandfather) † 955, # Judith, Duchess of Carinthia (Grandmother) † 991, # Henry, Count of Wormsgau (Father) † 990/991, # Judith (Sister) † 998, # Conrad I, Duke of Carinthia (Uncle) † 1011 # Matilda (wife of the preceding) † 1031/32, # Queen Matilda † 1034, consort of Henry I of France and daughter of Conrad II (transferred to Worms in 1046), # Conrad II, Duke of Carinthia (Cousin, son of Conrad I) † 1039, # Bishop Azecho, Successor of Bishop Burchard, † 1044. These sarcophagi have been located in a specially built crypt since the beginning of the 20th century.

In response, escorted by his generals Hephaistion and Parmenion, Alexander stepped into a hypogeium, which contained several stone sarcophagi. These were adorned with peculiar inscriptions: :: "Lysilla lived 35 years" :: "Mnason, son of Mantinias lived 66 years, then 71 years" :: "Aristion, son of Philocles lived 47 years, then 52 years" :: "Mantinias, son of Mnason lived, 42 years, then 706 nights" :: "Derkyllis, daughter of Mnason lived, 39 years, then 760 nights" :: "Deinias the Arcas, lived 125 years" Thus, the readers are introduced to the novel's significant characters. Then a box of cypress wood was found among the relics, bearing the inscription: "Oh, stranger, who opens this, learn from the miracles." Alexander and his companions naturally opened it up, finding in it the report of Deinias and Derkyllis, which forms the main narrative of the novel.

This work, a passionate, pagan, rhythmically conceived bacchanalian dance of half-nude putti, was the forerunner of the great Cantoria, or singing tribune, at the Duomo in Florence on which Donatello worked intermittently from 1433 to 1440 and was inspired by ancient sarcophagi and Byzantine ivory chests. In 1435, he executed the Annunciation for the Cavalcanti altar in Santa Croce, inspired by 14th-century iconography, and in 1437–1443, he worked in the Old Sacristy of the San Lorenzo in Florence, on two doors and lunettes portraying saints, as well as eight stucco tondoes. From 1438 is the wooden statue of St. John the Baptist for Santa Maria Gloriosa dei Frari in Venice. Around 1440, he executed a bust of a Young Man with a Cameo now in the Bargello, the first example of a lay bust portrait since the classical era.

In 2017, this was still "the major scholarly work on the portraiture of that emperor" according to her colleagues. Following her time in Rome, McCann taught at the University of Missouri from 1966 to 1971, and the University of California, Berkeley from 1971 to 1974. She was an active member of an international learned society that specializes in Roman pottery, which she became interested in as a result of her archaeological research underwater. In 1974, McCann joined the curatorial staff of the Metropolitan Museum of Art and led a lecture program related to archaeology. She published her research on Roman sculpture while at the museum in Roman Sarcophagi in the Metropolitan Museum of Art, which won the Outstanding Book Award from the Association of American University Presses and was recognized as an Outstanding Art Book by the Thomas J. Watson Library in 1978.

Two blind shafts in the floor, carefully filled with cut stone blocks, further wasted the robbers' time, for the real entrance to the burial chamber was even more carefully concealed and lay between the blind shafts and opposite the alcove. Despite these elaborate protective measures, Petrie found that none of the trapdoors had been slid into place and the wooden doors were open. Whether this indicated negligence on the part of the burial party, an intention to return and place further burials in the pyramid (when found there were two sarcophagi in the quartzite monolith described below and room for at least two more), or a deliberate action to facilitate robbery of the tomb, we cannot know. The burial chamber was made out of a single quartzite monolith which was lowered into a larger chamber lined with limestone.

Sarcophagus of Constantina, Vatican Museums, originally stood in the mausoleum Two large porphyry sarcophagi from the church are now in the Vatican; the larger and more famous (illustrated) in the Vatican Museums, where it was moved during the late 18th century and is on display. The smaller was moved in St Peter's itself (left transept) in 1606. It is now thought that the larger sarcophagus traditionally related to Constantina may in fact have housed her sister Helena, and the less spectacular one, also removed to the Vatican, was actually Constantina's. Constantina's sarcophagus has complex symbolic designs in relief: "the surface is dominated by an intricate pattern of stylized vine-stems into which are fitted cherubs...with this scene of Dionysiac exuberance, and the hope of future blessedness which it implies, two peacocks, birds of immortality, are completely in accord".

Smith 1991, 127 He continued to appeal to the rich of Imperial Rome, who populated their gardens with Dionysian sculpture, and by the second century AD were often buried in sarcophagi carved with crowded scenes of Bacchus and his entourage.Smith 1991, 128 The fourth-century AD Lycurgus Cup in the British Museum is a spectacular cage cup which changes colour when light comes through the glass; it shows the bound King Lycurgus being taunted by the god and attacked by a satyr; this may have been used for celebration of Dionysian mysteries. Elizabeth Kessler has theorized that a mosaic appearing on the triclinium floor of the House of Aion in Nea Paphos, Cyprus, details a monotheistic worship of Dionysus.Kessler, E., Dionysian Monotheism in Nea Paphos, Cyprus, In the mosaic, other gods appear but may only be lesser representations of the centrally imposed Dionysus.

Recovered inscriptions may have adorned the bridge. Two large altars are thought to have stood to either side of the road on the bridge's central pier, while a monumental inscription is thought to have been erected on a small archway, also on the central pier, under which all traffic on the bridge had to pass. These two altar stones were dredged from the mud of the Tyne and are in remarkably good condition, which has led some scholars to believe they may have been ceremoniously dropped into the water from the bridge during some sort of dedication ceremony.Welcome to the Castle Keep, Newcastle Upon Tyne, UK. The Castle Keep Timeline Two rare stone sarcophagi uncovered on the site of the former chapel are thought to have been used to bury members of a rich and powerful family from the fort of Pons Aelius.

It is known that Álvaro commissioned the sepulchre while he was still alive; a three-dimensional figure of his person was made that consisted in a somewhat strange device—the bronze figure raised up and knelt down by means of a special mechanism activated at the moment the mass started. When he was executed under orders of King John II, the chapel was still under construction so its completion was placed in care of his wife, Juana de Pimentel, and later of his daughter, María de Luna, who commissioned the sculpting of her parents' sarcophagi in 1498. This was the probable year of the chapel's completion by the great company of masters who were the associates of Hanequin de Bruselas. :Retable :The retable is a Gothic altarpiece, the work of Pedro de Gumiel with fourteen panels painted by Sancho de Zamora.

The execution of the project was handed over to the Veronese Matteo di Andrea de' Pasti, hired at the Estense court. Of Alberti's project, the dome that appears in Matteo's foundation medal of 1450—similar to that of the Pantheon of Rome and intended to be among the largest in Italy—was never built. Also the upper part of the façade, which was supposed to include a gable end, was never finished, though it had risen to a considerable height by the winter of 1454, as Malatesta's fortunes declined steeply after his excommunication in 1460 and the structure remained as we see it, with its unexecuted east end, at his death in 1466. The two blind arcades at the side of the entrance arch were to house the sarcophagi of Sigismondo Pandolfo and Isotta, which instead are now in the interior.

The monument to Maximilian I, Holy Roman Emperor in the Hofkirche, Innsbruck took decades to complete,Board of Trustees for The Hofkirche in Innsbruck. while the tomb of Saint Dominic in Bologna took several centuries to reach its final form.Welch, 26 If only because its strong prejudice against free-standing and life-size sculpture, Eastern Orthodoxy could not have developed the tomb monument in the same way as the Western Church, and the burials of rich or important individuals continued the classical tradition of sarcophagi carved in relief, with the richness of the carving tending to diminish over the centuries, until just simple religious symbols were left. Constantine I and most later Byzantine Emperors up to 1028 were buried in the Church of the Holy Apostles in Constantinople, which was destroyed after the fall of Constantinople of 1453.

The tradition evolved differently in the Ottoman world, where smaller single-roomed türbe typically stand on the grounds of mosque complexes, often built by the deceased. The sarcophagi (often purely symbolic, as the body is below the floor) may be draped in a rich pall, and surmounted by a real cloth or stone turban, which is also traditional at the top of ordinary Turkish gravestones (usually in stylised form). Two of the most famous are in the Süleymaniye Mosque in Istanbul; the Yeşil Türbe ("Green Tomb") of 1421 is an unusually large example in Bursa, and also unusual in having extensive tile work on the exterior, which is usually masonry, whereas the interiors are often decorated with brightly colored tiles.Levey 1975, 29–33 on Bursa, 83–84 on Istanbul; all the leading Ottoman tombs are covered in the book.

From around 300 Early Christian art began to create new public forms, which now included sculpture, previously distrusted by Christians as it was so important in pagan worship. Sarcophagi carved in relief had already become highly elaborate, and Christian versions adopted new styles, showing a series of different tightly packed scenes rather than one overall image (usually derived from Greek history painting) as was the norm. Soon the scenes were split into two registers, as in the Dogmatic Sarcophagus or the Sarcophagus of Junius Bassus (the last of these exemplifying a partial revival of classicism). Nearly all of these more abstracted conventions could be observed in the glittering mosaics of the era, which during this period moved from being decoration derivative from painting used on floors (and walls likely to become wet) to a major vehicle of religious art in churches.

In November, 2018, seven ancient Egyptian tombs were located at the ancient necropolis of Saqqara by an Egyptian archaeological mission, with a collection of scarab and cat mummies, dating back to the Fifth and Sixth Dynasties. According to the former minister Khaled el-Enany, three of the tombs were used for cats some dating back more than 6,000 years, while one of four other sarcophagi revealed at the site was unsealed. Within the remains of cat mummies were unearthed gilded and 100 wooden statues of cats and one in bronze dedicated to the cat goddess named Bastet. In addition, funerary items dating back to the 12th Dynasty were found besides the skeletal remains of cats. In September 2018, several dozen cache of mummies dating 2,000 years back were found by a team of Polish archaeologists led by Assoc. Prof.

In this pulpit, considered one of his masterworks, he succeeded in making a synthesis of the French Gothic style with the Classical style of ancient Rome, as he had seen on the sarcophagi of the Camposanto in Pisa, such as the scene Meleager hunting the Calydonian Boar on a sarcophagus brought as booty to Pisa by its navy. Vasari Giorgio Vasari - The Lives of the Painters, Sculptors & Architects, Volume 1 online relates that Nicola Pisano constantly studied these Roman remains and the Roman sculptures from Augustan times seem to have marked a deep impression on him. In the panel Representation the Madonna reminds us of the regal bearing of goddesses in late Roman sculpture, while the expressive face of St. Anne shows the ravages of age. Pulpit in the baptistery of Pisa The pulpit rests on a central column.

During this Merovingian period the cathedral church, founded in the fourth century, occupied the same site that it does today, tight against the ramparts of the ancient city. The Faubourg Saint-Seurin outside the city was a great centre of popular devotion, with its three large basilicas of St Stephen, St Seurin, and St Martin surrounding a large necropolis from which a certain number of sarcophagi are still preserved. The cemetery of St Seurin was full of tombs of the Merovingian (early dark ages) period around which the popular imagination was to create legends. In the high noon of the Middle Ages it used to be told how Christ had consecrated this cemetery and that Charlemagne, having fought the Saracens near Bordeaux, had visited it and laid Roland's wonderful horn Olivant/Oliphant on the altar of Saint Seurin.

Imperial sarcophagi of the Solomonic dynasty King Haile Selassie I and his wife at the Holy Trinity Cathedral. During much of the dynasty's existence, its effective realm was the northwestern quadrant of present-day Ethiopia, the Ethiopian Highlands. The Empire expanded and contracted over the centuries, sometimes incorporating parts of modern-day Sudan and South Sudan, and coastal areas of the Red Sea and Gulf of Aden. Southern and eastern regions were permanently incorporated during the last two centuries, some by Shewan kings and some by Emperors Menelik II and Haile Selassie I; although much of the central and southern regions were previously incorporated into the empire under Amda Seyon I and Zara Yaqob, peripheral areas were lost after the invasion of Ahmad Gragn.Taddesse Tamrat, Church and State in Ethiopia (1270-1527) (Oxford: Clarendon Press, 1972), p 275.

They ostensibly took inspiration from the porphyry sarcophagi of late Roman Emperors that were still visible in the 12th century in the Church of the Holy Apostles in Constantinople, including those of Constantine the Great and his successors up to Marcian as described by Constantine VII Porphyrogenitus in the De Ceremoniis, four of which now stand in front of the İstanbul Archaeology Museums' main building. The sarcophagus of Frederick II is surmounted by a canopy with porphyry columns and the urn is supported by two pairs of lions, together with those of Frederick II were also preserved the remains of Peter II of Sicily. Odo of Bayeux, half-brother of William the Conqueror, was buried in the cathedral in 1097.ODNB Aside from burials, Vittorio Amedeo II of Savoy and Charles III of Spain were crowned in the cathedral.

Early Christian art contains a number of narrative scenes collected on sarcophagi and in paintings in the Catacombs of Rome. Miracles are very often shown, but the Crucifixion is absent until the 5th century, when it originated in Palestine, soon followed by the Nativity in much the form still seen in Orthodox icons today. The Adoration of the Magi and the Baptism are both often found earlier, but the choice of scenes is very variable. The only Late Antique monumental cycles to have survived are in mosaic: Santa Maria Maggiore in Rome has a cycle from 432–430 on the birth and infancy of Christ together with other scenes from the Life of the Virgin, the dedicatee of the church.Schiller, II, 26–7 Sant'Appollinare Nuovo in Ravenna has cycles on opposite walls of the Works and Passion of Christ from the early 6th century.

Vestiges of the basilica in the citadel of Blaye The Basilica of Saint-Romain, Blaye, was an important Merovingian basilica, the resting-place of Charibert II, a son of Clotaire II who was briefly king of Aquitaine from 629 to his death in 632, and of his son. According to the 12th-century Chanson de RolandChanson de Roland laisse 268; see Camille Jullian, "La tombe de Roland à Blaye," Romania 25 (1903:161-73), noted in Amy Goodrich Remensnyder, Remembering Kings Past: monastic foundation legends in medieval southern France 1995:195 note 183. contained the body and relics of the Carolingian folk-hero Roland, who was a seigneur of Blaye in the eighth century, and of his companions Olivier and Turpin,Olivier and Turpin were omitted from the later pilgrimage tradition, fully established by the 12th century (Remensnyder 1995). deposited with grand solemnity in white marble sarcophagi.

Showing Creusa perfectly happy and youthful in the first half of the imagery and immediately following it up with her tragic death and the horrible death of Medea's children emphasizes the immense loss that the family feels. When one imagines their loved one as Creusa, it seems that she had everything waiting for her in life but was cruelly stolen from our world far before her time, and Creon likewise functions as a stand-in for the family member of the deceased who would feel the loss of their loved one most. Particularly in the time of the Romans, the greatest achievement in a woman's life was marriage, and the worst disaster her death. As such, the imagery on Medea sarcophagi show the highest point of her life, followed by her sudden, terrible death, making the tragedy all the worse through the surprise of the family.

In between her and Athena is a scene of Hades surprising Persephone, Persephone looking unwilling, Aphrodite above her urging her to go with him, and Artemis behind Hades readying her bow to protect her companion. On the far right, Hermes is seen leading Hades’ horses, Nike with a wreath in her right hand and a palm branch in her left, and Hercules with his club. This myth used on this type of sarcophagi typically meant for women, with the head of Persephone as she gets abducted commonly being a portrait of the deceased that was buried in the sarcophagus (seen in the Sarcophagus with the Rape of Persephone, ca. 230–240). The image of Demeter, Artemis, and Athena are meant to invoke the same sense of tragedy and grief that the Roman individual who got this for their loved one would feel, through the perspective of Demeter's own loss.

The appearance of the crown of thorns in art, notably upon the head of Christ in representations of the Crucifixion or the subject Ecce Homo, arises after the time of St. Louis and the building of the Sainte- Chapelle. The Catholic Encyclopedia reported that some archaeologists had professed to discover a figure of the crown of thorns in the circle which sometimes surrounds the chi-rho emblem on early Christian sarcophagi, but the compilers considered that it seemed to be quite as probable that this was only meant for a laurel wreath. The image of the crown of thorns is often used symbolically to contrast with earthly monarchical crowns. In the symbolism of King Charles the Martyr, the executed English King Charles I is depicted putting aside his earthly crown to take up the crown of thorns, as in William Marshall's print Eikon Basilike.

The foundation stone was laid on 8 September 1622 in the presence of Emperor Ferdinand II and after slow progress caused by the distractions of the Thirty Years' War the church was dedicated on 25 July 1632. At Easter the following year, the simple sarcophagi containing the remains of Emperor Matthias and Empress Anna were transferred with great ceremony to what is now called the Founders Vault. Emperor Leopold I enlarged the crypt in 1657 in the area under the nave of the church and his son Emperor Joseph I extended it further westward and built another mausoleum chamber and a chapel to the east in 1710, but awkwardly, beginning the vault that his brother Emperor Charles VI continued westward in 1720 that extends under the chancel and the apse choir above. For the first time, a well-known architect (Lukas von Hildebrandt) was involved with an enlargement of the crypt.

The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta) In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre).

From the age of Caracalla onwards carved sarcophagus production shows a kind of reaction to the "pittoricism" of examples from the preceding era (late 2nd-early 3rd century), such as the Portona sarcophagus), with a return to richer plasticity, as is also documented in Roman portraiture between 215 and 250. Hugely influenced by their use in the eastern empire and the middle east, hunting scenes in Roman art had started to become popular in Hadrianic art and the popularity of their use on sarcophagi spread thanks to Caracalla's predilection for Alexander the Great and his hunts and - the Mattei example is one of the earliest with such scenes. The hunting scenes, with major influence from the eastern empire. In the Roman world it acquired a new meaning as a signifier of military values, as shown by the Virtus-Roma figure in Amazonian dress standing behind the mounted hunter in this scene.

As the tomb leans on modern cemetery, the church offered to the owners to buy the lot from them so that an entrance directly though the graveyard could be built, but they refused. Supported by several professors from the Faculty of Theology, the church considers the tomb an "early Christian church", that third, unknown person, was also buried with two saints, and that local population removed the remains from the sarcophagi so that advancing Huns or Avars wouldn't desecrate the tomb. In 2016 local clergy started an initiative to build a church over the tomb. Serbian Orthodox Church again tried to buy the property from the current owners who again refused and the Institute for the protection of cultural monuments stated that the tomb is under protection and that nothing can't be built over it, regardless of the ownership, unless the Institute allows it.

167 Mérida It was during the reign of Trajan (98–117 AD.) and Hadrian (117–138 AD) that the Roman Empire reached its greatest extent and that Rome itself was at the peak of its artistic glory – achieved through massive building programs of monuments, meeting houses, gardens, aqueducts, baths, palaces, pavilions, sarcophagi, and temples. The Roman use of the arch, the use of concrete building methods, the use of the dome all permitted construction of vaulted ceilings and enabled the building of these public spaces and complexes, including the palaces, public baths and basilicas of the "Golden Age" of the empire. Outstanding examples of dome construction include the Pantheon, the Baths of Diocletian, and the Baths of Caracalla. The Pantheon (dedicated to all the planetary gods) is the best preserved temple of ancient times with an intact ceiling featuring an open "eye" in the center.

In 1149, King Alfonso VIII of León gave the couple as a wedding gift the villa of Nogales which they, in turn, donated to Aldara Pérez, abbess at the Monastery of San Miguel de Bóveda in Ourense. The abbess was entrusted with the task of bringing nuns from her monastery to the new one which would be governed by the Rule of Saint Benedict. When Vela Gutiérrez, her husband, died, the nuns returned the new monastery, the construction of which was not yet completed, to Sancha who, in 1164, donated it to the Monastery of Santa María de Moreruela that had been founded by her father, Count Ponce, and it was then turned into a monastery governed by the Cistercian Order. She had previously made arrangements to have three sarcophagi carved from stone; one for her deceased husband, another one for a son who had died previously, and one for herself.

Stele 451 at Bouchegouf has with two parallel inscriptions, one in Libyan, the other in Punic. The Roman era is represented by the two Roman roads reported in the Tabula Peutingeriana: the imperial road from Hippo Regius by way of Vicus Iuliani to Tipaza (Tifeche) with ruins of a Roman bridge on the Seybouse; and that from Hippona (Annaba) to Thagaste (Tébessa) by way of Bouchegouf.Unpublished doctoral thesis of Samir Houamria Important Roman ruins at Medjez-Sfa, on the left bank of the wadi Melah include an inscription of a slave of an estate. Among the dozen Latin inscriptions found at Zattara near Kef bou Zioun is an important one attesting to its status as a municipium: municipii Zat(taresis) porticu et rostrisCIL 08,05178- ILAlg-01,00553 An extensive ancient cemetery at Koudiet el Batum has rock-cut tombs with human- shaped hollows, sarcophagi, and inscribed tombstones.

5th century BC fresco of dancers and musicians, Tomb of the Leopards, Monterozzi necropolis, Tarquinia, Italy Terracotta head of a Man Wearing a Laurel-Wreath, 2nd century BC Etruscan art was produced by the Etruscan civilization between the 9th and 2nd centuries BC. Particularly strong in this tradition were figurative sculpture in terracotta (particularly lifesize on sarcophagi or temples), wall-painting and metalworking (especially engraved bronze mirrors). Etruscan sculpture in cast bronze was famous and widely exported, but few large examples have survived (the material was too valuable, and recycled later). In contrast to terracotta and bronze, there was apparently little Etruscan sculpture in stone, despite the Etruscans controlling fine sources of marble, including Carrara marble, which seems not to have been exploited until the Romans. Most surviving Etruscan art comes from tombs, including all the fresco wall-paintings, which show scenes of feasting and some narrative mythological subjects.

In 1892 he was appointed to the faculty of the University of Graz, but in 1894 and 1895, he lived in Cairo, where he studied the early Byzantine and Islamic art of Egypt, and compiled a catalog of the Coptic art in the Cairo Museum. Upon his return he entered a period of intense scholarly activity, publishing numerous articles on Byzantine and Islamic art, fields in which he considered himself to be the pioneer. It was in the midst of this activity that Strzygowski published his first frankly polemical work, Orient oder Rom: Beiträge zur Geschichte der spätantiken und frühchristlichen Kunst (1901) (The Orient or Rome: contributions to the history of late antique and early Christian art). Drawing on such diverse materials as Palmyrene art and sculpture, Anatolian sarcophagi, late antique ivories from Egypt, and Coptic textiles, Strzygowski argued, in overtly racial and often racist terms, that style change in late antiquity was the product of an overwhelming "Oriental" or "Semitic" influence.

It is characterised by slabs from Roman sarcophagi of the 2nd and 3rd centuries AD, which recount ancient mythological tales linked to the subject of love-death and the immortality of the soul. The central part of the façade is enhanced by big windows, which create charming transparency between outdoors and indoors and open onto the big central hall with its ceiling decorated with the Aurora fresco. The same room holds other beautiful frescoes: the Triumph of Fame and the Triumph of Love by Antonio Tempesta, the Cardinal's coat of arms and Cherubino Alberti's putti, the Four Seasons by Paul Bril, 17th-century marble busts and sculptures from the Roman era, including the famous Artemis the Huntress and the Rospigliosi Athena. The ceilings of the two side halls are frescoed by Domenico Passignano with the Battle between Rinaldo and Armida and Giovanni Baglione with the Tale of Armida and some paintings from the Pallavicini Collection are still kept there.

Large terracotta sarcophagus with painted scenes from Klazomenai in the British Museum (510-480 BC) Lid from the same sarcophagus The site of Liman Tepe, which lies near an old harbour contains very important Bronze Age excavations, the most prominent and remarkable of which is the amount of varying archaic burial sites, as well as evidence of the practises associated with them close by. One possible explanation for this is that these sites were used by different social groups within society. The city was famous for production and exports of olive oil and its painted terracotta sarcophagi, which are the finest monuments of Ionian painting in the 6th century BC. A large painted terracotta sarcophagus and lid, together weighing about 2 tonnes, were discovered in the vicinity of Klazomenai in the late nineteenth century. An ancient Greek work dating to about 500 BC, the funerary objects depict war scenes, chariot racing, hunting as well as geometric patterns throughout and is now in the British Museum's collection.

The cast also lacks the effects created by light on polished or patinated highlights such as the heads of the figures, against the darker recessed surfaces and backgrounds. Ernst Kitzinger finds "a far more definite reattachment to aesthetic ideals of the Graeco-Roman past" than in the earlier Dogmatic Sarcophagus and that of the "Two Brothers", also in the Vatican Museums.Kitzinger, 26 The form continues the increased separation of the scenes; it had been an innovation of the earliest Christian sarcophagi to combine a series of incidents in one continuous (and rather hard to read) frieze, and also to have two registers one above the other, but these examples show a trend to differentiate the scenes, of which the Junius Bassus is the culmination, producing a "multitude of miniature stages", which allow the spectator "to linger over each scene", which was not the intention of earlier reliefs which were only "shorthand pictographs" of each scene, only intended to identify them.Kitzinger, 22-26, 25 quoted.

Sarcophagi of Samuel of Bulgaria, his son Gavril Radomir and nephew Ivan Vladislav.In response to the recent flurry of activity on the subject, Ian Mladjov reevaluated the question and presented an alternative Bulgarian origin for Agatha. He dismissed each of the prior theories in turn as insufficiently grounded and incompatible given the historical record, and further argued that many of the proposed solutions would have meant that later documented marriages would have fallen within the prohibited degree of kinship, yet there is no record the issue of consanguinity was ever raised with regard to these marriages. He argued that the documentary testimony of Agatha's origins is tainted or late, and concurred with Humphreys' evaluation that the names of the children and grandchildren of Agatha, so central to prior reevaluations, may have had non- family origins (for example, Pope Alexander II, having played a critical role in the marriage of Malcolm and Margaret, may have inspired their use of that name).

After the eruption of AD 79 the area was slowly re-populated and in AD 121 the old coast road from Naples to Nocera was probably in place. In the Basilica di Santa Maria a Pugliano are two early Christian marble sarcophagi from the 2nd and 4th centuries AD which give evidence of habitation on the site of the buried Herculaneum. Unfortunately there are no historical records covering the period between the collapse of the Western Roman Empire and the year 1000, but it is certain that the coast near Mount Vesuvius would have been exposed to frequent wars as a result of the peoples and armies invading the Empire. The first records of the existence of a village named Resina or Risìna, (… de alio latere est ribum de Risina… ; … de alio capite parte meridiana est resina …, etc.),Bartolomeo Capasso, Monumenta ad Neapolitani Ducatus Historiam pertinentia, Naples 1885 are from the 10th century.

Not only kvevris were used to ferment grape juice and to store up wine, but also chapi and satskhao; others yet were used for drinking, such as khelada, doki, sura, chinchila, deda-khelada, dzhami and marani. The continuous importance of winemaking and drinking in Georgian culture is also visible in various antique works of art. Many of the unearthed silver, gold and bronze artifacts of the 3rd and 2nd millennia BC bear chased imprints of the vine, grape clusters and leaves. The State Museum of Georgia has on display a cup of high-carat gold set with gems, an ornamented silver pitcher and some other artifacts dated to the 2nd millennium BC. From classical Antiquity, Georgian museums display a cameo depicting Bacchus, and numerous sarcophagi with wine pitchers and ornamented wine cups found in ancient tombs. From the 4th century AD, wine has gained further importance in Georgian culture due to Christianisation of the country.

Hall, 324–27 Neo-Classicism, led by Antonio Canova, revived the classical stela, either with a portrait or a personification; in this style there was little or no difference between the demands of Catholic and Protestant patrons.Hall, 347–49; Berresford, 36–38 By the 19th century, many Old World churchyards and church walls had completely run out of room for new monuments, and cemeteries on the outskirts of cities, towns or villages became the usual place for burials."Cemetery" The rich developed the classical styles of the ancient world for small family tombs, while the rest continued to use gravestones or what were now usually false sarcophagi, placed over a buried coffin. The cemeteries of the large Italian cities are generally accepted to have outdone those of other nations in terms of extravagant statuary, especially the Monumental Cemetery of Staglieno in Genoa, the Cimitero Monumentale di Milano and the Certosa di Bologna.

In the Middle Ages, during the Judicates period, the architecture of the churches were enriched with capitals, sarcophagi, frescoes, marble altars and later embellished with retables, paintings by important artists such as the Master of Castelsardo, Pietro Cavaro, Andrea Lusso, and the school of the so-called Master of Ozieri who was headed by Giovanni del Giglio and Pietro Giovanni Calvano, of Senese origin. La madre dell'ucciso (the mother of the killed) by Francesco Ciusa (1907) In the nineteenth century and in early twentieth century originated the myths of an uncontaminated and timeless island. Recounted by the many travelers who visited Sardinia in that period, like D. H. Lawrence, such myths were celebrated mainly by Sardinian artists such as Giuseppe Biasi, Francesco Ciusa, Filippo Figari, Mario Delitala and Stanis Dessy. In their works they highlighted the autochthonous values of the agro-pastoral world, not yet homologated to the modernity that was pressing from the outside.

Located across the back alley, a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The mansion and gallery were also just south and west of the landmark Washington Monument in the Mount Vernon-Belvedere neighborhood, just north of the downtown business district and northeast of Cathedral Hill. Upon his 1931 death, Henry Walters bequeathed the entire collection of then more than 22,000 works, the original Charles Street Gallery building, and his adjacent townhouse/mansion just across the alley to the north on West Mount Vernon Place to the City of Baltimore, "for the benefit of the public." The collection includes masterworks of ancient Egypt, Greek sculpture and Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master European and 19th-century paintings, Chinese ceramics and bronzes, Art Deco jewelry, and ancient Near East, Mesopotamian, or ancient Middle East items.

Isis and Nephthys took part in funeral ceremonies, where two wailing women, much like those in the festival at Abydos, mourned the deceased as the two goddesses mourned Osiris. Isis was frequently shown or alluded to in funerary equipment: on sarcophagi and canopic chests as one of the four goddesses who protected the Four Sons of Horus, in tomb art offering her enlivening milk to the dead, and in the tyet amulets that were often placed on mummies to ensure that Isis's power would shield them from harm. Late funerary texts prominently featured her mourning for Osiris, and one such text, one of the Books of Breathing, was said to have been written by her for Osiris's benefit. In Nubian funerary religion, Isis was regarded as more significant than her husband, because she was the active partner while he only passively received the offerings she made to sustain him in the afterlife.

Dempsey Another inspiration for the painting seems to have been the poem by Lucretius "De rerum natura", which includes the lines, "Spring- time and Venus come, and Venus' boy, / The winged harbinger, steps on before, / And hard on Zephyr's foot-prints Mother Flora, / Sprinkling the ways before them, filleth all / With colors and with odors excellent."Lightbown, 137, 138 Where there is a plethora of literary sources, most of them probably not known directly by Botticelli, or set out for him by advisors, the visual sources are a different matter: > But where, in the visual rather than the literary sense, did the vision come > from? That is the mystery of genius. From antique sarcophagi, from a few > gems and reliefs, and perhaps some fragments of Aretine ware; from those > drawings of classical remains by contemporary artists which were circulated > in the Florentine workshops, like the architects' pattern-books of the 18th > century; from such scanty and mediocre material, Botticelli has created one > of the most personal evocations of physical beauty in the whole of art, the > Three Graces of the Primavera.

The castle, seat of the Plantagenêt dynasty Angers received its first bishop in 372 during the election of Martin of Tours. The first abbey, Saint-Aubin, was built during the 7th century to house the sarcophagus of Saint Albinius. Saint-Serge Abbey was founded by the Merovingian kings Clovis II and Theuderic III a century later. In 2008, ten Frankish sarcophagi from that period were discovered where Saint-Morille church once stood during the tramway construction.City website From the 850s, Angers suffered from its situation on the border with Brittany and Normandy. In September 851, Charles the Bald and Erispoe, a Breton chief, met in the town to sign the Treaty of Angers, which secured Breton independence and fixed the borders of Brittany. However, the situation remained dangerous for Angers, and Charles the Bald created in 853 a wide buffer zone around Brittany comprising parts of Anjou, Touraine, Maine and Sées, which was ruled by Robert the Strong, a great-grandfather of Hugh Capet. In 870, the Viking chief Hastein seized Angers where he settled until a successful siege temporarily displaced him.

Schiller, I, 154 Although this was the period when the Gospel book was the main type of manuscript to receive lavish illumination in this period, the emphasis was on depicting Evangelist portraits, and relatively few contained narrative cycles; these are in fact more common in psalters and other types of book, especially from the Romanesque period. Where there were cycles of illustrations in illuminated manuscripts, these were normally collected together at the start of the book, or of the Gospels, rather than appearing throughout the text at the relevant places, something hardly found in Western manuscripts at all, and slow to develop in printed bibles. In the East this was more common; the 6th-century Byzantine Sinope Gospels has an unframed miniature at the bottom of every surviving page, and this style of illustrating the Gospels continued to be found in later Greek Gospel books, compelling the artist to devote more pictures to the Works. Scenes with miracles were more often found in cycles of the life of Saint Peter and other apostles, from late antique sarcophagi to the Raphael Cartoons.

The subject of Niobe and the destruction of the Niobids was part of the repertory of Attic vase-painters and inspired sculpture groups and wall frescoes as well as relief carvings on Roman sarcophagi. The subject of the Attic calyx-krater from Orvieto conserved in the Musée du Louvre has provided the name for the Niobid Painter.identified by Webster, Der Niobidenmaler, Lepizig 1935; the iconography of the reverse subject and its possible relation to a lost Early Classical wall-painting by Polygnotes was examined in A lifesize group of marble Niobids, including one of Niobe sheltering one of her daughters, found in Rome in 1583 at the same time as the Wrestlers, were taken in 1775 to the Uffizi in Florence where, in a gallery devoted to them, they remain some of the most prominent surviving sculptures of Classical antiquity (see below). New instances come to light from time to time, like one headless statue found in early 2005 among the ruins of a villa in the Villa dei Quintili just outside Rome.

This was an obvious connection, since Dionysus, as god of grapes and wine, was closely associated with the natural products of a particular season and with sharing those gifts with the world. Hence many season sarcophagi include Dionysiac elements. A good example is the so-called "Badminton Sarcophagus" in New York's Metropolitan Museum, which shows in the center Dionysus on his panther, flanked by standing personifications of the Four Seasons marked by their seasonal gifts/attributes: winter stands at the far left with a brace of ducks, with a boar at his feet; then spring, holding a basket of flowers and a budding stalk; then summer, basket of grain in hand; and finally autumn at the far right, cradling a cornucopia of grapes and grape leaves in one arm while holding a captured hare. Celebration of Dionysus's natural (particularly viticultural) gifts, along with the rest of nature's never-ending abundance, and the happiness and pleasure that they bring in eternal cycle, is clearly foregrounded on a sarcophagus such as this.

Reading it from left to right, we see, first, Jason standing and watching as his and Medea's two young sons prepare to carry the two poisoned gifts to the princess Creusa, while their aged nurse watches over them; and then just to the right, Jason again, paying a visit to the seated princess. The center is given over to the princess's horrific end: Creon looks on Creusa in horror as his daughter flails about, screaming, flames shooting up from her forehead, as she dies a gruesome death. To the right of that, Medea is shown drawing her sword, about to kill her children playing innocently at her feet, and then on the far right she escapes in her chariot drawn by winged serpents, with one child's corpse over her shoulder, while the leg of the other dangles limply from the back of the chariot. Although this is Medea's story, the use of this myth on sarcophagi is not to compare the deceased to Medea, but rather to Creusa.

The 13th century keep of Gisors It was during his period as a farmer that he employed and got to know Roger Lhomoy - Lhomoy had previously worked since 1929 as a tourist guide at the Château de Gisors in Normandy and claimed to have discovered under the tower donjon in March 1946, a secret entrance to a long basement thirty meters long, nine meters wide, and approximately four and a half meters high, saying it was a subterranean chapel dedicated to Saint Catherine. He alleged it contained nineteen sarcophagi of stone, each two meters long and sixty centimeters wide, with 30 iron coffers arranged in columns of ten. Lhomoy said it was the treasure of the Knights TemplarCharles Dauzats, "Sous le donjon de Gisors, dans une crypte fabuleuse, un homme affirme avoir vu le trésor des Templiers", in Noir et Blanc, pages 560-561, Number 913, 31 August 1962. These allegations inspired Gérard de Sède to write a magazine article about Gisors, that caught the attention of Pierre Plantard, who wrote to de Sède.

Michelangelo's sculptural elements, to be used on the tombs themselves, were left undone. A difficult person to work with, Michelangelo refused to direct the completion of the new sacristy. In a statement in the Michelangelo’s biography published in 1553 by his disciple, Ascanio Condivi, and largely based on Michelangelo own recollections, Condivi gives the following description: > The statues are four in number, placed in a sacristy ... the sarcophagi are > placed before the side walls, and on the lids of each there recline two big > figures, larger than life, to wit, a man and a woman; they signify Day and > Night and, in conjunction, Time which devours all things ... And in order to > signify Time he planned to make a mouse, having left a bit of marble upon > the work (which [plan] he subsequently did not carry out because he was > prevented by circumstances), because this little animal ceaselessly gnaws > and consumes just as time devours everything. A concealed corridor with drawings on the walls by Michelangelo was discovered under the New Sacristy in 1976.

Since its integration into the museum collection, the sarcophagus has always been one of the most outstanding pieces of the collection, having served as the basis for a large number of scientific researches, theses and monographs, developed by researchers from the Federal University of Rio de Janeiro and others Brazilian scientific institutions and academics from different parts of the world. In 2015, commenting on the importance and uniqueness of the sarcophagus and the mummy of Sha-Amun-en-su, the curator of the Egyptian National Museum's collection, Antonio Brancaglion Junior, stated: On 2 September 2018, a major fire destroyed the building of the National Museum and much of the collection on display, including the sarcophagus of Sha-Amun-en-su, with its mummy and all the votive artifacts conserved within it. In the fire, the other mummies and sarcophagi of the collection, along with most of the archaeological collection, were also lost. The fire caused great commotion in the academic, scientific and cultural circles of Brazil and the world.

It was found to contain a vast haul of stolen antiquities, nearly all of which is believed to have been looted by the Medici gang from Etruscan-era and Roman-era archaeological sites in Italy and other locations over a period of at least forty years. Packed inside 45 crates, investigators discovered a vast collection of some 17,000 Greek, Roman and Etruscan artefacts, including two stunning Etruscan terracotta sarcophagi, topped by painted, life-sized reclining figures, hundreds of whole or fragmentary pieces of rare Greek and Roman pottery, statuary and bas-reliefs, fragments of a fresco from Pompeii, and a marble head of Apollo dating from the 1st century BCE, which is thought to have been looted from the Baths of Claudius, near Rome. The trove is estimated to be worth hundreds of millions of pounds, with the head of Apollo alone valued at UK£30 million (approximately US$44 million). Symes is alleged to have hidden the objects away at the Freeport warehouse soon after Michaelides' death, in order to conceal them from the executors of his estate and thus keep their huge value out of any settlement.

However, the European Commission's response to the report, in a meeting chaired by Luxembourg, "took great care not to mention the case of the freeports".Vincent Noce, "France builds grand alliance to protect cultural heritage" The Art Newspaper 4 January 2016 In January 2016, officers from the art crimes squad of the Italian Carabinieri, working in collaboration with Swiss authorities, raided a storage unit that the British antiquities dealer Robin Symes rented at the Geneva Freeport. It was found to contain a huge quantity of stolen antiquities, nearly all of which is believed to have been looted by the Medici gang from Etruscan-era and Roman-era archaeological sites in Italy and other locations over a period of at least forty years. Packed inside 45 crates, investigators discovered some 17,000 Greek, Roman and Etruscan artefacts, including two stunning Etruscan terracotta sarcophagi, topped by painted, life-sized reclining figures, hundreds of whole or fragmentary pieces of rare Greek and Roman pottery, statuary and bas-reliefs, fragments of a fresco from Pompeii, and a marble head of Apollo which is thought to have been looted from the Baths of Claudius, near Rome.

The similarity of the 4th century BCE Lycian barrel-vaulted tombs, such as the tomb of Payava, in the western part of the Achaemenid Empire, with the Indian architectural design of the Chaitya (starting at least a century later from circa 250 BCE, with the Lomas Rishi caves in the Barabar caves group), suggests that the designs of the Lycian rock-cut tombs travelled to India along the trade routes across the Achaemenid Empire. Early on, James Fergusson, in his " Illustrated Handbook of Architecture", while describing the very progressive evolution from wooden architecture to stone architecture in various ancient civilizations, has commented that "In India, the form and construction of the older Buddhist temples resemble so singularly these examples in Lycia". The structural similarities, down to many architectural details, with the Chaitya-type Indian Buddhist temple designs, such as the "same pointed form of roof, with a ridge", are further developed in The cave temples of India. The Lycian tombs, dated to the 4th century BCE, are either free-standing or rock-cut barrel-vaulted sarcophagi, placed on a high base, with architectural features carved in stone to imitate wooden structures.

Warrior with cuirass and helmet leaning on his spear in front of a funerary stele; the snake symbolizes the soul of the dead. Marble, Roman artwork from the 1st century BC imitating the Greek classical style of the 5th century BC. From Rhodes. The burial customs of the ancient Romans were influenced by both of the first significant cultures whose territories they conquered as their state expanded, namely the Greeks of Magna Graecia and the Etruscans.Toynbee, Chapter I The original Roman custom was cremation, after which the burnt remains were kept in a pot, ash-chest or urn, often in a columbarium; pre-Roman burials around Rome often used hut-urns—little pottery houses.Hall, 15 From about the 2nd century CE, inhumation (burial of unburnt remains) in sarcophagi, often elaborately carved, became more fashionable for those who could afford it.Toynbee, 39–40 Greek-style medallion portrait sculptures on a stela, or small mausoleum for the rich, housing either an urn or sarcophagus, were often placed in a location such as a roadside, where it would be very visible to the living and perpetuate the memory of the dead.

The main door, located on the north arm of the transept and facing the Plaza Mayor, has a semicircular arch with five archivolts supported on columns with capitals with plant reliefs similar to the east gallery of the cloister and a carved tympanum with a figure of the Virgin and Child blessing with her right hand, surrounded by angels. Above it there is a cornice with a frieze of blind arcades with corbels sculpted with various motifs. Vallbona Monges-Claustre In the north wall there is a door that would lead to the third section of the nave, which is closed and obstructed by a sarcophagus inside its arch as an arcosolium and on which there is a Trinitarian chrismonium from the end of the 12th century. In total, there are five sarcophagi on this wall, four Romanesque ones from the 13th century and one Gothic one, in all of them heraldic symbols can be seen and in two of them the names of the recumbents can be read: Sibil-la de Guimerà, wife of Guerau Alamany, and the other, Miquela Sasala, from 1244.

Limestone stele of a chief potter, 18th century BC The collection was established in 1852, the year the museum was made open to the public, when it purchased the collection of statuettes from Countess Alexandra Lavalle, previously stored in her mansion on English Embankment, and received the items collected in Egypt by Maximilian, Duke of Leuchtenberg, including two black basalt sarcophagi of the Late Period, now displayed in the middle of the hall, as well as the sculpture group of Theban governor Amenemheb with his wife and mother (14th century BC). In 1853 the statue of Sekhmet (15th century BC), brought by Alexei Norov from Theban Necropolis of the Eleventh dynasty of Egypt in the 1830s, was moved from the Imperial Academy of Arts to the Hermitage. Some items were purchased for the museum from antiquities traders in Egypt and collections of Russian merchants or received as gifts. In 1862, the collection expanded significantly, as the Castiglione collection, which was purchased by the Imperial Academy of Sciences from Carlo Ottavio Castiglione in Milan in 1826 and consisted of more than 900 items, core of the Egyptian museum of the Kunstkamera, was transferred to the Hermitage.

The name of Susak is believed to be derived from sampsychon (Greek for marjoram), which was later transformed into sansegus and sansacus in Romance languages, and finally adopted by Slavs as Susak. There is speculation that Susak has been settled for at least two thousand years by Illyrians, Greek sailors, and Romans (as a summer resort for wealthier Roman citizens). While there is little or no surviving evidence from Susak supporting this claim, there are ancient remains - including buildings, mosaics, coins, and burial sarcophagi - on other islands surrounding Susak. The latest Susak would have been settled is during the early Middle Ages. Assuming Susak was settled then, probably Slavs would have ruled the island under the Byzantine Empire during that time period (circa 500 CE through circa 1000 CE). Giovanni the Deacon wrote the earliest surviving text referencing Susak in the early 11th century. He wrote about Saracens in 844 destroying a fleet of Venetian ships. The surviving ships were said to have fled to Sansego. Map of the Venetian Republic circa 1560 Susak was likely governed by the Croatian Kingdom during the 10th and 11th centuries.