SO MUCH FOR the sepulchral calm of a German Sunday.
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He took his time in the sepulchral shadows and with the body.
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You can almost smell the sepulchral stench while this all goes down.
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He was also sly and avuncular, making droll, deadpan comments in his sepulchral voice.
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In Birmingham, the sepulchral skies posed more threat to that record than Pakistan's cricketers.
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What looks like fungus spikes in the fossil record, perhaps the sepulchral rot of a dying world.
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The works felt chilling, somber, and sepulchral, yet I couldn't help but think of them as tragically contemporary.
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Tall and sepulchral, she repeatedly materializes as a beautiful apparition — stoically observing the action but only sometimes intervening.
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"Death" is a sepulchral parade of images that have distorted and swallowed up the history of African-Americans.
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Bruce Wayne — played with a sepulchral growl and bespoke stubble by Ben Affleck — takes the lead on this enterprise.
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The one-acts are scattered among three sepulchral rooms, and attendants with flashlights guide you from one to the next.
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This sprawling show at the Musée du quai Branly encompasses a wealth of sepulchral, shrouded spirits meandering through Asia's cultural purview.
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The October light was oblique and sepulchral, a halo-endowing, New World light that does not exist in Delhi or Calcutta.
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Back then, the voice that later developed into a forbidding sepulchral drone was closer to the folk croon of Paul Simon.
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It's a moody, imposing album, and one with a certain elegance about it, too, despite (or perhaps because of) its sepulchral atmosphere.
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Tirzah is a stationary performer, and her mournful bedroom vocals echoing over the crowd make the space feel private, still, and sepulchral.
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Otherwise you and Gavin Kroff would be conferring in a shadowy office in the sepulchral quiet of a university building at dusk.
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She has never been the kind of woman who favored a sepulchral black wardrobe and moody makeup, as her latest show's heroine does.
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Mr. Oliver, a practitioner of sentimental gothic, reshapes and reanimates the well-worn formulas of the confessional memoir by infusing them with sepulchral darkness.
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Their solemnity is underlined by the sepulchral lighting at night, so gloomy it makes the crypt of Grant's tomb look like a tiki bar.
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On the show, forever is a state that is quiet to the point of being sepulchral, with no electronic distractions (though there is shuffleboard).
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My Inland Empire skill, which allows him to see through the veneer of the world and into the sepulchral spaces beyond mortal knowledge, kicked in.
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Suzan-Lori Parks's jazz fugue of a play presents a haunting, sepulchral parade of images that have distorted and swallowed up the history of African-Americans.
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In her main band, Eye of Nix, her voice is by turns fragile and elemental—a soaring Siouxie Sioux-inflected flight and a sepulchral howl of retribution.
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"It's impossible to overestimate the job that Landau does here as this sepulchral Hungarian," Washington Post critic Hal Hinson wrote in his review of the 1994 film.
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There were grumblings on the community board about the lobby's demolition and whether the transparency of the arched window betrayed the sepulchral spirit of the original building.
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He has also devised the music, both earthy and ethereal, that is performed by two musicians, crouched in corners in sepulchral lighting (beautifully rendered by Matt Frey).
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Whether they're standing in judgment doesn't matter to William, whose arrogant faith in his own notion of Christianity is as deep and darkly unsettling as his sepulchral voice.
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The gorgeously costumed actors pose like statues—with climactic moments of ferocious activity—and their sepulchral voices, accompanied by flute and drum, create the momentum of a dream.
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Grant—who is now sixty-one, with a tuft of silver hair and a chiselled, craggy face that he admits can look "sepulchral"—doesn't drink or use drugs.
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Mr. Cohen's sepulchral, deadpan intonation is set within angelic voices, Gypsy violins and often an organ that can be churchy or bluesy; each verse could be last words.
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A vaguely sepulchral quality prevails at the Museo Atlántico, a group of sunken sculpture installations created by Jason deCaires Taylor, a British artist, diving instructor and underwater naturalist.
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Now, five years after their last full-length, the Québécois OGs have returned to claim their throne with a brand-new LP (out June 24 via Sepulchral Productions).
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The atmosphere on offer here is more graven and sepulchral than pretty, with heavy keys floating through the fury and blasting riffs taking the lion's share of the oxygen.
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About 400 years later, at the turn of the third century BCE, Scythians ceremonially killed around a dozen stallions and interred them in a sepulchral chamber in Berel, Kazakhstan.
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But she yields to precedent — a victory for Lascelles, masterfully rendered by Pip Torrens as an implacable courtier-as-undertaker, from his sepulchral voice to his boot-brush mustache.
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On the other side lie the seemingly endless tracts of hillside slums, cemented and sepulchral, of Monterrey's impoverished Independencia neighborhood, a notorious battleground between the Zetas and Gulf cartels.
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Like Mr. Ramey, his smooth, powerful, flexible voice has its greatest impact in the baritonal region, rather than the sepulchral depths; his voice doesn't bloom as it moves downward.
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Amid the beauty shots and creeping camera moves, he rents rooms in her villa, brings its dormant garden back to bloom and fills its sepulchral rooms with luxurious bouquets.
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This production also includes — in addition to the requisite crystal chandeliers and sepulchral lighting (by Ken Billington) — a central red-carpeted staircase that seems to be waiting for Dolly Levi.
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Michael falls off the wagon — a moment signaled by an action-freezing, sepulchral spotlight, courtesy of the lighting designer Hugh Vanstone — and initiates an especially cruel, soul-baring party game.
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JON PARELES Sepulchral is the word for the talk-sung stoicism of Leonard Cohen on "You Want It Darker," the title track of his October album, which he released on Sept.
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The album's tight, high-minded complexity is firmly balanced by big, fat death metal grooves, innovative bass work (see "The Voices from Beneath the Well" especially), and a damp, sepulchral atmosphere.
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PARIS — "Body and Soul," Crystal Pite's new full-length work for the Paris Opera Ballet, opens in sepulchral gloom, with two Beckettian figures obeying instructions ("right, left, right, left") from a disembodied voice.
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Formed in 2014, the project asserted its dominance early with a rough-edged 2015 demo and ensuing full-length that set the stage for their current incarnation as emissaries of sepulchral, agonizing death.
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So perhaps it's finally the moment for Manhattan audiences to embrace the sepulchral title character of "The Woman in Black," which opened on Thursday in the Club Car bar at the McKittrick Hotel.
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In "Plague Mass," recorded live during performances at the Cathedral of St. John the Divine in New York in 1990, she repurposed her sepulchral, severe version of this spiritual as the closing number.
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Hans Henny Jahnn, who was also an organ builder, founded Ugrino in 1920 with his partner, the musician Gottlieb Harms, as a utopian community dedicated to literature, architecture (specifically, sepulchral), and baroque music.
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The duo's upcoming new album, In the Shadow of Doom, upends that formula, skewing far more heavily towards straight-up, plodding sepulchral doom (though the atmosphere is still all spooky and graven, of course).
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Meanwhile, descendants of Franco&aposs family are refusing to cooperate with authorities, mounting a legal case against plans to exhume the dictator and refusing to take his remains to the family sepulchral vault in Galicia.
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This is the kind of deceptively simple-seeming but devilishly complex music that demands repeat listens in order to truly unlock its secrets (or at least decipher the notes lurking behind that sepulchral guitar tone).
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The subject of the passage looked nutty in the grid (although I'm sure he was much more terrifying in the sepulchral flesh); there were a couple of toughies in the entries too, YTTERBIUM and YU DARVISH.
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G.R. Ben Frost's electronic music has used such an extensive palette of timbres — though he favors the sepulchral, edgeless, patient and cavernous — that it's intriguing what he chose for a track designated as a self-portrait.
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Katherine is soon bored, but the director, William Oldroyd, ensures that you aren't, with his use of sepulchral quiet, mesmerizingly steady framing and unnerving order, in which nothing is ever out of place, especially nothing human.
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Nonetheless, in this panorama of pain that details the plight of refugees the world over, plots the corpse-trails of neoliberalism, and offers relentless scenarios of massacre, misery, and deprivation, I sensed a proximity to sepulchral glee.
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An ongoing endeavor, the project currently offers two rooms to explore online: Soane's Model Room, filled with educational architectural models and freshly restored last year; and the Sepulchral Chamber, which stands in the center of the museum.
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Writer Jonathan Safran Foer's Tree of Codes (2010) — a copy of Polish Jewish writer Bruno Schultz's novel, The Street of Crocodiles (1934), with sepulchral rectangles cut out of its pages — similarly invests the book with human pathos.
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Serving as the movie's narrator — and making the expressive most of his deep, darkly insinuating sepulchral voice — Mr. Wilkerson sifts through the personal and the political, travels down eerily lonely Alabama byways and deep into anguished history.
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They have landed in a strange purgatory presided over by an old amusement park attraction, the Amazing Karnak, a mechanical fortune teller with glowing orbs for eyes, his sepulchral voice and dust-dry humor provided by Karl Hamilton.
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The set, designed by David Korins, feels deliberately cramped; the lighting, by Jeff Croiter, is often sepulchral; and the cheerier numbers — like "First Steps First" and "You Deserve It" — sound a lot more formulaic than the darker ones.
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This sprawling show encompasses a wealth of sepulchral, shrouded spirits meandering Asia's cultural purview: ranging from shadow puppetry, to ultra gory, Thai horror flick clips, through minimal Yase-otoko Noh masks of emaciated men, and flamboyant Kabuki theatre costumes.
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If its frenetic, sepulchral rumbling on the cello's lowest string — or the riotous, frankly impossible cacophony of massed, warring trumpets in "Die Soldaten," his sole opera — is not representative of growling hounds of hell, no music ever will be.
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Half of the play is set in Brooks County, Ga., in May 1918; the other half is set in a sepulchral space that might be purgatory, where the characters must wander until they face the trauma of their deaths.
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" It connected to the "Sepulchral Chamber" presided over by Soane's prized Egyptian sarcophagus of Seti I. He boasts that at "no inconsiderable expense and difficulty, this unique monument was transported from Egypt to England and placed in the British Museum.
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These portraits of the progenitors of the Twelve Tribes of Israel are spryer and less mystical than Zurbarán's more Caravaggesque — and more famous — tortured saints, like the ascetic, cloaked St. Francis kneeling in sepulchral darkness in the National Gallery of London.
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There are some powerful moments in "Franchir la Nuit": a sequence in which a man frantically rolls bodies back into the water as they relentlessly surge to the edges; another in which the apparently lifeless bodies of children are carried slowly in a sepulchral light.
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The movie puts a goofy spin on the Batman saga, but it squeezes its brightest, most sustained comedy from Mr. Arnett's hypnotically sepulchral voice, which conveys the entire bat ethos — the Sturm und Drang, the darkness and aloneness, the resoluteness and echoiness — in vocal terms.
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Apollyon checks every box an aficionado of this breed of technically advanced death worship might wish for—the oppressive, hypnotic riffs (that occasionally crawl into filthy death/doom territory), buried rasps, primitive drums, droning bass, and sepulchral atmosphere all coalesce into a perfect document of true darkness.
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As if to back up such arguments, the man himself had released a new album, You Want It Darker, which is as sepulchral and indigo-dyed as its title implies, with mournful backup vocals suggesting a monastic chorus and instrumental support as Spartan and austerely furnished as a monk's cell.
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While Day-Lewis has since become an above-the-title star and the only man to ever win three Oscars for best actor, Grant found himself shaped by an acting teacher who told him he was too "lantern-jawed, tombstone-faced, and sepulchral-featured" to ever make it as a lead.
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Joined by drummer Johnny King (Malthusian, Sodb) and guitarist Bones (Wizards of Firetop Mountain), vocalist and bassist Nemtheanga (AKA Primordial's Alan Averill) lays aside his usually epic vocal stylings in favor of an eerie sort of ur-wail, a wavering cry that undulates through the sepulchral fog to bring tidings of doom.
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But also I have been to more meaningless basketball games in my life than I could possibly remember; stack all the listless 16-point losses I watched the New Jersey Nets absorb in their sepulchral old home in the swamp one on another and you will be looking down on every penthouse in Manhattan.
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The painting, temporarily housed in the church Santa Lucia alla Badia, on one side of the Piazza Duomo, depicts the interment of the city's patron saint, her delicate frame stretched out near the bottom of the canvas, surrounded by mourners and half blocked from our sight by the broad, powerful back of the gravedigger; all this — the action of the painting, as it were — transpires in a narrow band, beneath a vast expanse of empty dark space that has been restored since I last saw it (then in Syracuse's art museum) to reveal a brick niche, dimly visible in the sepulchral gloom.
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Sepulchral artefacts were found in Velka Paka from the Bronze Age.
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His sepulchral mound in the neighborhood of Megalopolis was seen by Pausanias in the 2nd century AD.
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The original tomb was probably a sepulchral niche, afterwards known as the "Karlsmemorie", but destroyed in 1788.
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To the Topographer and Genealogist he contributed a series of notices of sepulchral monuments in Suffolk churches.
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The sepulchral plaque of the Duke of Naples Buono from the 9th century has been transferred to the Cathedral.Napoligrafia, entry on church.
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Zosimus was buried in the sepulchral Basilica of Saint Lawrence outside the Walls.Giovanni Battista de Rossi, Bulletino di arch. christ., 1881, 91 sqq.
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This change gives much variety and the tomb is altogether the most successful sepulchral design carried out in the pillared style at Ahmedabad.
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Kalainathaswamy Temple is located at Pallimadam, Virudhunagar District, on the banks of the Gundar River. Vira Pandya had built this sepulchral shrine (Pallipadai) at Pallimadam for his brother Sundara Pandya, a famous Pandya ruler. This shrine was earlier known as Pallippadai Sundara Pandya Isvaramudayar Kovil, now it is called Kalainathaswamy Kovil. It is a unique sepulchral temple of its kind in Pandya Nadu.
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Thirty kilometres (18 miles) S.S.W. of Tiaret are the sepulchral monuments known as the Jedars. The name is given to a number of sepulchral monuments placed on hill-tops. A rectangular or square podium is in each case surmounted by a pyramid. The tombs date from the 5th to the 7th century, and lie in two distinct groups between Tiaret and Frenda.
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Sir A. W. Franks, Proceedings of the Society of Antiquaries, vi, p. 311 The antiquarian Richard Gough in his epic work Sepulchral Monuments in Great Britain gave an entire page to the monument in his second volume, illustrating it in a drawing by Jacob Schnebbelie and the engraving by Barak Longmate.R. Gough, Sepulchral Monuments in Great Britain, vol.2, p.
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His second wife was Geva, widow of Adam de Stokke, but he left no issue.Lee Vol 28, p. 257 cf. GouGrH, Sepulchral Monuments, i.
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The name Pallippadai has over the years been corrupted to Pallimadam. This sepulchral temple is the only one of its kind in Pandya nadu.
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Doom emphasizes melody, melancholy tempos, and a sepulchral mood relative to many other varieties of metal.Wray, John. "Heady Metal". New York Times, May 28, 2006.
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In the south chancel aisle is a Viking hogback stone and on the west wall is a medieval sepulchral slab with a floriated cross and sword.
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Flanking the painting are two canvases by Francesco Vanni depicting Louis Gonzaga and Stanislaus Kostka. The sepulchral monument of Marcello Biringucci was completed by Bartolomeo Mazzuoli.Capella Universitaria official site.
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Monika Krajewska's interests was focus on symbols related both to Jewish papercut and sepulchral art, according to Wycinanka żydowska. She is a member of The Guild of American Papercuters.
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Three of her Star Wars short stories, "The Breath of Gelgelar", "Day of the Sepulchral Night", and "The Farrimmer Cafe", have been published in the Star Wars Adventure Journals.
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Both sides were decorated therefore, but the rear has mostly flaked off. The horse motif fits with nigward its use as a grave vase, since the horse had sepulchral symbolism.
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Trouser Press described it as "sepulchral, breathtakingly dramatic and, in the best possible sense, appalling". It was placed on Terrorizer's list of the "100 Most Important Albums of the Nineties".
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Sepulchral statue of Cardinal Marzio Ginetti by Antonio Raggi; Rome, Sant'Andrea della Valle Marzio Ginetti (6 April 1585 – 1 March 1671) was an Italian Catholic Cardinal and Cardinal Vicar of Rome.
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There are few instances of the word agape in polytheistic Greek literature. Bauer's Lexicon mentions a sepulchral inscription, most likely to honor a polytheistic army officer held in "high esteem" by his country.
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One particular feature noted in these circles is the placement of stones with cup marks. It is inferred that these circles have nothing in common with the menhirs, dolmens and other non- sepulchral and sepulchral megalithic structures of South India. Rivett Carnac was the first to report on his excavation of stone circles of Junapani, in 1879. Junapani is the second largest site, with 150 stone circles of megalithic period, out of 51 sites around Nagpur Region, and 89 in the Vidharba Region.
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The 2nd chapel on the right, chapel of San Bartolomeo was completed in the 16th century. The right wall has a stucco depicting San Paolo, and on the left wall the sepulchral monument of Piero del Bene (1530).Gaspero Ricci, page 316. At the end of the nave above the door that leads to the Canon's hall is the sepulchral monument of Bindi di Stoldo Altoviti (Bindo Altoviti) (1570) with a statue of Faith and two putti by followers of Bartolomeo Ammannati.
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R.D. Grasby & R.S.O. Tomlin. 2002. "The sepulchral monument of C. Julius Classicianus." Britannia 33:43-76. The stone was re-used in the medieval wall of London, and, reconstructed, is now in the British Museum.
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Just 60 years later, Christian V extended the north transept with a further three severies. The distinctive sepulchral chapels arose between 1648 and 1740. St. Peter's Church was severely damaged in the Copenhagen Fire of 1728.
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A Description of the Sepulchral Monument of New Grange, near Drogheda, in the County of Meath, in Ireland. By Thomas Pownall, Esq. in a letter to the Rev. Gregory Sharpe, D.D. Master of the Middle Temple.
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The Gothic frescos of the Chapel of the Magi, showing amongst others Jesus carrying his cross on Via Dolorosa. King Christian died at Copenhagen Castle on 21 May 1481 at the age of 55. He was interred at the Chapel of the Magi at Roskilde Cathedral, a richly decorated chapel he and Queen Dorothea had erected to serve as a family sepulchral chapel for the House of Oldenburg. The burials of Christian I and Queen Dorothea are marked with a pair of simple stones, as the chapel itself was to be considered their sepulchral monument.
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Brass group commemorating Sir John Foxley and his two wives in St Michael's Church, Bray, Berkshire, 1378 A monumental brass is a type of engraved sepulchral memorial which in the 13th century began to partially take the place of three-dimensional monuments and effigies carved in stone or wood. Made of hard latten or sheet brass, let into the pavement, and thus forming no obstruction in the space required for the services of the church, they speedily came into general use, and continued to be a favourite style of sepulchral memorial for three centuries.
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Little is known on him. What is known about Alexion is from surviving inscriptions from Emesa.Birley, Septimius Severus: the African emperor p.71 There was a noted sepulchral Greek inscription on the mausoleum of Emesa dated 78/79.
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The sarcophagus of Seti I in the Sepulchral Chamber in the centre of the 'Museum' at the back of the house, as shown in the Illustrated London News in 1864. :See also :Category:Collection of Sir John Soane's Museum.
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We never analysed it." Closer was recorded between 18 and 30 March 1980 at Britannia Row Studios in Islington, London. It was produced by Martin Hannett. His production has been highly praised, with Pitchfork describing it as "sepulchral.
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He also wrote a life of Pope Adrian IV (1856), a manual of sepulchral memorials (1858), a work on ancient and medieval labyrinths and turf mazes (1858), and genealogies of the Thorold and Trollope families (1874 and 1875).
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A major piece was his copperplate for Field of the Cloth of Gold, an exquisitely detailed translation of a watercolour by Edward Edwards; this oversize historical print was issued on 'Antiquarian' paper. Excellent work also appeared in Richard Gough's Sepulchral Monuments.
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The sepulchral inscription found on her cippus reads: "Livilla, daughter of Germanicus, lies here" (LIVILLA GERMANICI CAESARIS FILIA HIC SITA EST). A rich and precious vase found near this cippus is believed to have contained Livilla's ashes.Massi, Compendious, p. 45.
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At Borland Smithy, now East Borland Farm, a fine felstone celt was found with an oblique cutting edge. Fine ornamented clay whorls and urn fragments have also been found. In 1898 two sepulchral urns were found in the Castle Knowe.
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The font has a bowl with quatrefoils and is dated 1684. There are two sepulchral slabs which date from the late 13th century. One of the monuments dates from the late 14th century, and others from the 17th and 18th centuries.
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171 (Internet Archive). Some insight into their monuments was gained by the discovery of two mutilated tomb effigies at Rendlesham church in 1785.R. Gough, Sepulchral Monuments in Great Britain Vol. I Part ii (Author/John Nichols, London 1796), p.
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Frescos from c. 1460 decorate the chapel The burials of Christian I and Queen Dorothea are marked with a pair of simple stones, as the chapel itself was to be considered their sepulchral monument, while the sepulchral monuments of Christian III and Frederick II dominate the lower floor. Christian III's alabaster, Rouge Belge and Noir Belge monument was created 1574–75 by Antwerpian sculptor Cornelis Floris. When the sculptor died in October 1575, the monument was more or less complete, lacking only its weapons and inscriptions, which were to be added by the herald Jan Baptist Guidetty.
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Baronii Annales Ecclesiastici 23 (Bar-le-Duc 1870), under the year 1292, § 17, p. 123. Richard P. McBrien, Live of the Popes, 226. His sepulchral inscription is recorded by Vincenzo Forcella, Inscrizioni delle chiese di Roma XI (Roma 1877), p. 11, no. 6.
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1499, being buried in St. Paul's Cathedral; his epitaph and a very pessimistic copy of Latin verses are printed by Weever (Funerall Monuments, p. 368; Gough, Sepulchral Mon. ii. 337). Fabyan describes Worsley as (Chronicle, p. 685). His will, dated 12 Feb.
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The gens Caesennia was an Etruscan family from Tarquinii during the late Republic and in imperial times. Two of its members were mentioned by Cicero, and the name is found in sepulchral inscriptions.Dictionary of Greek and Roman Biography and Mythology, vol. I, p.
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2.18; X.1.101) or simply Livius (Inst. Or. I.5.56; X.1.39). In the sepulchral inscription from Patavium, which most probably concerns Titus, he is named, with the patronymic, (). ( , ; 64/59 BC – AD 12/17), known as Livy ( ) in English, was a Roman historian.
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The amphitheater is small and a complete ruin. Besides these there are the remains of some baths, sepulchral tablets, and a sarcophagus with reliefs representing the triumph of Bacchus. The Monti Volsini mountain range in northern Lazio takes its name from the ancient city.
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The inside contains a series of elegant rooms, especially the dining hall decorated in gold and white and the entrance hall with its double staircase. The chapel from 1898 is built in Neo-Gothic style. It has a Catholic interior and a sepulchral chapel.
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He was nicknamed The Stiff'un by the Board's staff. He tried to keep involved in all aspects of the Board and insisted that those who were too infirm or too old should retire. He was described as having "a stony gaze and a sepulchral voice".
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The sepulchral monument to Grand Master Nicolas Cotoner, located prominently to the right side of the main altar in the chapel of the langue of Aragon in St John's Co-Cathedral, was produced by Domenico Guidi and is one of the most prominent and beautiful monuments in the Cathedral. The remarkable Cotoner monument consists of a pyramidal distribution of figures with a central grouping of triumphal paraphernalia such as arms and trophies which surround the bronze gilded bust of the Grand Master. Above a cherub holds the Cotoner armorial shield whilst the allegory of Fame blows a trumpet in triumph. The sepulchral monument was assembled in the chapel in June 1686.
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She was an author of sepulchral sculptures of Xawery Dunikowski (1966), Stanisław Herbst (1974), Artur Sandauer and Erna Rosenstein (1989), figural sculptures, monuments, portraits, and religious sculptures. Her most popular sculpture was the sandstone statue of a Warsaw tradeswoman on the Mariensztat marketplace in Warsaw (1949).
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Unique in the Islamic architectural tradition, the author considered the Chaukhandi tombs a most original and independent contribution to Islamic sepulchral architecture and ornamental sculpture. The notable character of her study was underlined in the Encyclopedia of Islam.Encyclopedia of Islam, 2nd Edition, vol. VI (1991), p.
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One of the highlights of the collection is the Tauride Venus, which, according to latest research, is an original Hellenistic Greek sculpture rather than a Roman copy as it was thought before. There are, however, only a few pieces of authentic Classical Greek sculpture and sepulchral monuments.
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Under the church are older sepulchral chambers, the burial chapel of which today serves parishes of the Estonian-Finnish Orthodox Church and the Russian Orthodox Church. Prominent people buried at the church include: Lasse Lucidor, Erik Johan Stagnelius, Werner Aspenström, Karl August Nicander, and Evert Taube.
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The parish was once called Kilfobrick after a monastery with that name founded in 741. Cormac, who died in 837, is said to have been bishop. No traces are left of the monastery. A large sepulchral stone was found around 1784 at Loughnamina, on Mount Callan.
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It is a turriform mausoleum with columns and sculptures, and many elements lying around its base. To the northwest, near the outer wall was a necropolis made up of two sepulchral boxes structured with small stones, covered by slate, with shelf where ceramic containers were deposited.
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The site has been subject to many years of archaeological research. Findings include inscribed stone votive altars and sepulchral monuments richly decorated with plant and figures. Many military artifacts have been discovered, as well as decorative jewelry, clasps and buckles. Jewels include gems, armlets, bracelets, pendants, rings, amulets.
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The altar was replaced in 1995 and again on the reopening of the church in 2011, when a carved crucifix, which was brought to Amlwch from a former convent in Liverpool, was also dedicated. The porch houses a sepulchral slab, dating from the latter half of the 13th century.
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The sepulchral chapel of St. John of the Cross in Segovia was built in 1926 to commemorate the bicentennial of the saint's canonization, and includes an altarpiece, several statues and reliefs, mosaics, a tabernacle, and an elaborate coffin above the altar containing the torso and head of the saint.
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In The Natural History Others assert that the ancients used asbestos to make perpetual wicks for sepulchral or other lamps. A famous example is the golden lamp asbestos lychnis, which the sculptor Callimachus made for the Erechtheion. In more recent centuries, asbestos was indeed used for this purpose.
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New York City: Cooper Square Press, 1992: 179. Poe typically uses teeth to symbolize mortality, as with "sepulchral and disgusting" horse's teeth in "Metzengerstein", the obsession with teeth in "Berenice", and the sound of grating teeth in "Hop-Frog".Kennedy, J. Gerald. Poe, Death, and the Life of Writing.
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Bruqin is an ancient site. Here French explorer Victor Guérin found a large number of cut stones in the walls of modern houses, and an ancient tomb near the village with two sepulchral chambers.Guérin, 1875, pp. 148, 153, as cited in Conder and Kitchener, 1882, SWP II, p.
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324 This is known as St Bridget's Chapel,Rogers, William Henry Hamilton, The Antient Sepulchral Effigies and Monumental and Memorial Sculpture of Devon, Exeter, 1877, pp.299–301 or the "North Chancel Chapel".Cherry, Bridget & Pevsner, Nikolaus, The Buildings of England: Devon. Yale University Press, 2004. p.771.
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Ilaniya and the Sejera farm are on the list of conserved sites. Some places of note are the old school, founded in 1922; the mikveh tahara in a sepulchral grotto; the house of Naftali Fabrikant, now a library and educational centre; and the ruins of a synagogue from the Byzantine era.
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At St. Peter's Church in Copenhagen, on which his grandfather had done considerable work a hundred years earlier, van Steenwinckel the Youngest built a three-winged Sepulchral chapel from 1681-83. He also carried out work on the church proper, including the addition of a Baroque gable to the choir.
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Lake Mogilnoye () is a small salt/fresh-water lake on the Kildin Island, Murmansk Oblast, Russia near Kildin Strait. The name literally means 'tomb lake, sepulchral lake' in Russian, and refers to the destruction and plundering being done by British troops to the area during the Finnish War in 1809.
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The Annunciation is by Pughelli, and lateral canvases by Giovanni Ventura Borghesi. In the second chapel on the right is an altarpiece by Lazzaro Baldi.Melchiorri, page 365. In the third chapel on the right side is the sepulchral monument of Cardinal Federico Lante delle Rovere, with paintings by Pietro Paolo Baldini.
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Shortly after his wife's death, Rosebery left his grieving children and went alone on a tour of Spain. Following a visit to El Escorial he wrote on the sepulchral wonders of the building, but added "for the dead alone the Taj is of course supreme."Crewe, Vol. 2, p. 379.
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Cemetery is designated national monument of Bosnia and Herzegovina as "Sepulchral ensemble – Jewish cemetery in Sarajevo". In preparation for nomination for the inclusion on World Heritage site list, Bosnian delegates submitted documentation for the tentative list at UNESCO on April 3, 2018, under the "Cultural" category and criteria "(ii)", "(iii)", "(iv)", "(vi)".
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He is interred in Rome at Santissima Trinità dei Monti, above the Spanish Steps, where there is a sepulchral monument erected to his memory by Pope Pius V in 1568. He lived 64 years, 2 months, and 8 days, according to the inscription; from this is calculated the day of his birth.
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The sculpture is mainly represented in sepulchral art and decorations of facades. Free standing sculptures are rare, though before the Deluge gardens of many residencies were adorned with sculptures (e.g. Villa Regia Palace's garden in Warsaw was embellished with sculptures by Adriaen de Vries). Also the free standing tomb monuments were uncommon.
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Sundara Pandya, a 10th-century AD Pandya ruler, famous for his erudition, died while visiting Pallimadam. He was buried there and his younger brother Vira Pandya (AD 946-966) erected a sepulchral shrine (pallipadai) over his grave. The temple was known as Pallippadai Sundara Pandya Isvaramudayar koil. It is now called Kalainathaswamy koil.
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The large limestone sculpture of Saint Margaret on the wall by the stairs dates to around 1330 and is from the church of in Lleida, Catalonia. Each of the six effigies are supreme examples of sepulchral art. Three are from the in Catalonia. The monument directly facing the main windows is the c.
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The name "Ardcarn" is derived from Old Irish. means "height" or "high" (as in "of land"). broadly refers to natural phenomenon such as a "hill", "mound", "natural stone pile", but also artificial features such as "stone piles", sepulchral monuments, and Megalithic tombs. The townland of Ardcarn, lies 91 metres above sea level.
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The site is occupied by the modern town of Dolichi; when William Martin Leake visited the site in the 19th century, he found two fragments of Doric columns in diameter in a ruined church, and a sepulchral stone in the burying-ground, together with some squared blocks.William Martin Leake, Northern Greece, vol. iii. p. 344.
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Two auctions of Blackwood's property give a measure of how much he had personally amassed in his life. On 21 February 1778, Messrs. Christie and Ansell auctioned his "much distinguished, and valuable collection of pictures, fine bronzes, sepulchral urns, bustos, etc." More than forty painters were listed, including Velazquez, Poussin, Rubens, Rembrandt and Cuyp.
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One of the owls carries a scroll in its beak, bearing the letters "DOM".Erskine, Hope & Lloyd (1988), p. 118. His tomb is surmounted by a brightly painted, but rather crudely carved effigy, typical of the general decline in the quality of sepulchral monuments of the early 16th century.Erskine, Hope & Lloyd (1988), p. 105.
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The nomen Licinius is derived from the cognomen Licinus, or "upturned", found in a number of Roman gentes.Chase, p. 109. Licinus may have been an ancient praenomen, but few examples of its use as such are known. The name seems to be identical with the Etruscan Lecne, which frequently occurs on Etruscan sepulchral monuments.
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Although most of the sepulchral art was destroyed by the fire of 1945, the interior still features a number of tombs and epitaphs such as the epitaph for Jörg Schrimpf (d. 1556) by Peter Dell der Jüngere and the epitaph for Anna Külwein (d. 1563). Most notable is the grave of Konrad von Schaumburg (d.
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127a, s.v. MAQBARA, India (J. Burton-Page). While dealing with the various types of sepulchral structures on the South Asia and referring to the study of Zajadacz-Hastenrath, the author of that article stressed that it was only in the case of the Chaukhandi tombs that such a systematic research had been done. In 2003 (i.e.
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In the vestry is a 14th-century sepulchral slab, which is set upside-down. The stained glass in the east window is by Hemming and dates from 1897. A window in the north wall was dedicated on Ascension Day 1930. A pair of windows in the chancel, made by Shrigley and Hunt, was dedicated in 1969.
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In 1848 he published Das Germanische Totenlager von Selzen, an important treatise on Germanic sepulchral mounds. In 1851, he became head of the Romano- Germanic Central Museum in Mainz. Lindenschmit was an outspoken critic of the "three-age system" developed by archaeologist Christian Jürgensen Thomsen (1788–1865). With anatomist Alexander Ecker (1816–1887), he founded the Archiv für Anthropologie.
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The Palatine Chapel, opposite the castle outside the domain, has changed considerably over the centuries. There are records of a chapel in 1050, when the house of Lorraine rebuilt part of the choir. Around 1326 Jen Wisse built a nave and the sepulchral chapel that forms today's choir. It holds the tombs of the lords of Gerbéviller.
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Carvers of gravestone were then known as marble manufacturers or marble cutters. Most of the names of the employees were lost, along with any records or collection of sepulchral designs. A few may be found listed in national or provincial directories, but their places of business have long since disappeared. The company's address in Toronto no longer exists.
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Engraving by Richard Collin after a design by Erasmus Quellinus II of the Tomb of Willem van der Rijt and Judith van Aeswyn, 1641 Among the interior features are a stained glass window honoring Saint Gertrudis, two pulpits, three Flemish confessionals and an Ibach pipe organ from 1863. Also some sepulchral monuments and several ecclesiastical objects are on display.
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74, 79. and was described as a hectic work of obsessive rhythm and markedly post-punk. The sepulchral vocals and dark catchiness of the supporting melodies, being constantly on the edge of a glacial minimalism made the album pretty much reverberating electrogoth similar to other seminal bands such as Clan Of Xymox, Depeche Mode, The Sisters Of Mercy.
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Leonidas of Tarentum (; Doric Greek: ) was an epigrammatist and lyric poet. He lived in Italy in the third century B.C. at Tarentum, on the coast of Apulia (Magna Graecia). Over a hundred of his epigrams are present in the Greek Anthology compiled in the 10th and 14th centuries. Most of his poems are dedicatory or sepulchral.
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" The opening mime was also reinstated. As with the German television production the Voice of Bam was now represented as an eerily distorted face, hovering in the upper left corner of a dark screen. The Modern Word website describes it "like a living, concave mask. His voice is sepulchral and chilling, yet conveys a sad, lonely quality as well.
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They can be divided into several distinct categories which include the following: settlements, production areas, sepulchral sites, i. e. burial grounds and single graves as well as various hoards (deposits of coins and tools). Moreover, there are three oppida: Zemplin, Bükkszentlászló and Galish-Lovačka. The chronology of the whole group lies between LT B1-LT D1/D2.
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Hut circles also occur in Northern Scotland, but it is unclear if there is a connection between these and the hut circles in England. These hut circles were usually in pairs, and surrounded by groups of tumuli of sepulchral origin. These hut circles were around 40 feet in diameter and 20-30 yards apart.Roberts, G. (1865).
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The band released three demo and two rehearsal recordings as well as several EPs and singles in the first years. Actually, the first demo Necromantic Doom should be the band's only release. In 2006, the band got signed by Sepulchral Voice Records, and a year later, the debut album Triune Impurity Rites was released.Frank Stöver: NECROS CHRISTOS .
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St. Peter's Church (, ) is the parish church of the German-speaking community in Copenhagen, Denmark. It is situated at the corner of Nørregade and Sankt Peders Stræde in the city's Latin Quarter. Built as a single-nave church in the mid-15th century, it is the oldest building in central Copenhagen. It is also notable for its extensive complex of sepulchral chapels.
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At the same recording session, the band covered a Sepultura song for the tribute album Sepulchral Feast. Impious covered the song "Inner Self". "Promo '97" resulted in a record deal with Swedish label Black Sun Records, and in December 1997, Impious recorded their debut album, Evilized, in Sunlight Studios with producer Tomas Skogsberg. The album was released in the summer of 1998.
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According to one source on the history of the church in Dalkey, Begnet's father was Colman, the son of Aedh in the parish of Kilbegnatan (Kilbegnet or Cill Becnait).O'Reilly, "The Christian Sepulchral Leacs," p. 158 online. Like many other female virgin saints, she is described as beautiful and desirable, but she refused her numerous suitors in favor of religious devotion.
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Facade of the Church of San Vivaldo The church was erected at the site of an oak tree inside which Vivaldo was found dead. The church was refurbished in 1410. The first chapel on the right has the 15th-century reliquary and sepulchral urn of San Vivaldo. The chapel has a ceramic statue of St Catherine Alexandria and San Vivaldo by Benedetto Buglioni.
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E.G. Mestergazi has devoted almost a quarter of a century to studying the life and works of one of the first Russian emigrants: the poet, philologist, and author of "Sepulchral notes", Vladimir Sergeevich Pecherin (1807-1885). Her work has resulted in two monographs, in which Pecherin is biographically examined both as a writer and as a character of Russian culture.
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Both War and Peace are represented by angels, one with a trumpet, the other with an olive branch. Under the angel of Peace is a returning soldier, while under the angel of War there is a dead Ottoman soldier and ancient Hungarian warriors. There are sepulchral monuments in the Palatinal Crypt decorated with the statues of György Zala, Alajos Stróbl and Károly Senyei.
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The population of the terramare sites is called the terramaricoli. The sites were excavated exhaustively in 1860–1910. These sites prior to the second half of the 19th century were commonly believed to have been used for Gallic and Roman sepulchral rites. They were called terramare and marnier by the farmers of the region, who mined the soil for fertilizer.
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The poems in the anthology represent different periods. Four stages may be indicated: # The Hellenic proper, of which Simonides of Ceos (c. 556 – 469 BC), the author of most of the sepulchral inscriptions on those who fell in the Persian wars, is representative. Nearly all the pieces of this era are actual inscriptions or addresses to real personages, whether living or deceased.
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The new sepulchral ark survives intact to the present day. The twelfth century sarcophagus, though, was preserved in its original form only till 1885, when Antonio Tagliaferri, an architect, reused it along with other stone materiel from the same monastery to create an ornamental fountain, located in the eastern part of piazzetta Tito Speri, and known as the Fountain of San Tiziano.
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Djeddar of Frenda. The Jedars (Arabic "walls" or "buildings") is the name given to a number of sepulchral monuments placed on hill-tops. A rectangular or square podium is in each case surmounted by a pyramid. The tombs date from the 5th to the 7th century of the Christian era, and lie in two distinct groups between Tiaret and Frenda.
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It was a common practice in the Greco-Roman world to make use of slabs already inscribed, that is, to take the reverse of a slab already used for an inscription for the inscribing of a Christian one; such a slab is called an opisthograph. The form of the Christian inscriptions does not differ from that of the non-Christian inscriptions that were contemporary with them, except when sepulchral in character, and then only in the case of the tituli of the catacombs. The forms of stone sepulchral inscriptions differ in the Greek East and Latin West. The most common form in the East was the upright "stele" (, a block or slab of stone), frequently ornamented with a fillet or a projecting curved moulding; in the West a slab for the closing of the grave was often used.
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Warsaw tradeswoman (1949) Barbara Zbrożyna (1923–1995) was a Polish sculptor, author of figural sculptures, monuments, portraits, religious and sepulchral sculptures. Her style evolved from realism through the synthetic simplifications, expressive and metaphoric deformation, to abstraction. She was also a painter, drawer and poet. Awarded for achievements in arts by Solidarność (1984, 1989), awarded the Prize of Brat Albert Chmielowski (1986) and Prize of Polcul Foundation (1991).
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The interior is decorated with 15 canvases by Raffaello Vanni depicting The Last Judgement. The third chapel on the left has busts depicting Pietro De Vecchi and his wife Giulia Verdelli by Giuseppe Mazzuoli. The bronze crucifix is attributed to Pietro Tacca. The chapel also has a sepulchral monument to Antonio Rospigliosi, nephew of Pope Clement IX; the monument was sculpted by Giovanni Antonio Mazzuoli.
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Under the Byzantine Empire (c. 306–1453) the village was most probably the property of the Byzantine officer known as the Kouvikoularios. In Greek, the word kouvouklion means sepulchral chamber but can also mean the dormitory of the Byzantine emperors. Bodyguards of the Byzantine Emperors who guarded the imperial dormitory were termed kouvikoularioi, and were often granted land as a reward for their services.
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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.
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This creates a "sepulchral" sound. The Bach scholar Christoph Wolff notes that this "opulent oboe scoring" with all four oboes playing together is used only in the two recitatives (1 and 3). The second movement, the first aria, is the longest of the work. It is sung by the tenor with an obbligato part for violoncello piccolo, an instrument with a tenor-bass range.
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The bell tower rises from the main front. The late baroque and classicist furnishings of the church include seven altars, a pulpit, baptismal font and sepulchral slabs from the 18th century. From 1746, Otočac was the headquarters of a regiment (Ottotschaner Grenz-Infanterie Regiment N°II) of the Croatian Military Frontier, (Croatian Vojna Krajina). A number of harmonious, simple, mostly two-story houses originate from this period.
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Brass or bronze memorial plaques were produced throughout medieval Europe from at least the early thirteenth through the sixteenth centuries as a form of sepulchral memorial generally inset into the walls of churches or surfaces of tombs. Surviving in great numbers, they were manufactured from sheet brass or latten, very occasionally coloured with enamels, and tend to depict highly conventional figures with brief inscriptions.
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It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name (Lady Chapel) or (Singers' Chapel). In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
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The remains of the Severian buildings were found on several occasions under the church. The body also had a burial ground on Via Labicana (in the locality called ad Duas Lauros), where numerous inscriptions mentioning the two barracks have been found. Many of the sepulchral epigraphs of this burial ground were later reused as construction material for the circular church of Saints Marcellinus and Peter ad Duas Lauros.
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Leopardi was born and died in Venice. He is first heard of in 1482 and is said to have worked at the mint.Lorenzetti p. 915. He was once reputed to have designed the sepulchral monument of doge Andrea Vendramin, now in the church of San Giovanni e Paolo, but this is generally now thought to have been the work of Tullio Lombardo, though Leopardi may have contributed some figures.
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The outer appearance of the building is marked by the gradation of its bulks from the heavy bottom part to the openwork top which emphasizes the domination of the vertical in the building's composition. The architectural peculiarities of the composition of the bell tower influenced the design of the structures like the two-story sepulchral churches in Yeghvard and Noravank built in Armenia in the second quarter of the fourteenth century.
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The southern portal is exceptionally rich and interesting. Two sepulchral chapels (from the 17th and 18th century) were built into the church's walls; over 20 epitaphs and tombstones from the 16th and 18th century were placed on the two chapels. The main entrance to the chapel is located on the west, on the ground floor. The interior is also Gothic, but the fittings come from Renaissance and Baroque.
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Pablo Ordás Díaz, "Cloister-phobia: The Neglected Art History of León Cathedral's Cloister" The Medieval Colloquium, Columbia University (2/19/2014), p. 10. Diego's monumental tomb in the cathedral of León is one of the earliest examples of the enfeu style of sepulchral recess imported from France.Ángela Franco Mata, Iconografía funeraria gótica en Castilla y León (siglos XIII y XIV) De Arte, 2 (2003), pp. 47–86, cf. 53.
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Argam Aivazian, Djugha, p56., is a medieval sepulchral monument in Azerbaijan's Nakhchivan region. The settlement of Vardut was destroyed when its Armenian population, like that of nearby Jugha, was forcefully deported to Isfahan in 1605.Argam Aivazian, Djugha, p56. The mausoleums of Nakhichevan was nominated for List of World Heritage Sites, UNESCO in 1998The mausoleum of Nakhichevan (#) — president of Azerbaijan Committee of ICOMOS—International Council on Monuments and Sites .
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Due to its particular placement and visibility the sarcophagus was decorated on all four sides. This arrangement was markedly different than the Florentine type wall tombs of the basilica. Probably it was modelled after the tomb of Pope Sixtus IV by Pollaiolo or even more after other 15th century sculptural works in the city of Siena. This sepulchral monument is the only remaining vestige of the demolished chapel.
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The inhabitants can be traced back to burial grounds with cremated remains and occasional graves of horses. Judging from the diggings, Scalovians are assumed to have been related to other Western Balts such as Curonians and more distantly to Prussians. Typical Scalovian sepulchral relics are found in Strewa, Skomanten, Jurgaiten, Nikeln, Paulaiten, Wilku Kampas, Weszaiten, Greyszönen, Lompönen and Wittgirren. The center of Scalovia was the castle of Ragnit.
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Upon Pedro de Ibarra's marriage to Ana de Unzueta, he was proclaimed Lord of the house of Unzueta in Eibar, province of Gipuzkoa, as can be read in an inscription encircled by a laurel wreath on his sepulchral monument at the Colegiata de Cenarruza (Collegiate Church of Cenarruza) or Ziortza (Basque), in Biscay. Dating from the 13th century, this was formerly the parish of the Oñacino faction of Oñaz de Gipuzkoa.
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A list of nine early bishops of Alba, from another St. Dionysius (380) down to a Bishop Julius (553), was compiled from sepulchral inscriptions found in the cathedral of Alba towards the end of the fifteenth century by Dalmazzo Berendenco, an antiquarian. Giovanni Battista De Rossi, however, on examination of the inscriptions proved them to be a forgery. Paul Fridolin Kehr remarks (p. 185), Seriem episcoporum Albensium inde ab a.
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During his visit to Pasargadae Alexander ordered his architect Aristobulus to decorate the interior of the sepulchral chamber of Cyrus' tomb. Afterwards, Alexander travelled to Ecbatana to retrieve the bulk of the Persian treasure. There, his closest friend and possible lover, Hephaestion, died of illness or poisoning. Hephaestion's death devastated Alexander, and he ordered the preparation of an expensive funeral pyre in Babylon, as well as a decree for public mourning.
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The other inscription, also sepulchral, is the so-called Inscription of Euskia in Greek, which was discovered at the end of the 19th century in the Catacombs of San Giovanni in Syracuse and dates to the beginning of the 5th century. The document indicates a local cult of Lucy. At the time of the inscription's creation, the cult of Agatha is already attested at Rome and Carthage.Benigno & Giarrizzo, op. cit.
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During his lifetime Warne amassed a large collection of English and Roman coins part of which was sold by Messrs. Sotheby, Wilkinson, & Hodge, on 24 and 25 May 1889, two years after his death. Warne's collection of sepulchral urns and other relics from barrows went to Dorchester Museum. His grave in Brookwood Cemetery is designed to resemble a prehistoric barrow with the upright stone being made from serpentinite.
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One of his notable discoveries would be the wooden coffins excavated from a sepulchral cave in Marinduque. These coffins had carvings of crocodile images in its lids, similar to those found in Nosy Loapasana, Madagascar. Another would be his discovery of deformed skulls in the caves of Los Tres Reyes, Pamintaan and Macayan. These deformed skulls were similar to the ones discovered by Fedor Jagor in the 1860s.
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Antvorskov were King Frederick II of Denmark died. Sepulchral monument of Frederick II by Gert van Egen in the Christian I's Chapel (Chapel of the Magi). King Frederick II of Denmark died on 4 April 1588, aged 53, at Antvorskov. Frederik's passing was sudden and unexpected – recent historians speculate that his health deteriorated very rapidly as the result of lung cancer—and hence the central administration was unprepared.
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The anchor background pattern on the banknote does not directly refer to the artists' surname (anker means anchor in Danish), but to a necklace worn by Anna. The back of the banknote shows a tournament scene from a sepulchral monument in Bislev Church in northern Jutland. The 1000 kroner bill is sometimes referred to as a tudse (toad), from a word play on the word tusinde (a thousand).
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He later created statues for King John III Sobieski's Wilanów Palace in Warsaw and sepulchral sculptures in Żółkiew (Zhovkva). In 1689, he moved to Warsaw and made the pediment reliefs and sculptural work of Krasiński Palace. Schlüter was invited to Berlin in 1694 by Eberhard von Danckelmann to work as court sculptor at the armory (Zeughaus) for Elector Frederick III. His sculpted decorations are a masterpiece of baroque expression and pathos.
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Humm, Appius Claudius Caecus, § 12-15. History leaves us in darkness as to the origin of the Furia gens. A legendary figure named Spurius Fusius appears representing the Roman priests in the time of Tullus Hostilius. From sepulchral inscriptions found at Tusculum, we see that the name Furius was very common at that place, and hence it is generally inferred that the Furia gens, like the Fulvia, had come from Tusculum.
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In 1995, Bacht introduced light as a design instrument. From 2000, a series of critical homages to key figures of classical modernism (Mondrian, Malewitsch) and the White Installations were added to the canon of work groups. Another work group is dedicated to objects and architectonic structures for an alternative sepulchral culture. All work groups are flanked by an encyclopaedia of satirical objects, assembled under the group title „Kein Wunder“.
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Harper Perennial, 1991. p. 114. Poe also uses a character afflicted with monomania for the first time, a device he uses many times again. Teeth are used symbolically in many of Poe's stories to symbolize mortality. Other uses include the "sepulchral and disgusting" horse's teeth in "Metzengerstein", lips writhing about the teeth of the mesmerized man in "The Facts in the Case of M. Valdemar", and the sound of grating teeth in "Hop-Frog".
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Interior of the chapel The church has an extensive complex of sepulchral chapels which was commenced in 1643 and not completed until 1681-83 when Hans van Steenwinckel the Youngest completed a three wing chapel towards Larslejstræde. The complex contains numerous tombs and epitaphs of important German families in Denmark. Beneath the tombs contain the sarcofages of the most distinguished family members while other coffins are placed in three to four layers in underground crypts.
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He also mapped the Avebury henge monument. He wrote Monumenta Britannica in the late 17th century as a survey of early urban and military sites, including Roman towns, "camps" (hillforts), and castles, and a review of archaeological remains, including sepulchral monuments, roads, coins and urns. He was also ahead of his time in the analysis of his findings. He attempted to chart the chronological stylistic evolution of handwriting, medieval architecture, costume, and shield shapes.
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Carvajal was later made Cardinal-Bishop of Ostia and Dean of the Sacred College, with his uncle's former title of San Marcello, and as such welcomed to Rome Pope Adrian VI,Pastor, Gesch. d. Päpste, Freiburg, 1906, IV (2), 47–48. whom he survived, and Pope Clement VII. He had lived at Rome under eight popes, and was buried in his titular church of Santa Croce, where a magnificent sepulchral monument perpetuates his memory.
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John Gorges of Warleigh House, lord of the manor of Tamerton Foliot, who flourished in the early 15th century. Formerly the Gorges heraldic canting arms of the Gurges, which is Latin for "whirlpool" could be seen on the front of the jupon of the knight in the form of 3 concentric annulets.As shown in the drawing published in Hamilton Rogers, W., Ancient Sepulchral and Monumental Sculpture of Devon. No trace remains today.
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On its left side is a depiction of The Redemptor and Sts Ambrose and Charles as well as the sepulchral monument of Federico Borromeo. On the exterior, to the sides of the apse and facing the ancient Mausoleum of Augustus, are two giant statues of the titular saints, among the largest in Rome. Other artists active in the church include Pasquale de' Rossi, Luigi Garzi, Francesco Rosa, Giovanni Battista Buonocore, and Fabbrizio Chiari.
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The horse's teeth are described as "sepulchral and disgusting". Poe would later use teeth as a sign of mortality, as in lips writhing about the teeth of the mesmerized man in "The Facts in the Case of M. Valdemar", the sound of grating teeth in "Hop-Frog", and the obsession over teeth in "Berenice".Kennedy, J. Gerald. Poe, Death, and the Life of Writing. New Haven, CT: Yale University Press, 1987: 79.
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The cemetery is renowned for its statues and sepulchral monuments that preserve the mortal remains of notable personalities, including Giuseppe Mazzini, Fabrizio De André, and Constance Lloyd (Oscar Wilde's wife). In the first half of the 19th century they are completed the and the . In 1901 realised the Silos Granari. Arco della Vittoria The city is rich in testimony of the Gothic Revival like Albertis Castle, , and Mackenzie Castle designed by the architect Gino Coppedè.
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The front of Deir ed Derb, 1873 Section through Deir ed Derb, 1873 Deir ed Derb, 2017 About 1/2 mile SE of the village centre is Deir ed Derb ("The monastery of the road"Palmer, 1881, p. 228), described as "one of the finest sepulchral monuments in the country".Conder and Kitchener, 1882, SWP II, p. 313picture 2picture 3 In 1873 when it was visited, it was described as having three chambers.
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Anthony Raubitschek states that the verses are "extraordinarily similar" to the pronouncements of Hector. Paul Friedlânder and Herbert B, Hoffleit describe the epigram as "the masterpiece among...sepulchral [epigrams] in epic manner". There is a difference between the death of Arniadas and that of Menecrates as evidenced by the inscriptions on their tombs. Arniadas's death appears heroic since he was slain by Ares himself, the god of war, while Menecrates was simply lost at sea.
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The composer Heinrich Schütz wrote his Musikalische Exequien for this occasion. His elaborately decorated copper outer coffin, with biblical proverbs and evangelical chorals, was transferred from the Salvator Church to the St. John church in 1995. In 2011, it was displayed in an exhibition about funeral practices in the early modern age in the city museum of Gera. It has also been on display in the Museum for Sepulchral Culture in Kassel.
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On the basis of this hypothesis he identified the gold female figurine as the earth goddess Prithvi and ascribed the mounds to a pre-Mauryan age. After him the mounds came to be known loosely as "Vedic burial mounds". The locals call these mounds Bhisa, a word also recorded by Cunningham. Some believe that the 26-metre-high ancient brick sepulchral mound is the stupa where the ashes of Lord Buddha were enshrined.
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It is high. The columns encircling the cylindrical portion are stunted and much broader at the base than the top; the capitals are Doric. Many of the columns, 60 in number, have been much damaged. When the sepulchral chamber was opened in 1873 by Bauchetet, a French engineer officer, clear evidence was found that at some remote period the tomb had been rifled and an attempt made to destroy it by fire.
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The Praia das Maçãs Prehistoric Monument, also known as the Tholos of Outeiro das Mós, consists of an artificial Neolithic cave and a Chalcolithic domed or beehive tomb. It is situated close to the Praia das Maçãs beach, near the town of Colares in Sintra municipality, in the Lisbon District of Portugal. The area was discovered in 1927. As an important prehistoric sepulchral site, it was classified as a national monument in 1974.
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Nicola also founded the Sant'Onofrio church in Rome in 1439. Construction funds came from various donors including Cardinal Gabriele Condulmer - the future Pope Eugene IV. Nicola died on 1 October 1449 and his remains were interred in the church that he himself established. His remains were laid out for just under a week for the faithful and he was then buried under the floor of the church. His friend Pope Nicholas V dictated the sepulchral inscription.
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Wilm Weppelmann in front of his art installation „The Last Question“ Stuttgart Germany 2005 Wilm Weppelmann (born 17 April 1957 in Lüdinghausen) is a German artist, conceptual artist, garden artist, photographer and writer based in Münster Germany, with extensive solo exhibitions (Town Museum Münster, Museum for Sepulchral Culture Kassel, etc.) concerning the boundaries of human existence. Since 2005, Weppelmann has focused primarily on the meaning of garden culture and its role in the development of human existence.
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In an atmosphere of sepulchral calm the bathers recline on benches along the walls sweltering in superheated seclusion. No talking is allowed within the space. The remainder of the Turkish Suite consists of a hot room, cool room, shampooing room and washing room.Proceedings of the Glasgow Philosophical Society, Volume 11, pg 493 On the Heating and Ventilation of Turkish Baths (09 August 2018, 9:38pm) Originally the washing room connected to the pool via a swim through.
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His masters in painting were Colantino del Fiore and Antonio Solario. He is best known for the sepulchral monuments which he executed, such as those in memory of cardinals Filippo Minutólo and Carbone. In that magnificent one of Lodovico Aldemareschi, which he executed in 1421, an inscription is placed, in which Bambocci calls himself not only a sculptor, but also a painter and brassfounder. The chapel in which this monument was placed was adorned with his pictures.
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Sir Nikolaus Pevsner pointed out that the iconographical type represented by the figure is that of a scholar or divine; his description of the effigy is "a self-satisfied schoolmaster". Schoenbaum, however, says the monument is a typical example of Jacobean Renaissance style,Schoenbaum, S. William Shakespeare: Records and Images (1981), 158. and Spielmann says the "stiff simplicity" of the figure was more suitable for a sepulchral sculpture in a church than a more life-like depiction.Spielmann, 12.
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887 online. as the Irish playwright Hugh Leonard observed: The name has been incorrectly understood as a corruption of St. Benedict. The stories associated with her suggest that she has also been identified with Saint Bega or other virgin saints named as Begha or Becga in Irish calendars.Patrick J. O'Reilly, "The Christian Sepulchral Leacs and Free- Standing Crosses of the Dublin Half-Barony of Rathdown," Journal of the Royal Society of Antiquaries of Ireland 31 (1901), p. 159.
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W.H. Hamilton Rogers, portrait circa 1890 William Henry Hamilton Rogers (1 October 1834 - 20 November 1913), Fellow of the Society of Antiquaries of London (FSA), (works published as "W.H. Hamilton Rogers"), of Ridgeway Row in Colyton,In 1877 he was resident at Colyton, Devon, from where he dated his preface to Ancient Sepulchral Effigies Devon, was an English historian and antiquarian who specialised in the West Country of England. He frequently worked with the illustrator Roscoe Gibbs.
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Another view of the Stone Circle The stone circles of Junapani is an uninhabited burial site containing Sepulchral megaliths with remains of the dead. These are found in a small area, about northwest of Nagpur city in central India, in the Vidharba region. They are of fairly large size, visible on Google Earth, and grouped near banks of rivers. It is located on the highway to Katol and forms the northern fringe of central India's megalith distribution.
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Human habitation in the region is dated to 1000 BC and continues to exist to present day. The area was an important part of the north south corridor of India. The megaliths found here are dated from 1000 BC to 300 AD. This assessment is based on the many antiquaries unearthed from the Sepulchral of the megalithic period. The iron implements found here denote a period of around 1000 BC. These are identified by local communities of different clans.
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Robinson and Smith, 1841, vol 3, 2nd appendix, p. 127 In 1870 Victor Guérin found here very considerable remains. They included two birkets cut in the rock, one 15 paces long by 12 broad, the other not quite so large; about 30 cisterns and 20 tombs cut in the rock, some with sepulchral chambers, their walls pierced with loculi, others simple graves, either intended for a single body or having right and left vaulted tombs with arcosolia.
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John Russell (7 December 1995), PHOTOGRAPHY VIEW; Radiant Wonders of the Mid-Century World New York Times. In 1997, on a commission from the Museum of Contemporary Art in Chicago, Sugimoto began producing series of large-format photographs of notable buildings around the world. In 2003, the museum showed the series in a sepulchral installation, with the pictures installed on layered rows of dark-painted partitions.Holland Cotter (17 October 2003), ART IN REVIEW; Hiroshi Sugimoto – 'Architecture' New York Times.
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In 1065, the Prince of Benevento oversaw a number of Jews being forced to convert to Christianity, and was reproved by Pope Alexander II. In about 1159, Benjamin of Tudela recorded 200 Jewish families living in Benevento. Two Hebrew inscriptions on a sepulchral stone from 1153 also attest to the existence of a Jewish community in this period. Jewish trade and craftmanship included dyeing and weaving and later, moneylending. By the early 16th century they also traded corn.
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The cenotaph takes the form of a monolithic stone block in a sepulchral shape. At its two shorter ends stand two bronze statues, a soldier and a sailor guarding the cenotaph. Words are carved into the longer faces of the cenotaph: on the southern side, facing the General Post Office, the carving reads: "To Our Glorious Dead"; on the northern side, facing Challis House, it reads: "Lest We Forget." Remembrance events are frequently held at the Cenotaph.
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Canova's sculptures fall into three categories: Heroic compositions, compositions of grace, and sepulchral monuments. In each of these, Canova's underlying artistic motivations were to challenge, if not compete, with classical statues. Canova refused to take in pupils and students, but would hire workers to carve the initial figure from the marble. He had an elaborate system of comparative pointing so that the workers were able to reproduce the plaster form in the selected block of marble.
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Our unnamed narrator is weary from his aimless wandering across the remote cities and roads of the old world. These wanderings began soon after the suicide of his wife Lady Mariel, which was caused by his cruel and vicious temper. He soon stumbles upon Malnéant, a city enveloped by fog and the sepulchral tolling of mortuary bells. While roaming the mostly deserted streets the townspeople all tell him they are preparing items for the Lady Mariel's funeral.
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In contrast to other contemporary painters, sepulchral scenes (naiskos vases) by him are rare; where such motifs occur, they are virtually always on the back of the vessel. Some of his paintings, like those on the Darius Vase itself, show historical subjects. One of the most striking features of his work is the frequent use of inscriptions. He does not limit these to the normal practice of naming individual figures, but also uses them thematically (such as persai - Persians).
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Château de Brouchetière, Jœuf Former sepulchral chapel of the Wendels in Hayange François de Wendel was born in Paris on 5 May 1874. His parents were Henri de Wendel (1844–1906), an industrialist, and Berthe Corbel-Corbeau de Vaulserre. His mother, who died in 1918, was from a Savoy family that had been ennobled in 1667. François was the oldest of three sons, followed by Humbert de Wendel (1876–1954) and Maurice de Wendel (1879–1961).
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He was elected a fellow of the society in March 1795, and then worked as its draughtsman. In 1780 he had drawn for Richard Gough, later a patron, the west front of Croyland Abbey Church and other subjects, in Gough's Sepulchral Monuments and other works. From 1781 Carter also met other patrons and friends, among whom were John Soane, John Milner, Sir Henry Charles Englefield, William Bray, Sir Richard Colt Hoare, the Earl of Exeter, and Horace Walpole.
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Sepulchral inscription of a Christian woman (6th century): Here rests in peace, Maxima a servant of Christ who lived about 25 years and (was) laid (to rest) 9 days before the Kalends of July of the year when the senator Flavius Probus the younger was consul (June 23rd, 525). She lived with her husband (for) seven years and six months. (She was) most friendly, loyal in everything, good and prudent. Early Christian inscriptions are the epigraphical remains of early Christianity.
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File:Chaouach at Majaz al babThe haouanet at Majaz al Bab are extensive. Haouanet (plural of the word hanout (حانوت), which means "shop" in Arabic) are ancient sepulchral chambers hollowed out of the rock. Of approximately cubic form, and 1.25 to 2.50 meters long, with an entrance of almost constant dimension of 1.80 meters by 60 centimeters, they are found mainly in Tunisia and the eastern regions of Algeria. These burials, with one or more funeral chambers, sometimes had interior fittings (bench or pit).
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In the 1970s and 1980s, new auto plants were built, first Bratislavské automobilové závody (BAZ, later a factory of Volkswagen), which spurred the construction of new apartment blocks in the borough in the late 1980s. In the early 1990s, the Iron Curtain was dismantled. In part Kostolné there is the Holy Spirit's Church, which is on the list of cultural monuments of Slovakia. This church is situated on small hill over square and archaeological excavations certify its existence as sepulchral place since prehistory.
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Schwanthaler was born in Munich. His family had been sculptors in Tyrol and Innviertel for three centuries; young Ludwig received his earliest lessons from his father, Franz Schwanthaler (1762–1820), and the father had been instructed by the grandfather. The last to bear the name was Xaver, who worked in his cousin Ludwig's studio and survived till 1854. For successive generations the family lived by the carving of busts and sepulchral monuments, and from the condition of craftsmen rose to that of artists.
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With sixty-six copperplates [and an appendix]. In this laborious work Gordon proved himself an honest, painstaking antiquary. Though his theories have long since been exploded, he has preserved records of earthworks, inscriptions, and relics of various kinds, of which but for him all knowledge would have been lost. The appendix derived its chief value from a learned correspondence concerning ancient sepulchral rites in Britain between Sir John Clerk and Roger Gale which Gordon here made public, greatly to their annoyance.
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The monastery was popularly known as Մշո սուլթան Սուրբ Կարապետ Msho sultan Surb Karapet, literally translating to "Sultan Surb Karapet of Mush". The epithet "Sultan" was bestowed as a reference to its high status as the "lord and master" of Taron. The monastery housed tombs of several Mamikonian princes as it was the dynasty's sepulchral abbey. According to Lynch, the tombs of Mushegh, Vahan the Wolf, Smbat and Vahan Kamsarakan could have been found near the southern wall of the monastery.
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Cenchreae or Kenchreai (), also Cenchreiae or Kenchreiai (Κεγχρειαί), was a town in ancient Argolis, south of Argos, and on the road from the latter city to Tegea. Pausanias says that it was to the right of the Trochus (τρόχος), which must not be regarded as a place, but as the name of the carriage road leading to Lerna. Near Cenchreae Pausanias saw the sepulchral monuments of the Argives, who conquered the Lacedaemonians at Hysiae. Its site is located near modern Palaio Skafidaki.
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He studied at the Accademia di San Luca. He was commissioned by the Prussian Archeologic Institute to illustrate using chromolithography the antiquities of Rome and the Lazio. He made plates depicting the Tombs of Via Latina, outside Porta San Giovanni; the frescoes from the palazzo dei Cesari, and those found in Corneto Tarquinia. He spent months in the Catacomb of Callixtus, outside of Porta San Sebastiano, working under candle-light and drawing sepulchral inscriptions and murals of the first Christians.
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He took part in the Polish relief expedition to Vienna in 1683, under King Jan Sobieski. In 1684 he was appointed general of the Lithuanian army and in 1683 he participated in the campaign against Ottoman Turkey. He died in Warsaw on November 9, 1686 as a result of an accidental firing of a gun. Afr his death, a notable sepulchral monument of Sapieha was made around 1687, an original composition in the style of the great works by Bernini.
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They have cusped ogee- headed lights and spandrels. A square-set bellcote is partly supported by a central buttress at the west end and has similar cusped ogee-headed openings in square surrounds and spirelet with decorative lucarnes, and three-cusped ogee-headed lancets in the chancel. The church interior has a decorative arch- braced roof with moulded members and cusped wind-braces. There is a mock sepulchral recess in the north wall of the chancel with cusping and crocket ornament.
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The site is documented in a papal bull of Pope Alexander III in 1168, noting the hostel was led not by monks, but by lay workers. By 1200, a church had been erected allowing for the arrival of the relics of Saint Pellegrino. By 1400, the church was refurbished and in 1473, a small sepulchral monument, in form of a tempietto, was constructed by Matteo Civitali. Further refurbishment were pursued in the 17th century, adding the relics of San Bianco.
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Penuel Congregational Chapel St. Gwrthwl's Parish Church churchyard has a prehistoric standing stone about high near the south porch. Its upper part appears to have been broken, though it may be the shaft of a cross, or of Druidical origin. On Rhôs Saith-maen, or the "Seven Stone Common", in Llanwrthwl parish, are some very irregularly placed stones, though it has not been determined if they are of military, sepulchral, or Druidical remains. Penuel Congregational Chapel is located just south of the main village.
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With all the songs featuring co- writes from Cave and Harvey, it was said The Bad Seed, "forecasts the imminent future of Cave as a solo artist and Harvey as his right-hand man in more than just title." Howard's guitar work on the E.P. was particularly praised. The song "Deep in the Woods", "ends in all on a perfectly outrageous note, with Cave at his most sepulchral conjuring up a rural scene of devastation. The delivery and lyrics redefine the phrase "over the top.
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The castle is situated in an isolated urban area, on top of a hill, near the Church of Montalvão. Its enclosure is dominated by an enormous concrete tower/bunker used for the collection of water. There are vestiges of the wall foundations, towers and cisterns of the medieval castle, survived by some walls, composed of shale. The interior of the fortification is marked by a rectangular, sepulchral ark of stone with one of the faces sculpted with vegetal elements and the cross of Christ in its centre.
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The original was presented by Sultan Abdul Hamid to Leo XIII, and is preserved in the Vatican Museums (ex Lateranense collection). Early Christian inscriptions also provide evidence for the Catholic doctrine of the Resurrection, the sacraments, the veneration of the Blessed Virgin Mary, and the primacy of the Apostolic See in Rome. It would be difficult to overestimate the importance of these evidences, for they are always entirely incidental elements of the sepulchral inscriptions, all of which were pre- eminently eschatological in their purpose.
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His nephew Sir William, meanwhile, took up his heredity as Lord of Echyngham, and, a few years later, embarked on his reconstruction of the church at Etchingham with its informative heraldic glazing, where the Echyngham monuments have for 600 years remained.S. Hall, 'Sepulchral Memorials at Etchingham, Sussex, and Notice of the Church at that Place', Archaeological Journal VII (1850), pp. 265-73 (read in pdf at archaeology data service); W. Slater, 'On Echingham Church', Sussex Archaeological Collections IX (1857), pp. 343-360 (Internet Archive).
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The stone block from Odaenathus' early tomb The Funerary Temple no. 86 (The House Tomb) Mummification was practiced in Palmyra alongside inhumation and it is a possibility that Zenobia had her husband mummified. The stone block bearing Odaenathus' sepulchral inscription was in the Temple of Bel in the nineteenth century, and it was originally the architrave of the tomb. It had been moved to the temple at some point and so the location of the tomb to which the block belonged is not known.
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His point of view on the Copernican system is not evident, but it was noted that the picture of the planetary system in his book about Venus has an empty centre. Craters on Mars and the Moon are named in his honour. He also worked as a topographer and archaeologist of ancient Rome, and as a collector. In 1726, a structure consisting of three sepulchral chambers of some of the servants and freedmen of Augustus and his wife Livia were discovered near the Via Appia, and excavated.
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On the right wall is a painting by Cristoforo Roncalli (Pomarancio) of "the archangel Gabriel in the presence of the Eternal Father". Pomarancio also painted "the Archangel Raphael and Tobias the elder" on the left wall and the fresco in the cupola Glory of music making angels. The other paintings are by Ambrogio Buonvicino and depict Angels in Glory. In the left wall is the sepulchral monument in black marble of Orazio Rucellai (1604–1673) and the tomb of Giovanni della Casa, author of Il Galateo.
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Archaeological surveys conducted in 1971–2 have shown that a church building had already existed at the site of the current church by the second half of the 13th century. Human burials were unearthed which were attributed to the German sepulchral culture of this time. Already by the beginning of the 15th century, this building was replaced by a second, which took the form of an aisleless church with an unusually long nave. Parts of this structure survived in the northern nave of the current building.
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The Cosmatesque style takes its name from the family of the Cosmati, which flourished in Rome during the twelfth and thirteenth centuries and practiced the art of mosaic. The Cosmati's work is peculiar in that it consists of glass mosaic in combination with marble. At times it is inlaid on the white marble architraves of doors, on the friezes of cloisters, the flutings of columns, and on sepulchral monuments. Again, it frames panels, of porphyry or other marbles, on pulpits, episcopal chairs, screens, etc.
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In 1829 Parke published a Map of Nubia, comprising the Country between the First and Second Cataracts of the Nile, and gave a plan of the island of Philæ. He continued making drawings and views of buildings and ruins. A collection of between five and six hundred, including some near Dover, was presented to the Royal Institute of British Architects by his widow. Parke exhibited at the Royal Academy drawings of an Interior of a Sepulchral Chamber, 1830, and Temples in the Island of Philæ, 1831.
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Pope Pius XII consecrated the people of Rome to the Most Blessed Virgin Mary and her Immaculate Heart in front of this image in 1948, May 30. In the transept there is a sepulchral monument by Arnolfo di Cambio. The church was also famous in Rome for the wooden statue of the Santo Bambino of Aracoeli, carved in the 15th century of olive wood coming from the Gethsemane garden and covered with valuable ex-votos. Many people of Rome believed in the power of this statue.
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His growing instability is magnified when, during his ruminations, he insists that he is a perfectly normal man, acting as any other man would. As the German defeat becomes imminent and affects the morale of everyone around him, Doll makes an absurdly detached evaluation of the war's aftermath. Out of the three, Szmul is the most obscure, and his narration serves as a small epilogue for each chapter. His tone is sepulchral, and most of his thoughts consist of incredulous reflection on his actions.
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He was born at Marthalen. He studied theology and natural sciences at Zurich, Lausanne, and Paris. In 1831 he was made an instructor at Zurich, and secretary of the Society for Natural Research, and in this capacity he published various works on naked rock soil and vent holes. The discovery of the sepulchral mound at Burghölzli led to the founding of the Antiquarian Society of which Keller was the longtime president, and to the founding of a museum, the growth of which was largely due to him.
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A sepulchral monument, still existing in the church, was erected by the nephew Felice Bernardo Ricordati and the pupil Tommaso Bernardo Gaffi. His keyboard music is almost entirely preserved in four manuscript volumes (partially autographs), which were compiled between circa 1691 and 1708, by the composer and other collaborators, now preserved in Berlin (Staatsbibliothek – Preußische Kulturbesitz, Landsberg 215), and London (British Library, Add. 31501/I-II-III). One of his harpsichord pieces was transcribed for orchestra by Ottorino Respighi for his suite Gli uccelli.
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Statue of Ceres in the Summer Garden, Saint Petersburg Thomas Quellinus (March 1661 – September 1709), also known, especially in Denmark, as Thomas Qvellinus, was a Flemish baroque sculptor. He was born in Antwerp but worked mainly in Copenhagen, Denmark. He is especially known for the production of grandiose and sumptuous memorial chapels, sepulchral monuments and epitaphs, which can be found in churches throughout Denmark and northern Germany's Schleswig-Holstein area. His chapels and monuments are dramatically composed, executed in rare, differently coloured types of marble and framed by monumental architectural components.
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When the manor was finished in 1677, he renamed it to Constantinsborg, a name it retains to the present. In 1680, he became a baron of the Havreballegård estate just south of Aarhus and at the same time renamed the manor Marselisborg. Constantin died childless in 1699, and the barony of Marselisborg went to the Crown. After his death, his widow Sophie initiated a sepulchral for him, herself and her new husband Peter Rodsteen in the Aarhus Cathedral and a richly decorated epitaph can be seen here today.
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341 Abbas rebuilt the site three years later as an Abbasid military colony in preparation for Caliph al-Ma'mun's planned conquest of Byzantium, but after Ma'mun's sudden death in August 833 the campaign was abandoned by his successor al-Mu'tasim and the half-rebuilt city was razed again.Treadgold (1988), pp. 279–281 The city fell into decline after 933, as the Arab threat receded. The ruins of Tyana are at modern Kemerhisar, three miles south of Niğde; there are remains of a Roman aqueduct and of cave cemeteries and sepulchral grottoes.
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To the south of the settlement is an underground passage of a type known locally as fogou (from the permanently lenited form of mogow, Cornish for cave). Fogous can be found in other places in the UK and Ireland, and are known more generally as souterrains; their purpose is unclear. The fogou at Chysauster was originally recorded as running well over 16 metres in length but was blocked up in the late 20th century for safety reasons. It was recorded around 1847 by Henry Crozier who described it as a "voe or sepulchral chamber".
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In the Middle Ages it was the seat of one of the great monasteries of Germany, with possessions around Franconia as far as Regensburg and in Württemberg. It was founded in 1132 and continued to exist till 1555. Its sepulchral monuments, many of which are figured by Hocker, Heilsbronnischer Antiquitätenschatz (Ansbach, 1731-1740), are of exceptionally high artistic interest. It was the hereditary burial-place of the Hohenzollern family and ten burgraves of Nuremberg, five margraves and three electors of Brandenburg, and many other persons of note are buried within its walls.
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Garner continued to contribute to the firm's ecclesiastical work. He designed the altar screen in St Paul's Cathedral and several sepulchral monuments, including those of the Bishops of Ely, Lincoln, Winchester and Chichester, and that of Henry Parry Liddon. In 1889 he designed the decorated gothic case for the organ at Church of the Holy Trinity, Stratford-upon-Avon. Despite Bodley's distaste for business and trade, he and Garner also set up a fabric company with Gilbert Scott the younger in 1874, to provide embroidered and textile goods, wallpaper and stained glass.
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Sir Herbert Maxwell records that Archibald Douglas, 'Archibald the Grim', Earl of Wigtown, built a hospital at the Monastery of Holywood in gratitude for his successes, both personal and political. Archibald had previously endowed the establishment with the lands of Crossmichael and Troqueer in the Stewartry. Maxwell regards the Abbey of Holywood (Abbacia Sancti Nemoris) as being founded by Devorgilla, daughter of Alan, Lord of Galloway and mother of King John Balliol. Grose records that a fine Gothic arch supported the oak roof and under the floor were a number of sepulchral vaults.
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They are a valuable source of information in addition to the writings of the Church Fathers regarding the development of Christian thought and life in the first six centuries of the religion's existence.Although the period of Early Christianity is most often dated up to the early 4th century — that is, before the era of Christian hegemony in the Roman Empire — the term "early Christian" can also be applied through the 6th or 7th century. The three main types are sepulchral inscriptions, epigraphic records, and inscriptions concerning private life.
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Many of the early Christian sepulchral inscriptions provide information concerning the original development of the ecclesiastical hierarchy. Thus, for example, from the earliest times we meet in them all the hierarchical grades from the door-keeper (ostiarius) and lector up to the Pope. A number of epitaphs of the early popes (Pontianus, Anterus, Fabianus, Cornelius, Lucius, Eutychianus, Caius) were found in the so-called "Papal Crypt" in the Catacomb of St. Callistus on the Via Appia, rediscovered by De Rossi. Numbers of early epitaphs of bishops have been found from Germany to Nubia.
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35 Herodotus (484 BC–ca.425 BC) noted the same practice among the Nasamones, who inhabited the deserts around Siwa and Augila. He wrote: > [..]They swear by the men among themselves who are reported to have been the > most righteous and brave, by these, I say, laying hands upon their tombs; > and they divine by visiting the sepulchral mounds of their ancestors and > lying down to sleep upon them after having prayed; and whatsoever thing the > man sees in his dream, this he accepts.Herodotus, Histories, Book 4, 170 The Berbers worshiped their kings, too.
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Inside Tunø church the minister and parish clerk's seats, which date from around 1520, are carved with the coat of arms of Niels Clausen Skade, the then bishop of Aarhus. The church is adorned with several frescoes and triptychs. The sepulchral tablet on the north wall of the choir has a fresco depicting the vicar Jørgen Hansen, who was said to have been tossed by a bull in 1640. A triptych, with two moveable panels that were painted by evangelists in 1731, is a cupboard altar from around 1490.
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It was once thought that an irregular circle of travertine blocks found near the Temple of Castor formed part of the puteal, but this idea was abandoned in the early 20th century. A coin issued in 62 BC by Lucius Scribonius Libo (praetor 80 BC) depicts this puteal, which he had renovated. It resembles a cippus (sepulchral monument) or an altar, with laurel wreaths, two lyres and a pair of pincers or tongs below the wreaths. The tongs may be those of Vulcan, emblematic of him as a forger of lightning.
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Dugdale quoted the will of his son Fulk Bourchier who bequeathed his body to be buried in the chapel of the Blessed Virgin at Bampton, near the grave of his mother, Lady Thomasine, and he willed that marble stones with inscriptions should be placed on his own grave and that of his father, Lord William, and his mother, Lady Thomasine.Stabb, John, Some Old Devon Churches, pp. 13-24 Retrieved 5 April 2013.Rogers, W.H. Hamilton, The Antient Sepulchral Effigies and Monumental and Memorial Sculpture of Devon, Exeter, 1877, pp.
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He also referred to them as "sepulchral mounds" but admitted that burials had not been found at many. Brown Willy Summit Cairn has never been excavated and folklore suggests an ancient Cornish king may lie entombed underneath. Nicholas Johnson and Peter Rose dated nine of the cairns on Bodmin Moor, eight gave mean date ranges between 2162 and 1746 cal BC, suggesting the early Bronze Age was the main building period for cairns of this type. These are amongst the most intact due to their remote and inaccessible location.
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In It Chapter Two, a sequel to the 2017 horror film It, based on Stephen King's novel, she played the adult Beverly Marsh (a woman in an abusive marriage), sharing the role with Sophia Lillis. Filming proved challenging for Chastain, as director Andy Muschietti preferred the use of practical effects over CGI; one particular scene required her to be covered in 4,500 gallons of fake blood. It received generally favorable reviews, with Charlotte O'Sullivan of the Evening Standard finding her "suitably sad and sepulchral" in her part. The film grossed over $470 million worldwide.
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Feoli and Cicada Chapels The two identical chapels opening in the right transept are relatively insignificant in terms of artistic value in comparison with the other side chapels of the church. Both were built during Bernini's intervention in the 17th century but their present decoration is much later. The most significant work of art is the fragmented sepulchral monument of Odoardo Cicada, the Bishop of Sagona by Guglielmo della Porta which is dated around 1545. The tomb, which was originally bigger and more ornate, is located in the Cicada (or Saint Rita) Chapel.
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118, Boston: L. C. Page Sothern's next great role was the title role, Fitzaltamont, in a hit revival of Byron's The Crushed Tragedian (1878, originally named The Prompter's Box) at the Haymarket. The Era admired "the sepulchral tones, the glaring eyeballs, the long hair, the wonderful 'stage walk', the melodramatic attitudes" of his portrayal.The Era, 19 May 1878 He next appeared in The Hornet's Nest by Byron at the Haymarket. The Crushed Tragedian was not a great success in London, but it became a hit in New York.
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His sepulchral crypt, which he had built in 1596, can be found at the catacombs located inside the Minor Basilica and Convent of San Agustin in the Old Lima sector. It was renovated in 1942 by Tejeda's direct Peruvian descendants, the then future Ambassadors Carlos Pérez Cánepa Jimenez (Lima 1918-85) and Javier Pérez de Cuéllar, (Lima 1920-) A fictionalised comic book based on the project, The Treasure of the Black Swan, written by a Spanish diplomat involved in the legal battle, Guillermo Corral, and Spanish graphic novelist Paco Roca was produced in 2018.
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In an interview with the Poetry Society that took place when the Carcanet edition was published he was asked about this book: PS: I don't know very much about The Greek Anthology. Would you tell me something about it, how the idea came together and what appealed to you so much about it? GD': The original Greek Anthology is made up of sixteen books of short poems attributed to many different authors, ranging from the seventh century BC to the tenth century AD. The poems are amatory, religious, dedicatory, humorous, sepulchral, hortatory, declamatory, and satirical.
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Retrieved on 2010-01-05. This single has proved to be a success for the band, after being the Times Online's hottest download for 26 April 2009, billed as "Sepulchral, twisted northern soul from the Manchester newcomers"Times Online. , "The hottest downloads: Black Jackson, Ciara ft Justin Timberlake", The Sunday Times, 2009-04-26. Retrieved on 2010-01-05. On 20 October 2006, Michelle Hussey of the BBC attended a Black Jackson show and claimed that "complete Black Jackson experience is an absolute thrill".Hussey, Michelle. , "Black Jackson at the Witchwood", BBC.co.
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The Anta de Carcavelos, located close to the village of Carcavelos near the town of Lousa in the municipality of Loures in the Lisbon District of Portugal, is a stone age dolmen (burial chamber) or megalithic monument from the Chalcolithic period. It is one of many such tombs that have been identified in Portugal. The Anta was a communal grave consisting of a sepulchral chamber with a polygonal shape. The remains of the tomb consist of six cretaceous limestone slabs that originated in the area, which has several sizeable limestone outcrops.
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The pagoda was a sepulchral pagoda for the famous Chan Buddhist monk Wansong Xingxiu (1166–1246), who lived under the Jin dynasty and Mongol Empire. He called himself the Old Man of Wansong ("ten thousand pine trees"), referring to the Ten Thousand Pine Trees studio where he once lived. After Wansong's death his disciples built a pagoda for his remains in the west of the former central capital of the Jin dynasty, then called Yanjing (modern Beijing). The pagoda was octagonal in shape, with a flat top, and constructed from thin bricks.
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Effigy of Pietro Foscari The marble and bronze sepulchral monument of Cardinal Pietro Foscari was originally placed in the middle of the Foscari Chapel, which was demolished for the building of the Cerasi Chapel in 1600. It was made by a Sienese sculptor, Giovanni di Stefano in the 1480s but previously thought to have been created by Vecchietta. The prelate wears a richly folded robe, gloves, boots and a particularly sumptuous mitre which all serve to emphasize his dignity. All the details are modelled with great precision and virtuosity.
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The Reynst Collection, probably the most extensive Dutch 17th century collection of art and artefacts, was owned by the Dutch merchants Gerrit Reynst (also known as Gerard Reynst) and Jan Reynst. The collection was put on display in their house at the sign of Hope on the Keizersgracht in Amsterdam. It consisted of over 200 Italian paintings and over 300 sculptures, most of them ancient Roman. There were other antiquities: ten sepulchral monuments, five votive reliefs, nine cinerary urns, "Etruscan" vases, and Christian objects, as well as engraved gems.
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The sarcophagus of Seti I is a life-size sarcophagus of the 19th Dynasty Pharaoh that was rediscovered in 1817 by the Italian explorer Giovanni Battista Belzoni in the Valley of the Kings, Egypt. Seti I is believed to have died in 1279 BC and the sarcophagus would have housed his coffin and mummy. It was bought by architect Sir John Soane in 1824 for £2000 () after the British Museum turned it down citing Belzoni's steep price. It is currently displayed in the crypt section, called Sepulchral Chamber, of Sir John Soane's Museum in London.
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Opening in 1994, the museum currently has 11 (as of 2017) permanent exhibitions. The first, "Early Christian Churches", focuses on the design and decoration of churches in early centuries of Christianity. "Early Christian Cities and Dwellings", presents aspects of economic life, domestic handicrafts, houses, and food and clothing of early Christians, and finally, "From the Elysian Fields to the Christian Paradise" focuses on cemeteries of early Christians, jewellery, sepulchral architecture and painting, cult customs, and clay and glass objects recovered from excavated graves. Beginning in 1998, the museum has run educational programmes for schoolchildren.
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It is likely that his workshop was at Canosa. He depicted sepulchral scenes (naiskos vases), usually depicting a naiskos on the front and a grave stele on the back, often characterised by figures in yellow- orange garments), mythological and dionysiac scenes, as well as erotes, weddings and scenes from the life of women. Stylistically, especially in regard to vase shapes and pictorial themes, his work is very similar to that of the Underworld Painter. The Baltimore Painter's work is characterised by rich and fine detail, especially in ornamentation.
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The lateral to the volutes on the third story is the star-topped six mountains found in the heraldic coat of arms of the Chigi. The tympanum has the papal coat of arms with the crossed keys, and a shield with the Chigi heraldry: two oaks and the afore-mentioned six-mountain symbols. The baroque interior decoration was completed by 1610 by Francesco Della Monna. The marble altars were designed by Flaminio Del Turco; with bronze bas reliefs and the sepulchral monument of Aurelio Chigi were completed by Ascanio da Cortona.
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When Bonifacio was made Cardinal, he was in charge of the diocese of Sabina, and Perugia, both in Umbria. He was also made the Prefect of the Cardinal’s Consul, Referendario of the Cardinal’s Senate, and elected Prefect of all of the Catholic Church’s Assemblies. Pope Clement VIII bestowed his own family name, Aldobrandini, with all hereditary rights to Bonifazio since he loved him like a son. Bonifazio had the sepulchral monument of Torquato Tasso built in the church of S. Onofrio al Gianicolo in memory of one of his closest and dearest friends.
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The "Oriental" alabaster was highly esteemed for making small perfume bottles or ointment vases called alabastra; the vessel name has been suggested as a possible source of the mineral name. In Egypt, craftsmen used alabaster for canopic jars and various other sacred and sepulchral objects. A sarcophagus discovered in the tomb of Seti I near Thebes is on display in Sir John Soane's Museum, London; it is carved in a single block of translucent calcite alabaster from Alabastron. Algerian onyx- marble has been quarried largely in the province of Oran.
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Detached Frescoes from Santa Clara by Pietro da Rimini The Museo Nazional di Ravenna or National Museum of Ravenna displays a collection of archeologic, artistic and artisanal objects. It is located in the Benedictine monastery of San Vitale on via San Vitale, Ravenna, Italy. The collection, initially assembled through the efforts of local erudite Camaldolese monks, was established as a museum in 1885, and moved to this site by the early 20th century. It contains a large collection of Ancient Roman artifacts, including lapidary epitaphs and portions from sepulchral monuments.
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The anchor background pattern on the banknote does not directly refer to the artists' surname (anker means anchor in Danish), but to a necklace worn by Anna. The back of the banknote shows a tournament scene from a sepulchral monument in Bislev Church in northern Jutland. The 1000 kroner bill is sometimes referred to as a tudse (toad), from a word play on the word tusinde (a thousand). 25 November 2004 the Danish national bank improved the security features with a hologram of a palette, the number 1000 and the Roman numeral "M".
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Further south, Cod Beck is crossed again on South Moor Lane by Town End Bridge, another 17th-century packhorse bridge, also Grade II Listed. An artificial mound known as Pudding Pie Hill is on the east bank of Cod Beck, just off Blakey Lane. This was partially excavated in 1855 (by Lady Frankland Russell) and was found to be a sepulchral tumulus of a type known as a bowl barrow. The remains of a Saxon warrior and two other skeletons were discovered, along with cremated bones, various artefacts and coins.
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Traditional scholarship, based on the sepulchral inscription from Odaenathus' tomb, believed the builder to be an ancestor of the king and he was given the designation “Odaenathus I“. The name of King Odaenathus' father is Hairan as attested in many inscriptions. In an inscription dated to 251, the name of the ras (“lord”) of Palmyra, Hairan, son of Odaenathus, is written, and he was thought to be the son of Odaenathus I. Prior to the 1980s, the earliest known inscription attesting King Odaenathus was dated to 257, leading traditional scholarship to believe that Hairan, ras of Palmyra, was the father of the king and that Odaenathus I was his grandfather. However, an inscription published in 1985 by the archaeologist Michael Gawlikowski and dated to 252 mentions King Odaenathus as a ras and records the same genealogy found in the sepulchral inscription, confirming the name of King Odaenathus' grandfather as Wahb Allat; thus, he cannot be a son of Hairan son of Odaenathus (I). Therefore, it is certain that King Odaenathus was the builder of the tomb, ruling out the existence of “Odaenathus I”. The ras Hairan mentioned in the 251 inscription is identical with Odaenathus' elder son and co-ruler, Prince Hairan I.
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Here lies the door of which I have just spoken: mouldings divide it into compartments; it is provided with hinges worked in the thickness of the block which composes the stone. This crypt, of small extent, contains a sepulchral chamber divided into three parallel arched loculi, with cut stones regularly worked between them. They are only seen by introducing a light across three small openings in the wall of the chamber. According to an ancient tradition, one of these compartments is the tomb of St. John the Baptist, and the others those of the prophets Obadiah and Elisha.
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The Vision of St Teresa of Avila, was painted by Giuseppe Colignon; an Ascent of Christ by Giacomo Pacchiarotti is on a sepulchral monument with relics of the blessed Giovanni Colombini. The St Michael defeats the Rebel Angels is a masterwork by Domenico Beccafumi in the altar near the lateral door. An altar on the right houses an ancient and revered icon of the Virgin, the Madonna dei Mantellini (circa 1240). The Byzantine style image had popular devotion as the focus for prayers for infants and newborns (who were swaddled in "Mantellini") and this gave name to the area and street.
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Plan of the fourth- century basilica According to tradition, Saint Paul's body was buried two miles away from the location of his martyrdom, in the sepulchral area along the Ostiense Way, which was owned by a Christian woman named Lucina. A tropaeum was erected on it and quickly became a place of veneration. Constantine I erected a basilica on the tropaeum's site, and the basilica was significantly extended by Theodosius I from 386, into what is now known as Saint Paul Outside the Walls. During the 4th century, Paul's remains, excluding the head, were moved into a sarcophagus.
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The inside of the basilica contains a single nave, and the church is illuminated by a rose window and double lancet windows dating from the 15th century. The church contains a chapel dedicated to Saint Monica, which contains a sepulchral stone re- discovered in the summer of 1945 that contains a funerary epigraph written by Anicius Bassus. The fragment was discovered after two boys were digging a hole to plant a football post in the courtyard beside Santa Aurea.Peter Brown, Augustine of Hippo: A Biography, Revised Edition with a New Epilogue (University of California Press, 2000), 124.
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The Library of Celsus in Ephesus was built to honor Tiberius Julius Celsus Polemaeanus after his death. He paid for the library from his own personal wealth, and bequeathed a large sum of money for its construction which was carried out by his son Julius Aquila Polemaeanus. The library was built to store 12,000 scrolls and to serve as a monumental tomb for Celsus, being both a crypt containing his sarcophagus and a sepulchral monument to his memory. The library collapsed after Ephesus was deserted but its façade was restored by an Austrian archaeology foundation in the 1970s.
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The church was built to represent a florid Gothic structure in the pointed style of the 14th century built wholly stone from the Little Falls by renowned architect John Welch. It is said to be one of his first projects upon coming to the United States. The interior presents a spacious and cheerful room, without galleries, relieved of any sepulchral effect by the unobtrusively rich stained glass windows, which temper the atmosphere into a soft mellow tone, without excluding too much light. The pews are invitingly arranged and cushioned with red, the carpets being of the same general tone.
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The displays are hung in a grid format 12 feet high and 21 feet wide, suspended in 11 rows and 21 columns. A text-to speech synthesizer voices some of the phrases as part of the accompanying soundtrack. Writer Adam Gopnik described its soundtrack as "intoning words and sentences one by one in a sepulchral BBC announcer's voice or chanting and singing them in fugue-like overlay". Listening Post has been exhibited at the Whitney Museum of American Art, the San Jose Museum of Art, the Brooklyn Academy of Music and the Yerba Buena Center for the Arts.
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The materials on which early Christian inscriptions were written were the same as those used for other inscriptions in antiquity. For sepulchral inscriptions and epigraphic records, the substance commonly employed was stone of different kinds, native or imported. The use of metal was less common. When the inscription is properly cut into the stone, it is called a titulus or marble; if merely scratched on the stone, the Italian word graffito is used; a painted inscription is called dipinto, and a mosaic inscription—such as those found largely in North Africa, Spain, and the East—are called opus musivum.
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The epitaph repeats the doxology at the close, and adds the petition of the scribe: "O Savior, give peace also to the scribe." When the secure position of the Church assured greater freedom of expression, the non-religious part of the sepulchral inscriptions was also enlarged. In Western Europe and in the East it was not unusual to note, both in the catacombs and in the cemeteries above ground, the purchase or gift of the grave and its dimensions. Traditional minatory formulae against desecration of the grave or its illegal use as a place of further burial also came into Christian use.
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The paintings of this period still hold reminiscences of Vignon's Caravaggesque period but are overlaid with a new decorative sensuality, which reflects a new sensibility emerging in Paris at that time. An example of a work of this period is the Banquet Scene (At Sotheby's on 22 June 2010 in Paris, lot 19). His works of the period 1640–50 are characterised by their rich coloring, bejeweled surface and theatrical mannerism. His compositions are bathed in a strange, sepulchral moonlight and executed in shimmering, encrusted paint which sometimes takes on the appearance of intricately chased silver.
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Deeply affected by the Grand Duke's death, Grand Duchess Elizabeth Feodorovna retired from the royal family and founded the Russian Orthodox convent of Martha and Mary, where she dedicated herself to the care of Moscow's poor and suffering. Part of the obligations of the sisters of the Martha and Mary convent was to make an annual pilgrimage to the sepulchral church in memory of the Grand Duke on the day of his repose, 4 February. Elizabeth Feodorovna was murdered during the Russian Civil War in 1918, together with many other Romanov relatives. Their bodies were smuggled to China and eventually reached Jerusalem.
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In 1984, Goldstone began a piano duo partnership with Caroline Clemmow, whom he later married, in 1989. They owned a pair of Grotrian-Steinweg grands, which they kept in the local church of St John the Baptist in Alkborough, north Lincolnshire, which was also the venue for many of their recordings. The acoustics were not always suited to the musical style, which could lead to negative comments; Stephen Pritchard in a review in the Guardian said of one such recording that the acoustics were "sepulchral", and "pour[ed] some pretty cold water over some very hot music".
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North chapel Turnor reredos memorial Beneath the window on the east wall of the north chapel is an 1896 "fine memorial" sepulchral reredos to Christopher Turnor (1809–1886) and his wife Lady Caroline (Finch-Hatton), designed by Turnor himself. Christopher Turnor undertook the rebuilding of Stoke Rochford Hall in 1846, was an MP for South Lincolnshire, and was a designer and provider of Lincolnshire farm complexes. Lady Caroline was the daughter of George Finch- Hatton, 10th Earl of Winchilsea.Massue, Melville Henry, Marquis of Ruvigny and Raineval (1911); The Plantagenet Roll of the Blood Royal: The Mortimer-Percy Volume, pp.
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Barnes, Arthur Staplyton. St. Peter in Rome and His Tomb on the Vatican Hill, Swan Sonnenschein & Co., London, 1900 The Book of Popes mentions that Pope Anacletus built a "sepulchral monument" over the underground tomb of Saint Peter shortly after his death. This was a small chamber or oratory over the tomb, where three or four persons could kneel and pray over the grave. The pagan Roman Emperor, Julian the Apostate, mentions in 363 A.D. in his work Three Books Against the Galileans that the tomb of Saint Peter was a place of worship, albeit secretly.
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Morgus assistant Eric was a talking human skull in early episodes of the show. When the show returned in the 1980s, Eric had become part of the computer known as E.R.I.C. (The Eon Research Infinity Computer). Eric's skull connected to a molecular integrated circuit which holds all the knowledge of the universe in his memory banks (thanks to the oversight of the Higher Order), and whose sepulchral voice introduced the segments and frequently agreed with Morgus with a deep, resonant "Yes, Master". E.R.I.C. is also known for his sharp wit, and sometimes cutting remarks at Morgus.
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Quoted unsourced in "A Guide to the Churches of Camelot", published by the Camelot Group of Churches in the Diocese of Bath & Wells, 2007 (church booklet), p. 20 She it was, probably with the approval of her grandson, who rebuilt the church in 1423 into the grand and imposing Perpendicular Gothic structure which survives today, in which she was buried.Rogers, W. H. Hamilton, The Antient Sepulchral Effigies and Monumental and Memorial Sculpture of Devon, Exeter, 1877, pp. 388-9 The chancel is unusually tall as it was designed to house stalls for the priests of the college.
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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.
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Engraving after a 1780 brass rubbing by Craven Ord from King's Lynn Minster, the brass having been removed by the early 19th century Ord's life was mainly devoted to antiquarian researches, but he published nothing separately. He contributed to Archæologia. Ord's support was acknowledged by John Nichols, by Gideon Algernon Mantell, and by George Ormerod in their county histories (respectively of Leicestershire, Surrey, and Cheshire). With Sir John Cullum, Ord assisted Richard Gough in his major work Sepulchral Monuments of Great Britain; in September 1780 he went on a tour in search of church brasses in East Anglia, with Gough and Cullum.
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About a hectare in the rear of the house was surrounded by walls and divided into landscaped terraces. On the opposite wall is a polygonal structure of buttresses which, together with its crowning of battlements and sentries located at the angles, gives it an aspect of a 16th century fortress. Inside the bulwark's simulacrum is a small temple with dome and lantern, that contains sepulchral slabs dedicated to the former-gentry the masters of the house. The estate is divided into three terraces, rising slightly from the house to the west, separated by walls crowned with tile planting boxes.
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It was followed in 1868 by Italian Sculptors, with illustrations drawn and etched by the author. He edited, with notes, Charles Locke Eastlake's Hints on Household Taste (1872), Art in Education (1870), Art in the House (1879) from the original of Jakob von Falke, and Sepulchral Monuments in Italy (1885). In 1878 he brought out, with illustrative woodcuts which he had designed, Raphael and Michaelangelo, dedicated to Henry W. Longfellow, and included Longfellow's previously unpublished translations of the sculptor's sonnets. His Historical Handbook of Italian Sculpture appeared in 1883, and in 1886, in French, Ghiberti et son École.
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The statutes themselves are modelled on those of the Order of the Knot and the Hungarian Order of Saint George, of which Charles was a member. The two manuscripts are MS French 83 in the Van Pelt Library of the University of Pennsylvania and MS L III 29 of the Biblioteca nazionale universitaria in Turin. According to the Pennsylvania manuscript, the order had eight original members (Charles and seven others), while the Turin manuscript lists eight knights besides Charles. Eight other men are recorded elsewhere as having been members of the order at some point, based largely on sepulchral inscriptions.
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While serving as Bishop of Tirunelveli (alongside Edward Sargent), Caldwell (who was not a trained archaeologist) did much original research on the history of Tirunelveli. He studied palm leaf manuscripts and Sangam literature in his search, and made several excavations, finding the foundations of ancient buildings, sepulchral urns and coins with the fish emblem of the Pandyan Kingdom. This work resulted in his book A Political and General History of the District of Tinnevely (1881), published by the Government of the Madras Presidency. Holy Trinity Church built by missionary Robert Caldwell, situated in Idayankudi, Caldwell was a Bishop of Tirunelveli.
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Its height is now : the cylindrical portion , the pyramid The base, in diameter, is ornamented with 60 engaged Ionic columns. The capitals of the columns have disappeared, but their design is preserved among the drawings of James Bruce, the African traveller. In the centre of the tomb are two vaulted chambers, reached by a spiral passage or gallery , about the same height, and . The sepulchral chambers are separated by a short passage, and are cut off from the gallery by stone doors made of a single slab which can be moved up and down by levers, like a portcullis.
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The memorial window to Robert Lovel St John Harmsworth (1898-1920), Son of Sir (Robert) Leicester Harmsworth, 1st Bt is by Robert Anning Bell, one of the most distinguished artists of his day. It has been described as one of the most charming of his designs, and makes use of features from seventeenth century English Baroque sepulchral monuments. The green and white marble altar is by Lutyens. In the central panel is a picture by Maurice Greiffenhagen (a friend and colleague of Anning Bell at the Glasgow School of Art, and a fellow Royal Academician) of St John holding a chalice from which is emerging a serpent.
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1452 – 1519) at the east end of the south choir aisle. Both are protruded out to use space between two external buttresses of the building. Speke and the bishop were friends and the two chantries appear to have been planned by both men. The "owl" arms of Oldham appear on the outside wall of the Speke Chantry, with the arms of Henry Courtenay, 1st Marquess of Exeter, 2nd Earl of Devon (1498–1539),Rogers, William Henry Hamilton, The Antient Sepulchral Effigies and Monumental and Memorial Sculpture of Devon, Exeter, 1877 with above the rarely seen Courtenay heraldic badge of Jupiter as an eagle holding a thunderbolt.
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He later had shows around Europe, including Linz, Austria (1964), Venice (1966), and Rome (1967), Zürich, Graz and Locarno in 1967. Borsos made use of all sculptural genres, and enriched them with several new solutions. He developed embossing of copper plates (which was a rare technique at that point in history), and produced a number of sculptures for public places and sepulchral monuments focusing on a modern environmental culture which often bore a deep personal message and reflected great intimacy (combining symbolic motifs of natural life, as well as cultural values). Human and animal figures were common subject, and his forté was not in fine detail but in creating overall masterpieces.
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Paléologue goes on to describe Bertillon's argument as "... a long tissue of absurdities", and writes of "... his moonstruck eyes, his sepulchral voice, the saturnine magnetism" that made him feel that he was "... in the presence of a necromancer".Paleologue, Maurice (1957) My Secret Diary of the Dreyfus Case, Secker and Warburg, p. 197 Bertillon claimed that his graphological system was based on mathematical probability calculus. A later analysis undertaken in 1904 by three renowned mathematicians, Henri Poincaré, Jean Gaston Darboux, and Paul Émile Appell, concluded that Bertillon's system was devoid of any scientific value and that he had failed both to apply the method and to present his data properly.
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Chantry chapel monument to Sir Ralph Cheney, Edington Priory Church The ledger stone on top is missing its original monumental brasses, but the stonework of the chantry chapel retains several relief sculptures of heraldic escutcheons, some held by angels. Also shown is the heraldic badge of a ship's rudder, later adopted by Robert Willoughby, 1st Baron Willoughby de Broke (c. 1452 – 1502) (the eventual heir of Brooke) visible on his chest tomb in Callington Church in Cornwall.Hamilton Rogers, William Henry The Ancient Sepulchral Effigies and Monumental and Memorial Sculpture of Devon, Exeter, 1877, pp. 346–7 & Appendix 3, pedigree of Willoughby de Broke, p.
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He also notes that "Funimation's English dub is light-years better than the 4Kids debacle", "unusually accurate, professional, and largely enjoyable, which is far, far more than can be said of the previous dub". He laments that Funimation's version of "Crocodile loses his sepulchral charisma" and that "the original's fine dance on the edge of mawkish sentimentality is disrupted often enough by less-than-stellar acting". He also states that "Colleen Clinkenbeard's Luffy is more a generic spunky kid than a personality in his own right, really coming to life only during the action scenes during which she does a fine job of being darned cool." Dustin Somner of Blu-ray.
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The cathedral is a three-nave basilica-looking structure with polygonal presbytery and ambulatory and many adjacent chapels of noble and aristocratic families, some personally funded by the head of the family or the monarch of Poland. Under the tiled floor several discoveries were made; these included the relics of earlier pre-Romanesque buildings and several tombs of former archbishops. In the crypt of the cathedral there is a 1006-year-old sepulchral stone inscription on display, the oldest of its kind in the country, discovered by archeologists. Other aspects of the crypt may include the remaining fragments of the walls of the first temple funded by Mieszko I of Poland.
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Beginning with the 4th century, after the Church gained hegemony over the Empire, the language of the epitaphs became more frank and open. Emphasis was laid upon a life according to the dictates of Christian faith, and prayers for the dead were added to the inscription. The prayers inscribed thus early on the sepulchral slabs reproduce in large measure the primitive liturgy of the funeral service. They implore for the dead eternal peace and a place of refreshment (refrigerium), invite to the heavenly love-feast (Agape), and wish the departed the speedy enjoyment of the light of Paradise, and the fellowship of God and the saints.
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Porter came into possession of the sarcophagus, and took it to Harvard as a gift to the University's Fogg Museum, where it was prominently displayed. The Sarcophagus enabled Porter to prove his theory on the spread of Romanesque sculpture: :The lid of the sarcophagus was considered to be one of the finest examples of European sepulchral sculpture in existence from the Middle Ages. The discovery of the burial slab gave Kingsley the proof he had been searching for that Romanesque sculpture was practised in Spain during the eleventh century. The sculptured style of decoration on the coffin lid was a divergence from tomb construction of the time.
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The book is significant in the history of science because it promoted an awareness of up-to-date scientific journalism. Browne's last publication during his lifetime were two philosophical Discourses which are closely related to each other in concept. The first, Hydriotaphia, Urn Burial, or a Brief Discourse of the Sepulchral Urns lately found in Norfolk (1658) inspired by the discovery of some Bronze Age burials in earthenware vessels found in Norfolk, resulted in a literary meditation upon death, the funerary customs of the world and the ephemerality of fame. The other discourse in the diptych is antithetical in style, subject-matter and imagery.
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In a 1976 article, the archaeologist Harald Ingholt proposed a date range of 230–250 for the Copenhagen and Istanbul heads, a decade earlier or later also possible. Ingholt concluded that the heads should be dated to 250, and represented OdaenathusI, without excluding the possibility that they might represent OdaenathusII or his father Hairan. In 1985, the archaeologist Michael Gawlikowski proved that OdaenathusI was identical to King Odaenathus, which is confirmed by an inscription securely attributed to the king, recording his lineage, the same as that mentioned in the earlier known sepulchral inscription. Based on the conclusions of Gawlikowski, the archaeologist Ernest Will assigned the Copenhagen portrait to King Odaenathus.
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Main testimonies of the material culture throughout the Jewish presence in Spain are exposed: from his arrival in the Iberian Peninsula, their life in Roman and Visigothic times, their development in the Al-Andalus as well as in the Christian kingdoms during the 13th and 15th centuries, the converts, the Inquisition and the expulsion in 1492. In the north courtyard, as a necropolis, some of the sepulchral tombstones of Jewish characters from different parts of Spain are exposed. In the courtyard the archaeological remains of some possible public baths of the old Jewish quarter of Toledo and the ground of the old Torah ark (main wall) of the synagogue are conserved.
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167 She highlighted how mourners 'fixate on objects as representations both of loss and sepulchral desire', impelled by '"the feeling of an irreparable sin: the sin of having been caught at the moment of libidinal overflow at the least appropriate moment, the moment for grief and abandonment to despair"'.Torok, quoted in Hunt ed., p. 179 The result was mourning become illness, or the impossible grieving for a loved one,Claude Nachin, Le Deuil d'amour (1993) fuelled by the fantasy of incorporation or secret identification with a lost object of love: a form of 'magic to recover the lost object of pleasure and to compensate for the missing introjection.
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In 1822–3 Harding published a series of eighteen portraits of the Deans of Westminster, engraved by James Stow, R. Grave, and others, to illustrate John Preston Neale and Edward Wedlake Brayley's History of Westminster Abbey. This was followed in 1825 by Ancient Oil Paintings and Sepulchral Brasses in the Abbey Church of St. Peter, Westminster, with descriptions by Thomas Moule. Among other historical works to which he supplied the plates was John Heneage Jesse's Memoirs of the Court of England during the Reign of the Stuarts, 1840. He gave much time to the preparation of a manuscript account of the Princes of Wales, illustrated with portraits and heraldic devices.
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Demolition of the 15th-century church in 1866 revealed several pre-Norman stones under the tower, including a preaching cross in three pieces. Fragments of other crosses and stones from the 11th, 12th and 13th centuries, a sepulchral slab, stone coffin, and the remains of a 14th-century stone female figure, indicate that two earlier churches had existed on the same site, one Anglo Saxon and one Norman. Little is known of the first two buildings, but the squat, 15th-century church which replaced the Norman structure had an embattled west tower, a chancel, nave, north and south aisles and a south porch which was rebuilt in 1694.
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He related that as well as being known as "The Coffin", it was also called "The Table Stone". He believed that it had once stood upright on that same spot, representing "a sepulchral memorial or mênhir of some ancient British chieftain". Dunkin recorded that human remains—including two human skulls, other bones, and charcoal—had been found nearby during the 1836 removal of a hedge that "concealed more than one-half of the stone". He also noted that fragments of Roman pottery had been found nearby, and that local farmers had been moving sarsen blocks to the adjacent springhead; "more than fifty blocks, large and small, lie about the yard".
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The statues stand on four pedestals on the lower flight of the grand staircase. Gentleman Magazine described as “a work of the highest merit ... such beautiful personifications.” The Illustrated London News declared “’The Goldsmiths’ is the most magnificent of all the Halls of the City of London.” The white marble statues of “The Seasons” are described as “exquisite” and that Nixon achieved “extreme delicacy” with his “masterly chisel.” Gentleman’s Magazine indicated that he has “been employed principally in sepulchral sculpture, and had executed numerous works of a superior character in that class, many of which have been sent to Canada.” He died at Kennington House, Kennington Common in 1854.
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The distinct symbolism of the heavenly or cosmic tent stemming from the royal audience tents of Achaemenid and Indian rulers was adopted by Roman rulers in imitation of Alexander the Great, becoming the imperial baldachin. This probably began with Nero, whose "Golden House" also made the dome a feature of palace architecture. The dual sepulchral and heavenly symbolism was adopted by early Christians in both the use of domes in architecture and in the ciborium, a domical canopy like the baldachin used as a ritual covering for relics or the church altar. The celestial symbolism of the dome, however, was the preeminent one by the Christian era.
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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.
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Finally the bickering crew crash their stolen ambulance into a lorry carrying wounded -- and in an epic disaster scene, a series of escalating conflagrations climaxes in the opening of the earth itself to swallow the dead, the dying, the wounded, and even their scurrying medics. At which point Father Brodie materializes, surrounded in sepulchral procession by the chants and prayers of the faithful, to bless the hellish battlefield. Ian sobs, Christopher kneels in spiritual surrender, and Jack loses his mind. All are taken prisoner -- only to be given medals and honored as heroes: their initial ambulance crash, it seems, resulted in the winning of the war and defeat of the rebels.
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The pond in the middle of city, after which it is named, Beḷagoḷa “White Pond” Statue of Emperor Bharata Chakravartin, after whom India was named Bharatvarsha. Shravanabelagola has two hills, Chandragiri and Vindhyagiri. Acharya Bhadrabahu and his pupil Chandragupta Maurya are believed to have meditated there.S. Settar, Inviting Death: Historical experiments on sepulchral hill, Karnatak University, Dharwar, 1986 Chandragupta Basadi, which was dedicated to Chandragupta Maurya, was originally built there by Ashoka in the third century BC. Chandragiri also has memorials to numerous monks and Śrāvakas who have meditated there since the fifth century AD, including the last king of the Rashtrakuta dynasty of Manyakheta.
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Like his uncle he spent a part of his early life in Italy, from where he returned in 1781. Brettingham's subsequent works, and the drawings which he exhibited on his return at the exhibitions of the Royal Academy, showed that he did not neglect his opportunities for study in Italy. Among them may be noted in 1783 a drawing of a sepulchral chapel from the Villa Medici at Rome, in 1790 the design for a bridge which he had erected in the preceding year at Benham Place, in Berkshire, and the entrance porch of the church at Saffron Walden restored by him in 1792. In 1773 he published another edition of his uncle's Plans, &c.
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Le Gros's work was completed by 1707 and sent to Cluny, where it arrived in 1709. He worked on this project in as much a French manner as he ever would and invented a spectacular sepulchral monument, at once continuing in the French baroque tradition as well as opening up new formal and iconographic avenues. The chapel was meant to receive several family members, including the cardinal himself, but first and foremost his parents, Frédéric Maurice de La Tour d'Auvergne, Duc de Bouillon and Éléonor de Bergh, Duchesse de Bouillon. Depicted as the main characters in the centre of the monument their grouping and gestures allude to the fact that Éléonor was instrumental in converting her husband to catholicism.
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The radio series also benefited from the immense popularity of a supporting character, Digby "Digger" O'Dell (John Brown), "the friendly undertaker." Brecher told Brown, "I want a very sepulchral voice, quavering, morbid," and he got it right away. The supporting cast featured Paula Winslowe as Riley's wife, Peg, and as Riley's mother-in law; Brown as O'Dell and as Riley's co- worker Jim Gillis; Francis "Dink" Trout as Waldo Binny; Tommy Cook, Bobby Ellis and Scotty Beckett as Junior at various times during the show's run; Barbara Eiler as Riley's daughter, Babs; Shirley Mitchell as Honeybee Gillis; Hans Conried as Uncle Baxter; and, Alan Reed as multiple characters, including Riley's boss (Mr. Stevenson) and Peg's father.
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The Roman name for Sorrento was . Legends indicate a close connection between Lipara and Surrentum, as though the latter had been a colony of the former; and even through the Imperial period Surrentum remained largely Greek. The oldest ruins are Oscan, dating from about 600 BC. Before its control by the Roman Republic, Surrentum was one of the towns subject to Nuceria, and shared its fortunes up to the Social War; it seems to have joined in the revolt of 90 BC like Stabiae; and was reduced to obedience in the following year, when it seems to have received a colony. Numerous sepulchral inscriptions of Imperial slaves and freedmen have been found at Surrentum.
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The centre is greatly disturbed and most likely was the result of digging by locals in 1700s for available loose stones to build farmsteads and field boundaries. This evidence was given orally to the Ordnance Survey field officers in 1830s which is written into the OS records. It states that locals recalled the removal of vast heaps of stone and sepulchral type graves with bones. The boulder wall close to the circle may support this evidence and the mention in OS early maps of ‘Tops Village’ at the foot of the hill. The enigmatic Stone Circle is situated on the summit of Tops Hill, the anglicized Gaelic word meaning ‘the lighting of a ceremonial torch’.
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Title-page of 1658 edition of Urn-Burial together with The Garden of Cyrus Hydriotaphia, Urn Burial, or, a Discourse of the Sepulchral Urns lately found in Norfolk is a work by Sir Thomas Browne, published in 1658 as the first part of a two-part work that concludes with The Garden of Cyrus. Its nominal subject was the discovery of a RomanThe Major Works ed. C. A. Patrides Penguin 1977 urn burial in Norfolk. The discovery of these remains prompts Browne to deliver, first, a description of the antiquities found, and then a survey of most of the burial and funerary customs, ancient and current, of which his era was aware.
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Julia Livilla was the youngest great-granddaughter of Emperor Augustus, great-niece and adoptive granddaughter of the Emperor Tiberius, sister of the Emperor Caligula, niece of the Emperor Claudius, and through her eldest sister Agrippina the Younger, maternal aunt of the Emperor Nero. In most ancient literary sources, on inscriptions and on coins, she is simply called "Julia". It is possible that she dropped the use of her cognomen after the damnatio memoriae of her paternal aunt Livilla (sister of Germanicus and Claudius) after whom she was named. However, on her sepulchral inscription, she is explicitly named "Livilla, daughter of Germanicus", which suggests that in her time she was called either "Julia" or "Livilla".
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Inscriptional dedications to genius were not confined to the military. From Gallia Cisalpina under the empire are numerous dedications to the genii of persons of authority and respect; in addition to the emperor's genius principis, were the geniuses of patrons of freedmen, owners of slaves, patrons of guilds, philanthropists, officials, villages, other divinities, relatives and friends. Sometimes the dedication is combined with other words, such as "to the genius and honor" or in the case of couples, "to the genius and Juno." Surviving from the time of the empire hundreds of dedicatory, votive and sepulchral inscriptions ranging over the entire territory testify to a floruit of genius worship as an official cult.
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Having a large collection of engraved portraits, he was able to assist James Granger in preparing his Biographical History of England. To Andrew Ducarel he sent a complete list of the chancellors of Ely, and afterwards several hints respecting his Tour in Normandy. To Gough's Anecdotes of British Topography he contributed in 1772 some remarks; as he afterwards did respecting Gough's Sepulchral Monuments; and when the Memoirs of the Gentlemen's Society at Spalding were printed in 1780, he supplied anecdotes of the early members. He was a frequent writer in the Gentleman's Magazine, and he gave John Nichols biographical hints and corrections for A Select Collection of Miscellaneous Poems, Anecdotes of Hogarth and History of Hinckley.
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It is in the 1840s that several brief references to the site appeared which first called it the Countless Stones. In the early 1840s, the Reverend Beale Post conducted investigations into the Medway Megaliths, writing them up in a manuscript that was left unpublished; this included Little Kit's Coty House. He disputed both Hasted and Thorpe's ideas about how the monument had been destroyed, suggesting that instead a sepulchral cavity had given way, after which the impact of the weather brought the chamber crashing down. In 1871, Edwin Dunkin published a plan of the site; his differed from that of Rudge, perhaps reflecting the changes that had occurred at the site in the intervening period.
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In 1978, Anna Ford became the bulletin's first female newscaster, and Alastair Burnet rejoined the programme in the same year. For more than a decade onwards, Burnet was the newscaster most associated with News at Ten, his "serious persona", "sepulchral tones" and "deferential interviewing style" becoming respected hallmarks of the programme. By the late 1980s, Burnet – now a member of the ITN board of directors and News at Ten's associate editor – began to draw criticism that he was losing the personal touch with his audience, allowing News at Ten to settle into a "stodgy" and "old-fashioned" complacency. Nonetheless, the programme continued to maintain a solid high audience during the 1980s and well into the next decade.
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The town traces its roots to 14 B.C., when Nero Claudius Drusus founded a military camp called "Vipitenum" along the road between what are now Italy and Germany. Ancient ruins found nearby include a sepulchral monument dedicated to Postumia Vittorina, a milestone of the Imperator Septimius Severus period and a stone altar dedicated to Lord Mithras. The first mention of a town called Wibitina dates back to the years between 985 and 990. That name, which is still memorized in Wipptal, is traced back to the nearby Celto-Roman settlement Vibidina. In 1182, the German name Sterçengum appears in a document of the Sonnenburg abbey. In 1280, Duke Meinhard of Carinthia, promoted the village to the rank of city.
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An early photograph of Stonehenge taken July 1877 The Monumenta Britannica was Aubrey's principal collection of archaeological material, written over some thirty years between about 1663 and 1693. It falls into four parts: (1) "Templa Druidum", a discussion of supposed "druidic" temples, notably Avebury and Stonehenge; (2) "Chorographia Antiquaria", a survey of other early urban and military sites, including Roman towns, "camps" (hillforts), and castles; (3) a review of other archaeological remains, including sepulchral monuments, roads, coins and urns; and (4) a series of more analytical pieces, including four exercises attempting to chart the chronological stylistic evolution of handwriting, medieval architecture, costume, and shield-shapes.See Hunter 1975, pp. 156–7, 162–6, 181.
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Geordie, 1955 The Scottish actor Alastair Sim (1900–1976) performed in many mediums of light entertainment, including theatre, film and television. His career spanned from 1930 until his death. During that time he was a "memorable character player of faded Anglo-Scottish gentility, whimsically put-upon countenance, and sepulchral, sometimes minatory, laugh". After studying chemistry at the University of Edinburgh, he was employed, between 1925 and 1930, as a lecturer in elocution at New College, Edinburgh, and also established his own school of drama and speech training. In 1930 he made his professional stage debut as a messenger in Othello at the Savoy Theatre, London—with Paul Robeson and Peggy Ashcroft in the lead roles.
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Sepulchral inscription for Epaphroditus, imperial freedman and nomenclator, and his wife Flavia Prisca A nomenclator ( ; English plural nomenclators, Latin plural nomenclatores; derived from the Latin nomen- name + calare - to call), in classical times, referred to a slave whose duty was to recall the names of persons his master met during a political campaign.Charlton T. Lewis, Charles Short, Later this became names of people in any social context and included other socially important information.Wiktionary However, it has taken on several other meanings and also refers to a book containing collections or lists of words. It also denotes a person, generally a public official, who announces the names of guests at a party or other social gathering or ceremony.
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In the bow, facing the gate, is a standing figure clad entirely in white. Just behind the figure is a white, festooned object commonly interpreted as a coffin. The tiny islet is dominated by a dense grove of tall, dark cypress trees—associated by long-standing tradition with cemeteries and mourning—which is closely hemmed in by precipitous cliffs. Furthering the funerary theme are what appear to be sepulchral portals and windows on the rock faces. Böcklin himself provided no public explanation as to the meaning of the painting, though he did describe it as “a dream picture: it must produce such a stillness that one would be awed by a knock on the door”.
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The majority of extant memorial brasses are now found in England, where it is calculated that there may be about 4,000 still remaining in various churches. They are most abundant in the eastern counties, and this fact has been frequently adduced in support of the opinion that they were of Flemish manufacture. But at the time sepulchral brasses were most often fashioned, the eastern counties of England were a centre of commercial activity and wealth, and there are numerous engraved memorials of civilians and prosperous merchants in the churches of Ipswich, Norwich, Lynn and Lincoln. Flemish brasses can be found in England, but they are not common, and they are readily distinguished from English workmanship.
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Gough was a precocious child, and at twelve had translated from the French a history of the Bible, which his mother printed for private circulation. Aged fifteen he translated Abbé Claude Fleury's work on the Israelites; and at sixteen he published an elaborate work entitled Atlas Renovatus, or Geography modernised. In 1773 he began an edition in English of William Camden's Britannia: this was published in 1789, with a second edition appearing in 1806. Meantime he published, in 1786, the first volume of his work the Sepulchral Monuments in Great Britain, applied to illustrate the history of families, manners, habits and arts at the different periods from the Norman Conquest to the Seventeenth Century.
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Palazzo Gonzaga-Acerbi The territory of Castel GoffredoMantua and its province. has been inhabited since the Bronze Age. The area was therefore affected by both Etruscan civilization, as evidenced by the discovery of some everyday utensils such as cups and jugs for water, which from Roman civilization starting from 1st century, with the discovery of some votive altar and of a sepulchral tombstone. This area was affected by the centuriation of Mantua and on the romanization of the historical center some scholars suppose that this was divided into twelve blocks and characterized by cardo and Decumanus Maximus and that at the intersection of "cardo maximum" and "decumanus maximus" were placed the forum, today represented by Mazzini Square.
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A short distance to the east of this hill, on the last slopes of a mountain, is a magnificent tomb, which is preceded by a small courtyard, cut in the bright rod, which measures eight steps in length by six and half wide. From there one enters into an open vestibule, decorated externally with two pilasters and two Doric columns, arranged in the thickness of the rock, and whose frieze consists of denoted metopes and triglyphs. This vestibule is, on the inside, seven paces long and three and a half wide. A very low bay in the center allows one to penetrate crawling into the sepulchral chamber, which itself is seven paces long by five wide and is surrounded by a bench.
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There is also information that remains of Sheikh Juneyd were brought to Ardabil in the 16th century. According to this information it should be supposed that remains were brought to Ardabil significantly later after the construction of the mausoleum, or the mausoleum was built at the same time with displacement of the remains. Considering the fact that the Safavids were already the great rulers till the construction of the mausoleum, then it is quite possible, that after displacement of the remains of his ancestor perished in the battle for strengthening the power of the Safavid dynasty, shah Tahmasp I constructed this mausoleum as a monument to Sheikh Juneyd, giving the erection character of a sepulchral mosque. Indeed, the mausoleum has many similarities with domical mosques.
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The archaeologist Frederik Poulsen considered that the wreath on the Copenhagen head is reminiscent of portraits of the Roman emperor Septimius Severus, and the long face is similar to portraits of Emperor Maximinus Thrax. The archaeologist Valentin Müller, based on the Copenhagen head's moving posture, forehead, and a characteristic fold between the nose and mouth, proposed that it was sculpted during the time of Emperor Decius (reigned 249–251). King Odaenathus was the son of Hairan, as attested by many inscriptions. In earlier scholarship, a character designated "OdaenathusI", whose existence was deduced from a sepulchral inscription in Palmyra recording the lineage of the tomb's owner (the supposed Odaenathus I), was considered the father of Hairan and grandfather of King Odaenathus (who was designated OdaenathusII).
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After continuing in his father's trade for a short time – first at Canterbury and then at Hammersmith – Schnebbelie abandoned it, and, though self-taught, became a drawing-master at Westminster and other schools. Through the influence of Lord Leicester, the president, he obtained the appointment of draughtsman to the Society of Antiquaries of London; and the majority of the excellent views of ancient buildings published in the second and third volumes of Vetusta Monumenta were drawn by him. He also made many of the drawings for Richard Gough's Sepulchral Monuments of Great Britain and John Nichols' History of Leicestershire. In 1788 he published a set of four views of St Albans, drawn and etched by himself and aquatinted by Jukes.
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The Via Cornelia ran parallel with the north side of the Circus, and its course can be traced with precision, for pagan tombs have been discovered at various times along its edges. Sante Bartoli's memoirs record that when Alexander VII was building the left wing of Bernini's colonnade and the lefthand fountain, a tomb was discovered with a bas-relief above the door representing a marriage-scene ("vi era un bellissimo bassorilievo di un matrimonio antico"). Others were soon found. The best discovery, that of pagan tombs exactly on the line of St Peter's tomb, was made in the presence of Grimaldi, 9 November 1616: :On that day, I entered a square sepulchral room the ceiling of which was ornamented with designs in painted stucco.
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The family rose to an especial prominence with Joatham Zedginidze, who at the risk of his life saved King George VIII of Georgia (1446–1465) from the plot formed by the renegade nobles. George VIII must have elevated Joatham's eldest son, T'aqa II (or Joatham himself before he died of the wounds he had received) to the new title and offices. The family was enfeoffed of the offices of amilakhvari, sardali (commander) of the Banner of Upper Kartli, and mouravi (Palatine) of Gori, as well as of numerous fiefs, including the sepulchral abbey and cathedral of Samtavisi, the town of Kaspi and several villages on the left bank of the Mtkvari River. Their fiefdom was called Saamilakhvro (Samilakhoro), literally meaning "of Amilakhvari".
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Dumfries was once within the borders of the Kingdom of Northumbria. The district around Dumfries was for several centuries ruled over and deemed of much importance by the invading Romans. Many traces of Roman presence in Dumfriesshire are still to be found; coins, weapons, sepulchral remains, military earthworks, and roads being among the relics left by their lengthened sojourn in this part of Scotland. The Caledonian tribes in the south of Scotland were invested with the same rights by an edict of Antoninus Pius The Romanized natives received freedom (the burrows, cairns, and remains of stone temples still to be seen in the district tell of a time when Druidism was the prevailing religion) as well as civilisation from their conquerors.
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The vicus was first mentioned by Marcus Tullius Cicero in a 50 b.C. letter addressed to his friend Titus Pomponius Atticus; he described the place as a regular stopping point along the route to Apulia. Aequum Tuticum at the crossroads between Via Traiana (red) and Via Herculea (blue), two branches of ancient Via Appia (white) At the time of Adrianus, when the vicus was a possession of the gens Seppia from Beneventum, it became a relevant road junction because the vicus lay at the crossroads between Via Traiana and . Near Aequum Tuticum, just to the north, a stretch of Via Traiana has been discovered along torrent, whereas two sepulchral areas show up to the south and west; aerial photographs have also shown the route of Via Herculea.
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Colossal statues of a man and a woman from the Mausoleum at Halicarnassus, traditionally identified as Artemisia II and Mausolos, around 350 BCE, British Museum. Artemisia is renowned in history for her extraordinary grief at the death of her husband (and brother) Mausolus. She is said to have mixed his ashes in her daily drink, and to have gradually pined away during the two years that she survived him. She induced the most eminent Greek rhetoricians to proclaim his praise in their oratory; and to perpetuate his memory she built at Halicarnassus the celebrated Mausoleum at Halicarnassus, listed by Antipater of Sidon as one of the Seven Wonders of the Ancient World and whose name subsequently became the generic term for any splendid sepulchral monument.
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The dual sepulchral and heavenly symbolism was adopted by early Christians in both the use of domes in architecture and in the ciborium, a domical canopy like the baldachin used as a ritual covering for relics or the church altar. The traditional mortuary symbolism led the dome to be used in Christian central- type martyriums in the Syrian area, the growing popularity of which spread the form. The spread and popularity of the cult of relics also transformed the domed central-type martyriums into the domed churches of mainstream Christianity. The use of centralized buildings for the burials of heroes was common by the time the Anastasis Rotunda was built in Jerusalem, but the use of centralized domed buildings to symbolize resurrection was a Christian innovation.
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Mehoffer received international acclaim for his stained glass windows in the Gothic St Nicholas Collegiate Church in Fribourg, Switzerland produced in 1895–1936. His other stained glass designs include the Radziwill Chapel in Balice (1892), Grauer Chapel in Opava (1901), church in Jutrosini (1902), Holy Cross Chapel at Wawel (1904), sepulchral chapel in Goluchów (1906), Orgelmeister Chapel in Vienna (1910), cathedral in Wloclawek (1935–40), cathedral in Przemysl (1940) and church in Debniki near Kraków (1943). There are stained glass designed by Mehoffer in the Church of the Sacred Heart of Jesus in Turek (East Greater Poland - central Poland); in the same church there are also mural paintings made by Mehoffer. Mehoffer explored various media further throughout his career to include a range of applied arts in his projects.
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After the construction of the city wall, the Sacred Way and a forking street known as the Street of the Tombs again became lined with imposing sepulchral monuments belonging to the families of rich Athenians, dating to before the late 4th century BC. The construction of such lavish mausolea was banned by decree in 317 BC, following which only small columns or inscribed square marble blocks were permitted as grave stones. The Roman occupation of Athens led to a resurgence of monument-building, although little is left of them today. During the Classical period an important public building, the Pompeion, stood inside the walls in the area between the two gates. This served a key function in the procession (pompē, πομπή) in honour of Athena during the Panathenaic Festival.
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The Sallustian obelisk, found in the area of the Horti Sallustiani and now in Piazza della Trinità dei Monti, was not part of the spina of the circus, but more likely it adorned a private hippodrome of the villa of Sallust. Via Piave follows the route of the former Via Salaria Nova, which exited from Porta Collina in the direction of the demolished Porta Salaria. Near the street there was an important stately sepulchral area, which included the funerary monument to Sulpicius Maximus, today in the center of Piazza Fiume, and that of Cornelia, currently close to the walls in Corso Italia. In AD 410 the Visigoths of Alaric cut the aqueducts and plundered the villa of Sallust, which was reduced to a pile of rubble and definitively abandoned.
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The southwest area of the hill fort is apparently built over and around preceding Bronze Age burial mounds or tumuli. Part of the inner ditch is occupied by a large circular barrow, which was excavated, but was found empty. A few feet further to the west are two other barrows, over which the great inner rampart passes; these on opening, proved to be sepulchral: in the largest was found a cist containing burned human bones at the depth of two feet; and in the smallest, two skeletons were found, lying from south to north, the head of the smallest reclining on the breast of the other. On the breast of the largest skeleton there was a small ring or bead of stone, which was probably worn as an amulet.
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The lower town to the north of the citadel extended for at least 1500 m to an area now covered with sand dunes and with a width of 400 m between the eastern seawall and an aqueduct on the west. 240px The discovered remains include a large theatre, a small covered odeon or bouleuterion, three large public baths and one small one, decorated with mosaic floors (some converted to industrial use in late antiquity), four early Christian churches (some with mosaic floors, mostly geometric, and donors' inscriptions), and an exedra possibly of a civil basilica (law court). Outside, there is an extensive necropolis of some 350 sepulchral monuments dating from the 1st to the early 4th century. Some included several rooms, a second storey, and even an inner courtyard.
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After the conflicts of the 1947–48 Civil War in Mandatory Palestine, 15 May 1948 marked the end of the British Mandate and the birth of the state of Israel. Militant Zionist groups including Irgun merged into the newly formed Israeli Defense Force. Harry Levin, a Zionist of British background, described one incident in Jerusalem in which barrel bombs were rolled down the streets while loudspeakers broadcast 'horror sounds': :..as uncontrolled panic spread through all Arab quarters, the Israelis brought up jeeps with loudspeakers which broadcast recorded 'horror sounds'. These included shrieks, wails and anguished moans of Arab women, the wail of sirens and the clang of fire-alarm bells interrupted by a sepulchral voice calling out in Arabic: 'Save your souls, all ye faithful: the Jews are using poison gas and atomic weapons.
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In 1870 the French explorer Victor Guérin described the ruins there: "at this moment they are covered with magnificent harvests, in the midst of which I observe many sherds of antique pottery, and a considerable number of cubes of mosaic scattered on the ground. Several tombs and some ancient cisterns attract my attention. The most considerable ruins are those on a mound, where the remains of a rather powerful construction are seen in large blocks, of which only a few arches remain. Mr. Ganneau, who has visited since Khar'bet Zakarieh/Khurbet el Kelkh, has found there a beautiful baptistery with a Greek inscription bearing the name of the donor Sophronia, and in a sepulchral cave in the same place another Greek inscription of The Christian era."Guérin, 1875, pp.
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The presence of human burials in the site is attested by the excavation of a small sepulchral cave immediately near the village, in the escarpment of its south-east side, which provided remains of a minimum of four individuals, animal bones and part of the grave goods that are with the buried. On the other side, in its westernmost southern slope, in the space delimited by a wide wall and by different stone courses that follow along the outer slope, a circular grave was excavated that contained another human burial, under a sedimentation of more than of depth. The buried was in fetal position, right lateral decubitus, with the legs folded and the feet crossed. The right arm was elongated behind the back and the hand crushed by a block.
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The Muntanya Assolada has been considered as a typical village of the Valencian Bronze Age, according to some decorative motifs of the pottery, globular and tall carena, the archaism of the lithic industry, the copper metallurgy, or the sepulchral cave found next to the village. The end of its habitation is related to the Late Bronze, attending to the fairing vessels with flared profile and with a pronounced angle of inflection, the flat bases or the presence of authentic bronze in the metallic objects. In fact, the typology of the vessels of Muntanya Assolada corresponds to what is usual in the villages of the Valencian Bronze Age. However, in their highest levels, such shapes as the mentioned fairing vessels are accompanied by the geminados, bowls and outgoing edge pots, considered more-evolved.
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The walls of Thisbe were about a mile [1.6 km] in circuit, following the crest of the cliffs which surround the village; they are chiefly preserved on the side towards Dobrená and the south-east. The masonry is for the most part of the fourth order, or faced with equal layers of large, oblong, quadrangular stones on the outside, the interior as usual being filled with loose rubble. On the principal height which lies towards the mountain, and which is an entire mass of rock, appear some reparations of a later date than the rest of the walls, and there are many Hellenic foundations on the face of this rock towards the village. In the cliffs outside the walls, to the northwest and south, there are many sepulchral excavations.
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Such a request was promptly delivered by Danish Foreign Minister John Christmas Møller. Møller said, "The removal of this sepulchral monument, which in this country is considered a national sanctuary, and its erection in a German military academy, caused a resentment which till this very day is still alive in wide circles of the Danish people." The wrapped Lion in Flensburg In the autumn of 1945, the paperwork had been completed, and an American army convoy headed for Copenhagen, where it arrived on October 5. On October 20, the lion was officially handed over to King Christian X. In what was considered an interim solution, the lion was placed in a courtyard on the rear side of the Royal Danish Arsenal Museum (Tøjhusmuseet) and placed on a mere wooden plinth.
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The art of occasional poetry had been cultivated in Greece from an early period—less, however, as the vehicle of personal feeling than as the recognized commemoration of remarkable individuals or events, on sepulchral monuments and votive offerings: Such compositions were termed epigrams, i.e. inscriptions. The modern use of the word is a departure from the original sense, which simply indicated that the composition was intended to be engraved or inscribed. Such a composition must necessarily be brief, and the restraints attendant upon its publication concurred with the simplicity of Greek taste in prescribing conciseness of expression, pregnancy of meaning, purity of diction and singleness of thought, as the indispensable conditions of excellence in the epigrammatic style. The term was soon extended to any piece by which these conditions were fulfilled.
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Sanders names baronies by the manor forming the caput, preface vii John de Botreaux the 3rd son of the 1st Baron is said to have lived at Molland.Rogers, W.H. Hamilton, The Antient Sepulchral Effigies and Monumental and Memorial Sculpture of Devon, Exeter, 1877, p. 388 The first baron's son was William de Botreaux, 2nd Baron Botreaux (1367–1395) and his son was William de Botreaux, 3rd Baron Botreaux (1389–1462), who was the last of the male line, and was buried in North Cadbury Church, where his effigy with that of his wife Elizabeth Beaumont survives today. In 1435 he was appointed by Richard, Duke of York (died 1460), father of the future King Edward IV (1461–1483), as forester of the royal forests of Exmoor and of Neroche, Somerset.
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The history of Grottaferrata identifies largely with that of the Basilian Monastery of Santa Maria, founded here in 1004 by Saint Nilus the Younger. The founding legend narrates that, at the spot where the abbey now stands, the Virgin Mary appeared and bade him found a church in her honour. From Gregory, the powerful Count of Tusculum, father of Popes Benedict VIII and John XIX, Nilus obtained the site, which had been a Roman villa, where among the ruins there remained a low edifice of opus quadratum that had been a sepulchral monument but had been converted to a Christian oratory in the fourth century. Its iron window grates gave the site the name, first of Cryptoferrata then of Grottaferrata, commemorated in the coat-of-arms of the commune.
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And they worked by 100,000 men at a time, for each three months continually. Of this oppression there passed ten years while the causeway was made by which they drew the stones, which causeway they built, and it is a work not much less, as it appears to me, than the pyramid. For the length of it is 5 furlongs and the breadth 10 fathoms and the height, where it is highest, 8 fathoms, and it is made of polished stone and with figures carved upon it. For this, they said, 10 years were spent, and for the underground chambers on the hill upon which the pyramids stand, which he caused to be made as sepulchral chambers for himself in an island, having conducted thither a channel from the Nile.
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The outline of the development of medieval Gothic architecture was further refined in the 18th century, notably by James Bentham in his 1771 History and Antiquities of Ely Cathedral, and culminated in the clear sequence of styles published by Thomas Rickman in 1817. Richard Gough, in his Sepulchral Monuments in Great Britain (1786–99), used comparative and typological methodology to analyse the development of English church monuments. In the 19th and early 20th centuries archaeological typologies continued to be constructed using a combination of empirical observation and intuition. According to Eggers, most archaeologists give Oscar Montelius the credit for the first serious application of the typological method, but in Eggers' view, his contemporary colleague from Stockholm, Hans Hildebrand made important contributions to the development of the methodology as well.
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Marble Rood Screen with stations of the cross, in Tournai Cathedral As a sculptor, he is principally known for his work on funeral monuments. In 1549, he received the commission for a funeral monument to be placed in Königsberg Cathedral for Dorothea, the wife of Albert, Duke in Prussia and daughter of the Danish king Frederick I.C. Osiecki, 'Rediscovered Cornelis Floris bust in The Pushkin Museum Moscow' This was the beginning of many commissions for sepulchral monuments for members of the Danish royal family. These included the tomb of Albert, Duke in Prussia in Königsberg Cathedral, the mausoleum of King Christian III of Denmark and the Cenotaph of Frederick I in Schleswig Cathedral. The monuments were typically made in marble with the statue of the deceased executed in alabaster.
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The Meta Romuli (on the left) depicted in the Stefaneschi Triptych by Giotto The adoption of the pyramidal shape for sepulchral monuments was popular during the Augustan period, in the context of cultural influences from Egypt. Many pyramidal tombs were built, between 40 and 50 meters high, of which only that of Gaius Cestius survives. The Vatican pyramid dated back presumably to the same age or to the first imperial age,Castagnoli, (1958), p. 229 and according to evidence was larger than the Cestia pyramid; as per 15th-century accounts, it had a square plan with sides long and was between 32 and 50 meters high. The Mirabilia Urbis Romae (a 12th-century guide of the city) says that the monument fuit miro lapide tabulata ("was sided with wonderful stone") Mirabilia, 20, 3, 1-4 and that pope Donus (r.
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Sopra il ritratto di una bella donna scolpito nel monumento sepolcrale della medesima ("On the portrait of a beautiful woman sculpted in her sepulchral monument") is basically an extension of the above. The poet, drawing his inspiration from a funerary sculpture, evokes the image of a beautiful woman and compares her breathtaking beauty to the heart-rendingly sad image that she has become; one that is no more than mud, dust and skeleton. As well as being centred on the transience of beauty and of human things, the poem points to the specular antinomy between human ideals and natural truth. Leopardi does not deny—if anything, he emphasizes—the beauty of the human species in general, and by the end of the poem extends his point to all possible forms of beauty, intellectual as well as aesthetic.
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However, the basic situation is transposed by the 2nd century BCE poet, Antipater of Sidon, in a poem collected in the Greek Anthology. Included in the section of sepulchral epigrams, it concerns a countryman keeping the birds from his crops who has stepped on a viper and now sends this warning from the grave: 's broadside satire on human folly showing a fowler, 1588 ::::::::::See how, gazing at what was in the air, ::::::::::I did not see the evil creeping at my feet.Archived online, VII.172 Andrea Alciato coalesces the two in the Latin poem in his Emblemata (1531), which illustrates the theme 'Those who contemplate the heights will fall' (qui alta contemplantur, cadere). The story is told of a fowler out hunting and concludes, ‘Thus the man dies, who looks to the stars with drawn-back bow’.
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Odaenathus' genealogy is known from a stone block in Palmyra with a sepulchral inscription that mentions the building of a tomb and records the genealogy of the builder: Odaenathus, son of Hairan, son of Wahb Allat, son of Nasor. In Rabbinic sources, Odaenathus is named "Papa ben Nasor" (Papa son of Nasor); the meaning of the name "Papa" and how Odaenathus earned it is unclear. Relief from the Temple of the Gadde at Dura-Europos depicting the god “Gad” of Dura (center), King Seleucus I Nicator (right) and Hairan son of Maliko son of Nasor, a possible relative of Odaenathus (left). The King appears to be of mixed Arab and Aramean descent: his name, the name of his father, Hairan, and that of his grandfather, Wahb-Allat, are Arabic; while Nasor, his great-grandfather, has an Aramaic name.
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It was his completion of Foley's statue of Prince Albert for the Albert Memorial which first brought Brock to prominence and secured his position as an establishment sculptor. Thomas Brock in his studio, 1889 Brock's group The Moment of Peril (now in the garden of Leighton House) was followed by The Genius of Poetry, at the Carlsberg Brewery in Copenhagen. A plaster model for Eve was shown at the Royal Academy in 1898; a marble version (1900) is in the collection of the Tate and Brock also cast some smaller bronze replicas and other imaginative works that mark his development. His portrait works include busts, such as those of Lord Leighton and Queen Victoria, statues, such as Sir Richard Owen and Henry Philpott, bishop of Worcester, and sepulchral monuments such as that of Lord Leighton (d.
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In the 19th century, remains belonging to the so-called Cyclopean walls were found, and in the church a piece of white marble with a sepulchral inscription in the ancient Doric Greek language of the island. On another inscription was a decree of a "common assembly of the Cretans," an instance of the well known Syncretism, as it was called. The coins of Axus present types of Zeus and Apollo, as might be expected in a city situated on the slopes of Mt. Ida, and the foundation of which was, by one of the legends, ascribed to a son of Apollo. The situation answers to one of the etymologies of the name: it was called Axus because the place is precipitous, that word being used by the Cretans in the same sense that the other Greeks assigned to ἀγμός, a crag.
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Interior of St. Hyacinth's Church The facade is baroque, although the interior is completely modern, because very few of the original furnishings of the church were preserved. Among them, the most interesting are the tomb monuments - the mannerist tomb of Katarzyna Ossolińska, constructed in 1607 (it was only partially reconstructed); the tomb of Anna Tarnowska, carved from brown Chęciny marble in about 1616, which depicts Anna in the typical Polish sepulchral art sleeping pose; the black marble epitaph of Regina Sroczyńska, a wealthy merchant from Kraków, originally adorned with a coffin portrait of Regina painted on tin plate. Next to the sanctuary there is a chapel for St. Dominic with the most valuable element of the church's furnishing - an 18th-century wooden statue of Ecce Homo by Antoni Osiński, with profuse stucco decorations, a black marble altar and a portal.
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This was untrue; no copy had been destroyed and his superiors had laid no blame upon the author. Then, in 1863, a decree was obtained from the Congregation of Rites, renewing an older decree, whereby it was declared that a vial of blood placed outside of a sepulchral niche in the catacombs was an unmistakable sign by which the tomb of a martyr might be known, and it was proclaimed that Victor de Buck's opinion was formally disapproved and condemned by Rome. This too was false, as Father De Buck had never intimated that the placing of the vial of blood did not indicate the resting-place of a martyr, when it could be proved that the vial contained genuine blood, such as was supposed by the decree of the congregation. Finally, there appeared in Paris a large quarto volume written by the Roman prelate, Monsignor Sconamiglio, Reliquiarum custode.
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Since Roman times, the Hills, along with Capodimonte, were considered a renowned resort and healthy air, thanks to the presence of thick woods. The Roman presence is evidenced by the ruins of the Mausoleo della Conocchia, a Roman sepulchral monument, which was very famous even in the romantic age, helping to attract foreign travelers and tourists to the area. Following the extraction limitations decreed in the city boundaries, in the XVIII century the area (then outside the city, like the other hilly areas of Vomero, Posillipo and dell'Arenella) saw the extraction of the tuff, in particular near the valley of San Rocco, both open-air and through underground quarries with access from above (latomie) or lateral from the valley itself (caves). During the Second World War the caves were used to guarantee the productive continuity of the Neapolitan aeronautical industries (for example IMAM - Southern Aeronautical Mechanical Industries) also under Allied bombing.
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Prazeres Cemetery () is the largest cemetery in Lisbon, Portugal, located in the freguesia (civil parish) of Estrela, in western Lisbon. It is considered to be one of the most beautiful and famous cemeteries in the world.National Geographic - Visit Europe's Most Beautiful CemeteriesMSN - The World's Most Beautiful CemeteriesMuseum for Sepulchral Culture - Cemeteries Around the WorldUCityGuides - Top 10 Most Haunting and Famous Cemeteries in the WorldPublico - Um cemitério de aristocratas cheio de turistas It is home to the Mausoleum of the Dukes of Palmela, the largest mausoleum in Europe.Time Out - O maior jazigo privado da Europa fica em Lisboa Prazeres Cemetery is the resting place for many famous personalities, including Prime Ministers and Presidents of Portugal, notable literary figures such as author Ramalho Ortigão, famous artists like painters Columbano Bordalo Pinheiro or Roque Gameiro, prominent musical figures like pianist Alexandre Rey Colaço or composer João Domingos Bomtempo, and numerous other notable burials, especially from the Portuguese nobility.
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The inscription on the sepulchral chapel reads (in Latin) ... to God's eternal remembrance, dedicated to noble Anna z Kunowy Oświęcimówna, most beloved sister, from her most saddened and sorrowful brother Stanisław z Kunowy Oświęcim (...) as a sign of the eternal love that even death cannot stop, steeped in sadness and grief, also to his ancestors, successors and descendants, this chapel as a house of prayer for the living and a grave as a place of eternal rest for the dead, founded in the year 1647 from the birth of our Lord, gave rise to the legend of incestuous love between brother and sister, for the first time recorded in 1812. The legend gained in popularity over time, and the chapel itself became a popular tourist attraction. Couples who had married in the church descended into the crypt to be blessed with the love that united Anna and Stanisław. Stanisław Oświęcim at the Body of Anna Oświęcimówna by Stanisław Bergman (1888).
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Right from the start, the citizens, together with the representatives of the clergy and the nobility, donated materials from their personal collections to make up the collection of the museum, which within a couple of years required a significant expansion, certified by the two commemorative epigraphs of its benefactors (from 1828 and 1830) still preserved today. Carlo Malmusi, directing curator, established the institution's guiding principles in 1830 as: "serv{ing} archeology", "for the memory of illustrious ancestors" with "finds from the Roman age." The catalogue immediately prompted an influx of antiques and sepulchral tombs which, until the late seventeenth century, had been placed in the churchyard near the southern side of Modena's cathedral or in other sacred buildings of Modena and Reggio Emilia. The practice of raising funerary monuments had already been established in the pre-humanist era, following the example of nearby Bologna, in memory of those citizens who had distinguished themselves above all in the fields of law and medicine.
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A Roman boundary ditch and posthole has been found just off Nethergate Street; Suffolk County Council Archaeological Service Annual Report 2004-2005 a strap fitting, The Portable Antiquities Site: ESS-OCF537 coins, National Monuments Record – PastScape: Monument No 379242 and Monument No 379275 sepulchral urns National Monuments Record – PastScape Monument No 379261 and a bronze figurine of Mercury or a dancing boy National Monuments Record – PastScape: Monument No 379269 have been unearthed in various locations. Some Roman brick seems to have ended up in the Parish Church. There were substantial settlements to the west at Wixoe and to the east at Long Melford. Archaeological digs and magnetic survey at Wixoe, as part of the Abberton pipeline installation, revealed a small town occupied from 100-400AD.Oxford Archaeology Report No 1283: Excavations at Wixoe Roman Town (Wix 022), September 2012 update The Via Devana from Chester to Colchester, a military road, passed through this town.
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In 1898 Blackheath Barrow—a ring cairn monument situated above Cross Stone in Todmorden—was excavated and proved to be a site of "surpassing archaeological interest", according to J. Lawton Russell, one of the men who carried out the excavation.Russell's note of the excavations appears in H. Ling Wroth, The Yorkshire Coiners 1767–1783, and Notes on Old and Prehistoric Halifax Various Bronze Age items were discovered, including sepulchral urns, a human skull, teeth and hands. Russell contended that Blackheath Barrow was primarily a religious site, specifically intended for the "performance of funeral rites", as there was no evidence that it had been settled for domestic use. Of particular interest were the four cairns, positioned at the cardinal points of the compass, and it has been suggested that this indicates "a ritual evocation of the airts, or spirits of the four directions, with obvious correlates in relation to spirits in the land of the dead".
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This music ventures into the complex arrangements > usually reserved for snooty experimental jazz clubs. Few metal bands sounded > like this in 1993, but many would begin to incorporate these elements after > this album was released." - Darryl Wright (@punksteez), Lovechild Of The > Music & Technology Marriage "There is so much that could go wrong on this > Cynic album that its artistic success is a thrilling high-wire act. Sean > Malone’s burbling, prog-jazz-fusion bass (somewhat reminiscent of > Jamaaladeen Tacuma’s work for Ornette Coleman) would seem an unlikely > playmate for the often serrated guitars of Paul Masvidal and Jason Gobel. > Then you have vocals that alternate between sepulchral growls and robotic > treatments seemingly inspired by the “Lord’s Prayer” section of Pink Floyd’s > “Sheep.” The drums eschew a Bonham-esque groove for a busy polyrhythmic > approach, with long fills that travel around what sounds like a big kit, > which in hands other than Sean Reinert’s could be horribly distracting.
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The "Angelic temple" named in the inscription has been identified by some scholars as Bernward's sepulchral church of the archangel St. Michael. According to them, the doors were originally hung in the south aisle (perhaps as two separate doors), in the cloisters, or in no longer extant westwork and were transferred to the Cathedral in 1035 for the new western entrance which Wolfhere (de) reports that Bishop Gotthard had made in his biography, '.Originally argued by Dibelius 1907, pp. 78-80. A combination of the previous hypothesis with the original location of the doors is provided by Wesenberg.Wesenberg 1955, pp. 174–181 Latterly, Bernhard Bruns attempted to locate the original location of the doors at St. Michael's by their iconography. The excavations carried out during renovations in 2006 have now demonstrated that St. Michael's never had a westwork. But the installation of the doors on the south aisle has also come into question, since foundation remains of a narthex were found there, next to the western stairway tower.Tschan, Francis J. Saint Bernward of Hildesheim. 3. Album. Publications in Mediaeval Studies, 13.
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In the 13th and the 14th centuries, members of the Šubić family were most frequently elected dukes by the citizens of Trogir; Mladen III (1348), according to the inscription on the sepulchral slab in the Cathedral of Trogir called "the shield of the Croats", was one of the most prominent Šubićs. In Dalmatian, the city was known as Tragur. After the War of Chioggia between Genoa and Venice, on 14 March 1381 Chioggia concluded an alliance with Zadar and Trogir against Venice, and finally Chioggia became better protected by Venice in 1412, because Šibenik then became the seat of the main customs office and the seat of the salt consumers office with a monopoly on the salt trade in Chioggia and on the whole Adriatic Sea. In 1420 the period of a long-term Venetian rule began and lasted nearly four centuries, when Trau (as the city was called by the Venetians) was one of the best cities in the Balkans with a rich economy and plenty of Renaissance works of art and architecture.
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In December of that same year, he was commissioned to create the large ensemble of Death of the Virgin for the Sanctuary of Santa Maria della Vita. The work, consisting of fourteen larger-than-life size terracotta figures in highly emotive poses, was likely completed in 1522. Between 1522 and 1526 he executed other works in terracotta in Bologna: Lamentation of Christ (Bologna Cathedral), St Bartholomew (Santa Maria della Pioggia), and four terracotta statues of the Patron Saints (Torre dell'Arengo of the Palazzo del Podesta). Lunette of the Resurrection, facade of San Petronio Basilica in Bologna Lombardi also carved sculptures in marble for the facade of San Petronio Basilica in Bologna, including the Lunette of the Resurrection (1527) and the side doors depicting the Annunciation and Adam and Eve (1526–32). Lombardi’s success in Bologna brought commissions in Faenza and Castel Bolognese. According to Vasari, Lombardi was commissioned and prepared models for Pope Clement VII’s sepulchral monument, but this project was never completed due to the death of Cardinal Ippolito de' Medici, who had promised the work to Lombardi.
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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.
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2 She appeared in cameo roles in British films, of which Sherrin singles out The Pickwick Papers (1952), in which she played the formidable schoolmistress, Miss Tompkins. Gingold became well known to BBC radio audiences in "Mrs Doom's Diary" in the weekly show Home at Eight; this was a parody of the radio soap opera Mrs Dale's Diary in the manner of the Addams Family with Gingold as Drusilla Doom and Alfred Marks as her sepulchral husband. Gingold and Baddeley co-starred in a Noël Coward double bill in November 1949, presenting Fumed Oak and Fallen Angels. Reviews were poor, and Coward thought the performances crude and overdone, but the production was a box-office success, running until August the following year."Ambassadors Theatre", The Times 30 November 1949, p. 8; "Fallen Angels", The Manchester Guardian, 1 December 1949, p. 4; and "Theatres", The Times, 8 August 1950, p. 2 Gingold in the 1950s Between 1951 and 1969 Gingold worked mostly in the US. Her first engagement there was at the Brattle Theatre in Cambridge, Massachusetts in It's About Time, a revue that incorporated some of her London material.
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The question of the nomenclature of the group of roads between the Via Ardeatina and the Via Ostiensis is somewhat difficult, and much depends on the view taken as to the site of Laurentum. It seems probable, however, that the Via Laurentina proper is that which led out of the Porta Ardeatina of the Aurelian Wall and went direct to Tor Paterno, while the road branching from the Via Ostiensis at the third mile, and leading past Decimo to Lavinium (Pratica), which crosses the other road at right angles not far from its destination (the Laurentina there running SW and that to Lavinium SE) may for convenience be called Lavinatis, though this name does not occur in ancient times. On this latter road, beyond Decimo, two milestones, one of Tiberius, the other of Maxentius, each bearing the number II, have been found; and farther on, at Capocotta, traces of ancient buildings, and an important sepulchral inscription of a Jewish ruler of a synagogue have come to light. That the Via Laurentina was near the Via Ardeatina is clear from the fact that the same contractor was responsible for both roads.
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