• Picture and image of the stone sculpture of a mouring women in the Bourgeois Realistic style. Badaracco Tomb sculpted by G Moreno 1878. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a mourning women  stone sculpture in the realistic borgeois style. The tomb of the Stefano family Tsculpted by by G Benetti 1877. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of an angel guiding a women to heaven stone sculpture on the Piaggio tomb sulpted by Fabian Federico 1876. Section A, no 45, The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of an angel guiding a women to heaven stone sculpture on the Piaggio tomb sulpted by Fabian Federico 1876. Section A, no 45, The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel sitting on a sarcophagus. Piaggio Tomb sculpted by S Saccomanno 1876. Section A, no 46, The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel sitting on a sarcophagus. Piaggio Tomb sculpted by S Saccomanno 1876. Section A, no 46, The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of St George and the dragon on the Pastorino Family Tomb, 1881. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Neo Gothic Erba stone tomb sculpture of a female figure, with her eyes closed and some poppy seeds in her hands, which are a pagan symbol with a funeral meaning because of their narcotic properties. The garment, stretching along her arm, leaves one shoulder undressed, thus giving the sleeper a touch of sensuality that did not fail to arouse some controversy among the contemporaries. By Sculptor Sculptor S. Saccomanno 1883.  Section A, no 50, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Neo Gothic Erba stone tomb sculpture of a female figure, with her eyes closed and some poppy seeds in her hands, which are a pagan symbol with a funeral meaning because of their narcotic properties. The garment, stretching along her arm, leaves one shoulder undressed, thus giving the sleeper a touch of sensuality that did not fail to arouse some controversy among the contemporaries. By Sculptor Sculptor S. Saccomanno 1883.  Section A, no 50, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of Charity with an angel to her left, by Sculptor V. Lavezzari 1897 on the Repetto tomb.  Section A, no 52, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of an angel by Sculptor V. Lavezzari 1897 on the Repetto tomb. The angel is holding a club and has a vacant look in its eyes giving it a mysterious sense of death. Section A, no 52, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of Charity with an angel to her left, by Sculptor V. Lavezzari 1897 on the Repetto tomb.  Section A, no 52, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the Neo classical style stone sculpture of the Antonio Curro Tomb sculpted by G Navonne in 1895. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a nude looking at a skull on a crucifix.  Sculpted in an art Nouveau style the sculture is a reminder that beauty and life is transient. The Lavarello tomb sculpted by Demetrio Paernio 1914. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Bronze sculpture of the Gallino Tomb by G Bennetti 1903. Section A, no 29, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Bronze sculpture of the Gallino Tomb by G Bennetti 1903. Section A, no 29, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of a women on a charging horse. The Scala Tomb sculpted by E Sclavi 1913. Section A, no 36, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of a women on a charging horse. The Scala Tomb sculpted by E Sclavi 1913. Section A, no 36, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture of a child being lifted to kiss the deceased.  The Casella tomb sculptor G Benetti 1884. Section A, no 40, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture of a child being lifted to kiss the deceased.  The Casella tomb sculptor G Benetti 1884. monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture of a child being lifted to kiss the deceased.  The Casella tomb sculptor G Benetti 1884. Section A, no 40, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a mouring  mans bowler hat in the Bourgeois Realistic style. Badaracco Tomb sculpted by G Moreno 1878. Section A, no 44, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a mourning women  stone sculpture in the realistic borgeois style. The tomb of the Stefano family Tsculpted by by G Benetti 1877. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Neo Gothic Erba stone tomb sculpture of a female figure, with her eyes closed and some poppy seeds in her hands, which are a pagan symbol with a funeral meaning because of their narcotic properties. The garment, stretching along her arm, leaves one shoulder undressed, thus giving the sleeper a touch of sensuality that did not fail to arouse some controversy among the contemporaries. By Sculptor Sculptor S. Saccomanno 1883.  Section A, no 50, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women grieving in the Borgosie Realistic style. The Gatti Tomb sculpted by G Benetti 1875. Section D no 5, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a dead women lying at rest in a realistic style. The Pignone Avanzini tomb sculpted by G Benetti 1867. Section D no 4, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculpture  of a young couple and an angel. The Pietrafraccia Tomb sculped by G. Navone 1909. Section A, no 17, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel standing by a stone sarcophagus. The Croce Tomb sculpted by G Moreno 1889. Section A, no 23, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture ”L’Angelo Nocchiero” (the Helmsman Angel). The sculpture depicts an angel, standing astride a small boat, beginning to secure the sails at the end of a journey. His garments are streaming behind him, suggesting a strong wind. The prow of the boat is the stoic face of a woman, and under the prow the water swirls. The Giacomo Carpaneto tomb  sculpted by Giovanni Scanzi in 1886. Section A, no 25, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Art Nouveau stone sculpture of a nude. The Pizzorini Tomb by Vittorio  Lavezzari 1906. Section A, no 33, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel sitting on a sarcophagus. Piaggio Tomb sculpted by S Saccomanno 1876. Section A, no 46, The  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of a borgeoise realistic style stone sculpture of a girl holding a crucifix on the Poggi Family Tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Job (Giobbe) on the steps of the Parthenon by  G Benetti 1872. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Margherita Capurro ascending to heaven while her husband grieves, 1901.  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Jannet Duff and her gireving son. Sculpted by L Beltrami 1894. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Jannet Duff and her gireving son. Sculpted by L Beltrami 1894. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Paolo and Lorenzo Paracca. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of Giuseppe Recagno in a Borgeois Realistic style. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel in 19th century Borgeois Realistic style. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of 2 angels by  sculptor  F Fabiani 1872. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in the Realistic style of Matildo Serra. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone classical sculptured of an angel on a monumental tombs of Giovanni Chiarella,  Staglieno Monumental Cemetery. Sculptor Giovanni Battista Cevasco 1851,  Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Job (Giobbe) on the steps of the Parthenon by  G Benetti 1872. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture of a widow covering the face of a lying corpse sculpted in a Borgeoise realistic style. Section D no 2, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Margherita Capurro ascending to heaven while her husband grieves, 1901.  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Margherita Capurro ascending to heaven while her husband grieves, 1901.  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a Jannet Duff and her gireving son. Sculpted by L Beltrami 1894. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel over the sarcophagus of Salvatore and Rosa Queirolo, sculpted by G Navone, 1901. Section A, no 16, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptures of angels and a Sister of Charity. in memory of the surgeon Luigi Pastorini, the sculptor Navone has conceived a complex allegory, in which a feminine winged figure, representing the Medicine, distributes some wealth to a Sister of Charity who holds an ill baby. She is helped by another winged figure, the Munificence, whose regard is turned towards the deceased. The “Cappellone” Sisters – they are so named because of their large head covering – were so committed to provide aid to the poor that they have become the symbol of the assistance to the needy. Navone has succeeded in harmonizing the Medicine allegory and its delicacy with the raw representation of the poor people: in fact, as from the middle years of the bourgeois realism, the poor were portrayed in a very realistic way, without any idealization. Sculpted by G. Navone 1902. Section A, no 28,  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptures of angels and a Sister of Charity. in memory of the surgeon Luigi Pastorini, the sculptor Navone has conceived a complex allegory, in which a feminine winged figure, representing the Medicine, distributes some wealth to a Sister of Charity who holds an ill baby. She is helped by another winged figure, the Munificence, whose regard is turned towards the deceased. The “Cappellone” Sisters – they are so named because of their large head covering – were so committed to provide aid to the poor that they have become the symbol of the assistance to the needy. Navone has succeeded in harmonizing the Medicine allegory and its delicacy with the raw representation of the poor people: in fact, as from the middle years of the bourgeois realism, the poor were portrayed in a very realistic way, without any idealization. Sculpted by G. Navone 1902. Section A, no 28,  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of Giuseppe Recagno in a Borgeois Realistic style. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a stone sculpture of Giuseppe Recagno in a Borgeois Realistic style. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a husband and wife hugging.  Sculpted by G B Cevasco 1871. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. Section A, no 38, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a  mourning widow who is bringing a crown and knocking on a sepulcher’s bronze door, which holds the bas relief of an hourglass, a classic symbol of the passing of time. This theme of the sorrowful survivor in front of the sepulcher’s door comes from the Monument dedicated to Maria Christina, Duchess of Teschen, Maria Theresa of Austria’s daughter, a neoclassical sculpture. In this version the widow is wearing fashionable clothes, which have been accurately represented, and her openwork shawl. Sculptor G. B. Cevasco 1875. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured monumental tombs of lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptures of two young siblings at the doors of heaven through which their mother had to go before them by Sculptor A. Rota 1882. The theme of the monument is sorrow but also of hope as an angel guides the sould of the mouring siblings mother to heaven. As is tytpical of the Borgeois realistic style everday clothes, hairstyle and natural gestures are used in the sulpture. Section A, no 42, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and imabe in the Realistic Beorgeous style of a young man. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptured monumental tombs depicting a flying angel and the deceased in the Borgeois Realistic style, by sculptor A Allegro 1872.  Section A, no 49, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured monumental tombs of lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in the Realistic style of Matildo Serra. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in the Realistic style of Matildo Serra. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a classical style stone angel sculpture by sculptor  Santo Varni (Genoa, 1807 – 1885), The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a classical style stone angel sculpture by sculptor  Santo Varni (Genoa, 1807 – 1885), The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the classical stone sculptured monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone classical sculptured of an angel on a monumental tombs of Guiseppe Ghiglioni,  Staglieno Monumental Cemetery. Sculptor Giovanni Battista Cevasco 1870,  Genoa, Italy
  • Pictures of the stone sculptured monumental tombs of the lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel over the sarcophagus of Salvatore and Rosa Queirolo, sculpted by G Navone, 1901. Section A, no 16, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptures of angels and a Sister of Charity. in memory of the surgeon Luigi Pastorini, the sculptor Navone has conceived a complex allegory, in which a feminine winged figure, representing the Medicine, distributes some wealth to a Sister of Charity who holds an ill baby. She is helped by another winged figure, the Munificence, whose regard is turned towards the deceased. The “Cappellone” Sisters – they are so named because of their large head covering – were so committed to provide aid to the poor that they have become the symbol of the assistance to the needy. Navone has succeeded in harmonizing the Medicine allegory and its delicacy with the raw representation of the poor people: in fact, as from the middle years of the bourgeois realism, the poor were portrayed in a very realistic way, without any idealization. Sculpted by G. Navone 1902. Section A, no 28,  The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured monumental tombs of lower arcade of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the stone sculptured monumental tombs depicting a flying angel and the deceased in the Borgeois Realistic style, by sculptor A Allegro 1872.  Section A, no 49, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in the Realistic style of Luigi Lagorio. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures and image of a realistic style  stone sculpture of a priest, monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Relief sculpture freeze from the Roman theatre of Myra, Anatolia, Turkey
  • Picture of Tombs North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • Picture of Tombs on the edge of the white travatines of the  North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.
  • The arabesque architecture the tomb of al-Mansur's son in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture the tomb of al-Mansur's son in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture the tomb of al-Mansur's son in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture the tomb of al-Mansur's son in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture the tomb of al-Mansur's son in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. This panel from the short side of the tomb shows a man with a wreathed wine crater . Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The dead man is depicted listenening to the flute of Eros which causes him to be distracted from the real world so being able to enter the next The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety .Paestrum, Andriuolo.  (480-470 BC  )
  • The arabesque graves of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque mocarabe plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque mocarabe plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • Boats on Dalyan Çay? River with Lycian Rock Tombs in the cliffs . Mediterranean coast Turkey
  • Boats on Dalyan Çay River with Lycian Rock Tombs in the cliffs . Mediterranean coast Turkey
  • Boats on Dalyan Çay River with Lycian Rock Tombs in the cliffs . Mediterranean coast Turkey
  • Tlos acropolis and Lycian house and temple-type rock-cut tombs. Tlos is where the mythological hero Bellerophon winged flying horse Pegasus lived. Anatolia, Turkey
  • Tlos acropolis and Lycian house and temple-type rock-cut tombs. Tlos is where the mythological hero Bellerophon winged flying horse Pegasus lived. Anatolia, Turkey
  • Tlos acropolis and Lycian house and temple-type rock-cut tombs. Tlos is where the mythological hero Bellerophon winged flying horse Pegasus lived. Anatolia, Turkey
  • Neo Classic  Tombs of Saint George Cemetery [ Syros ?????????? ??. ???????? ] Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • Neo Classic  Tombs of Saint George Cemetery [ Syros ?????????? ??. ???????? ] Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • Neo Classic  Tombs of Saint George Cemetery [ Syros ?????????? ??. ???????? ] Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • The arabesque architecture  in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture  in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture  in the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque mocarabe plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque mocarabe plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque mocarabe plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque zelige tiles and architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque zelige tiles and architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque zelige tiles and architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque zelige tiles and architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque zelige tiles and architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • Boats on Dalyan Çay River with Lycian Rock Tombs in the cliffs . Mediterranean coast Turkey
  • Neo Classic  Tombs of William Calvert Jones, Engineer with the Hellenic Steam Co, Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • Neo Classic  Tombs of Saint George Cemetery [ Syros ?????????? ??. ???????? ] Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • Neo Classic  Tombs of Saint George Cemetery [ Syros ?????????? ??. ???????? ] Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • Neo Classic  Tombs of Saint George Cemetery [ Syros ?????????? ??. ???????? ] Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • Neo Classic  Tombs of Saint George Cemetery [ Syros ?????????? ??. ???????? ] Ermoupolis, Syros Island [ ????? ] , Greek Cyclades Islands
  • The arabesque  plasterwork  of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque zelige tiles and architecture of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • The arabesque zelige tiles of the Saadian Tombs the 16th century mausoleum of the Saadian rulers, Marrakech, Morroco
  • Pictures & images of the ancient Lycian rock cut tomb of a Gladiator whose rock relief sculpture can be seen with his family ,  Myra, Anatolia, Turkey.
  • Interior of an Etruscan "dado: (dice) tomb known as Tomba Maroi dating form the 7th century BC, Necropoli della Banditaccia, Cerveteri, Italy. A UNESCO World Heritage Site
  • Etruscan circular Tumulus Tomb in one of the streets of the Necropoli della Banditaccia, Cerveteri, 6th century BC,  Italy. A UNESCO World Heritage Site
  • Interior of an Etruscan burial tomb known  with sarcopoghi carved out of the volcanic tuff rock, 6th century BC, Necropoli della Banditaccia, Cerveteri, Italy. A UNESCO World Heritage Site
  • Interior of an Etruscan burial tomb known  with sarcopoghi carved out of the volcanic tuff rock, 6th century BC, Necropoli della Banditaccia, Cerveteri, Italy. A UNESCO World Heritage Site
  • Etruscan circular Tumulus Tomb in one of the streets of the Necropoli della Banditaccia, Cerveteri, 6th century BC,  Italy. A UNESCO World Heritage Site
  • A Lycian  marble pillar tomb from 480-470 B.C.  Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • A Lycian  marble pillar tomb from 480-470 B.C.  Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • A Lycian  marble pillar tomb from 480-470 B.C.  Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • A Lycian  marble pillar tomb from 480-470 B.C.  Xanthos UNESCO World Heritage Archaeological Site, Turkey
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Picture of Tomb Tomb 114 "tomb of curses" of the North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
TOMB 114 (Second half of the 2nd century AD) <br />
<br />
The tomb lies on the left hand side of the road and is enclosed by a perimeter wall; it rests on a base withifiree steps, with a bench piked(1 front of it. Inside are three beds and the ossuary. On the roof, a sarcophagus, broken as result of an <br />
earthquake, bears an inscription mentioning the occupant Aelios Apollinarios and his wife Neratia Apollonis. On the facade is an inscription of great interest which refers to the punishment inflicted on those who violate the sepulchre: as well as the usual fines, it invokes diseases, misfortunes and punishments in the next world. This inscription has led to the building being named the Tomb of the Curses.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the pillar is painted a threatening Caronte grasping a hammer. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba del Cacciatore A single chamber with double sloping ceiling decorated with a painted chequered design, the rest of the tomb is decorated like a hunting tent with hanging wild ducks and hats. 510-500 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba del Cacciatore A single chamber with double sloping ceiling decorated with a painted chequered design, the rest of the tomb is decorated like a hunting tent with hanging wild ducks and hats. 510-500 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomb of the Leopard A single chamber with double sloping ceiling decorated with a painted chequered design. In the tympanuim are painted two leopards below which is a banquet sceneOn the back wall is painted a banquet scene in honour of the dead. Circa 470 BC. Excavated 1857, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba delle Leonesse". A single chamber with double sloping ceiling decorated with a painted chequered design. Six painted columns divide the walls to give the tomb the appearance of a pavillion. In the typanium of the back wall are two lionesses below which is a large Krater used to mix water and wine, flanked by two musicians and a female dancer.  Circa 520 BC. Excavated 1874, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb "Tomba dei Caronti" made about 150-125 BC. This tomb has a higher level with 2 painted false doors that was furnished with seats as was probably used for religious functions, steps lead down to a lower burial chamber. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Underground Etruscan tomb  A single chamber with double sloping ceiling. In the tympanium are two wild animals below wich is a scene with a portait of the deceased seated watching a dancer and a flute player. Circa 400 BC, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba della Caccia al Cervo" A single chamber with double sloping ceiling. On the back wall is painted a banquet scene with three couples lying on beds (Klinai). On the dide walls are dancers and musicians. Circa 450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba dei Fiorellini" A single chamber with double sloping ceiling decorated with red circles and three petalled flowers. In the tympanium on the back wall is a painted pillar and two cockerals, a couple are depicted banquetting bellow. 475-450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. .   The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world .  The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Reconstruction of  the inside of the Greek Tomb of  the Diver  [La Tomba del Truffatore]. The rear panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The fresco on the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Underground Etruscan tomb  A single chamber with double sloping ceiling. In the tympanium are two wild animals below wich is a scene with a portait of the deceased seated watching a dancer and a flute player. Circa 400 BC, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb  A single chamber with double sloping ceiling decorated with a painted chequered design, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb  A single chamber with double sloping ceiling. In the tympanium are two wild animals below wich is a scene with a portait of the deceased seated watching a dancer and a flute player. Circa 400 BC, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba della Caccia e della Pesca". A double chamber with double sloping ceiling. In the tsecond chamber can be see a scene of hunting and fishing in the style of the "little Ionic masters" . 520-510 BC. Excavated 1873 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Cardarelli" A single chamber with double sloping ceiling decorated with circles. In the tympanium has a scene of fighting animals below which is a flute player, a male figure holding a kylix. 510-500 BC. Excavated 1959 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Cardarelli" A single chamber with double sloping ceiling decorated with circles. In the tympanium has a scene of fighting animals below which is a flute player, a male figure holding a kylix. 510-500 BC. Excavated 1959 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Cardarelli" A single chamber with double sloping ceiling decorated with circles. In the tympanium has a scene of fighting animals below which is a flute player, a male figure holding a kylix. 510-500 BC. Excavated 1959 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Massimo Pallottino no 3713". A single chamber with double sloping ceiling decorated. On the back wall are a painted dancing harpist, and couples dancing holding dinking cups.  Circa 580 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba del Fiore di Loto". A single chamber with double sloping ceiling decorated with a painted ca flower design. In the typanium on the back wall are a painted Lion and panther.  Circa 520 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Claudio Bettini no 5513" A single chamber with double sloping ceiling. In the tympanium on the back wall is a painted two lions, a two men lying on beds (Klinai) are  banquetting with two women bellow. On the dide walls are dancers and musicians. 5th century BC. Excavated 1967 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba dei Fiorellini" A single chamber with double sloping ceiling decorated with red circles and three petalled flowers. In the tympanium on the back wall is a painted pillar and two cockerals, a couple are depicted banquetting bellow. 475-450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables on which goblets have been placed.  The abondon experienced at the Synposium was one way in which the dead could access the next world . The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Picture of Tomb  81 of North Necropolis. Hierapolis archaeological site near Pamukkale in Turkey.<br />
<br />
Tomb 81 (2nd - 3rd centuries AD)<br />
The tomb is built on a high platform that compensates for <br />
difference in level of the land behind it. Inside the <br />
chamber are three sepulchre beds, arranged along the walls, an a very deep ossuary. On the roof slabs, which jut out a long way, are two sarcophagi. Two inscriptions beside the door end the inscription on the slab that closed it (now in the museum ) refer to the successive occupants, including Eutyches Pompeios, who left 100 denari to the association of wool washers for the periodic decoration of  <br />
the tomb.
  • Underground Etruscan tomb  A single chamber with double sloping ceiling decorated with a painted chequered design, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Maurio Moretti no 5591" A single chamber with double sloping ceiling decorated with flowers. In the tympanium are two lions below which is a flute player, a male figure holding a kylix and a richly dressed female figure. 500-490 BC. Excavated 1968 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba dei Fiorellini" A single chamber with double sloping ceiling decorated with red circles and three petalled flowers. In the tympanium on the back wall is a painted pillar and two cockerals, a couple are depicted banquetting bellow. 475-450 BC. Excavated 1960 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb Known as "Tomba Massimo Pallottino no 3713". A single chamber with double sloping ceiling decorated. On the back wall are a painted dancing harpist, and couples dancing holding dinking cups.  Circa 580 BC. Excavated 1962, Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Pictures of the Dominico Boasi, Boasi tomb 1870, stone sculptured monumental tomb of the Staglieno Monumental Cemetery, . Genoa, Italy
  • Pictures of the Dominico Boasi & his wife, Boasi tomb 1870, stone sculptured monumental tomb of the Staglieno Monumental Cemetery, . Genoa, Italy
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore] from the Greek city of Poseidonia which became Roman Paestum. This panel is from one of the long sides of the tomb and shows a symposium of men lying on couches facing low tables.  The men on the couches are playing the song of Eros the liar and the flute to distract the deceased from worldly thoughts so he can enter the next world. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. This panel is from the lid of the tomb and shows a  diving from a column into water. The column represents the border of thye known world and therefore the limit of man's knowledge.  The dive represents the passage form this world to the next. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety.  Paestrum, Andriuolo.  (480-470 BC  )
  • Greek Fresco on the inside of Tomb of  the Diver  [La Tomba del Truffatore]. The tomb is painted with the true fresco technique and its importance lies in being "the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. This panel from the short side of the tomb shows a man with a wreathed wine crater . Paestrum, Andriuolo.  (480-470 BC  )
  • Lucanian fresco tomb painting . Paestrum, Andriuolo. Tomb 24.  (370-360 BC )
  • Lucanian fresco tomb painting of a soldier on a horse. Paestrum, Andriuolo. Tomb 58 ( 330-320 BC )
  • Lucanian fresco tomb painting of a man hunting deer . Paestrum, Andriuolo. Tomb n. 18.  ( 370-360 BC )
  • Lucanian fresco tomb painting of a man hunting deer with a wreath of pomegranates in the top panel. Paestrum, Andriuolo. Tomb n. 1 Plundered Furnishings.  (375-350 BC)
  • Lucanian fresco tomb painting of a man hunting deer with a wreath of pomegranates in the top panel. Paestrum, Andriuolo. Tomb n. 1 Plundered Furnishings.  (375-350 BC)
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )
  • Lucanian fresco tomb painting of the deceased on a mythical horse being offered food for the journey to the next world . Paestrum, Andriuolo. Tomb 84.  (350-340 )

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