An important masterpiece by the Paduan sculptor Andrea Riccio, the Della Torre tomb monument broke with contemporary funerary monuments in both its form and content. Understanding what enabled this break with tradition is the central issue in the study of this monument—one that has not been sufficiently addressed in previous scholarship. Despite the lack of overt references to the Christian faith on the Della Torre monument, the narrative programme is concerned with two very important Christian concerns—the necessity of a life of virtue and the health and afterlife of the soul. I argue that the narrative on the tomb, influenced by contemporary funerary oratory and poetry, presents a model of virtue for the viewer. Moreover, I argue that Riccio has illustrated the presence of this exemplar by the very structure of the monument itself. This dissertation focuses on the artistic and intellectual community surrounding the creation of this monument and, in particular, on the reconciliation of this strictly all’antica monument with Christian thought in this period. Upon a thorough contextual examination, this unprecedented monument becomes less of an anomaly. It reflects the ideas of an important circle of humanists from both Padua and Verona, thus illustrating the breadth of their interests and their involvement in contemporary debates over religion, the nature and potential immortality of the soul, and the necessity of virtue. Analysing this monument within the context of humanist ideas prevalent among the individuals within the Della Torre circle, those who had, or likely had, a great influence on the significance of the monument’s narrative, gives this monument what has been long denied to it—a proper understanding of its Christian programme and didactic function. The fulfillment of this task, which promises to shed additional light on the adaptation of pagan elements to Christian purposes, is the overall aim of this work.

This thesis will identify what is particularly unusual about the funerary scenes of the eighteenth-dynasty Theban tomb (TT 139) and their chosen location by providing a thorough examination of both the life of the tomb owner, Pairy, and his tomb architecture. Following a discussion of the significance of the tomb chapel's decorative program, I will argue that the abbreviated scenes on two walls adjacent to the passageway to the burial chamber relate to the tomb owner’s safe journey into the underworld. Due to the lack of recent published work on the chapel hall and the deterioration of its paintings, the tomb of Pairy is in dire need of proper, comprehensive study.

An important masterpiece by the Paduan sculptor Andrea Riccio, the Della Torre tomb monument broke with contemporary funerary monuments in both its form and content. Understanding what enabled this break with tradition is the central issue in the study of this monument—one that has not been sufficiently addressed in previous scholarship. Despite the lack of overt references to the Christian faith on the Della Torre monument, the narrative programme is concerned with two very important Christian concerns—the necessity of a life of virtue and the health and afterlife of the soul. I argue that the narrative on the tomb, influenced by contemporary funerary oratory and poetry, presents a model of virtue for the viewer. Moreover, I argue that Riccio has illustrated the presence of this exemplar by the very structure of the monument itself. This dissertation focuses on the artistic and intellectual community surrounding the creation of this monument and, in particular, on the reconciliation of this strictly all’antica monument with Christian thought in this period. Upon a thorough contextual examination, this unprecedented monument becomes less of an anomaly. It reflects the ideas of an important circle of humanists from both Padua and Verona, thus illustrating the breadth of their interests and their involvement in contemporary debates over religion, the nature and potential immortality of the soul, and the necessity of virtue. Analysing this monument within the context of humanist ideas prevalent among the individuals within the Della Torre circle, those who had, or likely had, a great influence on the significance of the monument’s narrative, gives this monument what has been long denied to it—a proper understanding of its Christian programme and didactic function. The fulfillment of this task, which promises to shed additional light on the adaptation of pagan elements to Christian purposes, is the overall aim of this work.

The presented thesis examines dining practices associated with ancient funerary rites, and representations of meals that decorated Roman tombs. Evidence for dining, and its significance in mortuary rites, comes from various sources: from pagan, Christian and Jewish literary examples that describe funerary and commemorative events, and archaeological material of food remains and dining installations at the cemeteries, to pictures of meals depicted on different media: cinerary urns and altars, gravestones, frescoes, mosaics and sarcophagi. The aim of this thesis is to investigate available sources, focusing mainly on pictorial representations of late Roman and early Christian dining in order to assess the purpose of decorating the tombs with convivial images. The thesis begins with a discussion of how the Roman catacombs were used by early Christians, and how they were perceived by the post-sixteenth-century explorers and researchers. As our understanding of the development of the subterranean cemeteries has changed over the past centuries, so has our view of the late ancient societies and their funerary practices. Chapter 1 investigates both written and archaeological evidence for Roman funerary meals (silicernium and novemdiale) and commemorative rites during several festivals for the dead (e.g. parentalia0or0rosalia) performed by families and members of collegia. This Chapter also presents the development of the funerary Eucharist, and discusses evidence for early Christian funerary prayer. Chapter 2 focuses on memorials decorated with diners reclining on klinai, which were intended to represent the status of the deceased. Chapter 3 discusses painted collective meal scenes represented on stibadia, which are differentiated according to their interpretation: Elysian picnic scenes, images representing status of the deceased, or refrigeria (commemorative events) held by family and collegia. This section also includes an investigation into early Christian convivial images, which portray biblical stories and refrigeria. Chapter 4 presents convivial images from the catacomb of SS. Pietro e Marcellino, which provide evidence of a group of foreigners who migrated to Rome. Chapter 5, the final chapter, presents collective meal scenes on sarcophagi, which depict mythological events and picnic scenes reflecting elite villa life style. However, a small group of early Christian examples were also designed to portray honorary meals. In conclusion, the thesis provides evidence for shared funerary practices amongst different religious communities in the Roman world. Additionally, in the majority of cases the dining scenes focus on the representations of the deceased (their status or profession) rather than any particular religious affiliation; while both pagan and Christian images of refrigeria were designed to strengthen, or substituted for, actual commemorative rites.

This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics. / The Classics

This thesis will look at the depiction of the Achilles and Troilos death myth on the Attic Black-Figure “Tyrrhenian” Group and its possible influence in Etruria from the mid 6th century BC to the Hellenistic period. The appearance of this Attic-made export ware in Etruscan sites of the 6th century BC, distribution of extant group pots with known provenance along with the emulation of the “Tyrrhenian” neck-amphora style and narrative frieze content in mid to late 6th century BC Etruscan pottery supports evidence for the popularity of the group amongst the Etruscan population. I will approach my investigation in Chapter Three by first giving an overview of the construction and decoration of the Attic-made “Tyrrhenian” Group and listing the variety of traits that characterize this group as being a true case of Athenian export product to Etruria. In Chapter Four I will focus on the appearance of the Achilles and Troilos myth on pots of the “Tyrrhenian” Group and trace the development of the myth’s iconography in Greek art starting in the mid 7th century BC. In Chapter Five I will focus on the appearance of the myth in Etruscan art in the mid 6th century BC and its subsequent development in Etruscan mythology through the analysis of Etruscan-made specimens. I will also attempt to give a reasoning behind the Etruscans’ adaptation of the Greek myth into their corpus. / Thesis (Master, Classics) -- Queen's University, 2009-09-22 13:27:11.548

Etruscan art was greatly influenced by Greek art, which is especially apparent in the Etruscan funerary art. A common motif within Greek funerary art is the prothesis, the lying in state, which appears in Etruria during the sixth and fifth centuries BCE. However, the Etruscan scenes differ from the Greek scenes in that they portray a wider flexibility when it comes to gender roles. Women and men are not limited to gestures or positions within the scenes of prothesis. This in turn, along with other factors not discussed in this paper, has led to discussions of a more gender equal Etruscan society. Yet there is a specific gesture within the Etruscan scenes that is not found in the Greek material. The gesture in question, portrayed with both hands on the chest either in fists or placed one on top of the other, appears in other funerary art outside of the prothesis scenes. The aim of this thesis is to examine this gesture and its relation to gender and whether it is gender constricted. By analyzing and comparing funerary art limited to Chiusi and Vetulonia that includes the gesture, found in reliefs, statuettes as well as sculptures, this paper sets out to deepen our understanding of Etruscan gender roles. Since the material being examined is extremely restricted, the only thing an analysis of this size can determine is that there is indeed a gender constriction within the funerary art from the cities of Chiusi and Vetulonia, speaking to a possible wider occurrence within the entire Etruscan society. To delve deeper into the questions of gender roles and how they affect the Etruscan art, it is necessary to broaden the scope of material – both in form and origin.

Made available in DSpace on 2014-07-29T16:27:59Z (GMT). No. of bitstreams: 1 halima alves de lima elusta.pdf: 1141981 bytes, checksum: 3fc923943a823b53e913c3c488dc6e1b (MD5) Previous issue date: 2008-11-04 / The Saudade Cemetery, in Campinas, Brazil, is considered na open-sky museum for burial monuments that represents and materialize the relation man death in this city. The main goal of the present research is to show the transformations after the death secularization in the city, since 1881, when the cemetery was founded till the 1950 s decade. The transformations occurred during this period are here represented by statuary, tombs and monuments elaborated by Giuoseppe Tomagnini, Vélez Family, V. Lazzeri, Rosada Family, Coluccini Brothers and Camillo dos Santos. Those artist-artisans responsible for that buildings were influenced by stylistic of the European funerary art, such as neoclassic and eclectic architecture, art nouveau, art déco and modern to attend to the local citizen needs in order to preserve their memory. The burial buildings found in the Saudade Cemitery, besides a local for reflection and memory, can be considered significant part of Historical and Cultural Patrimony of Campinas / O Cemitério da Saudade é considerado um museu a céu aberto por abrigar túmulos que representam e materializam a relação do homem com a morte na cidade de Campinas. Esta dissertação tem por objetivo mostrar as transformações após a secularização da morte na cidade, que se inicia em 1881 com a fundação desse primeiro cemitério público, até a década de 1950. As transformações ocorridas durante esse período são aqui apresentadas por meio das construções de Giuoseppe Tomagnini, Família Vélez, V. Lazzeri, Família Rosada, Irmãos Coluccini, Irmão Zarattinni e Camillo dos Santos. Esses artistas-artesãos, responsáveis pelas construções, apropriaram-se de referências estilísticas da arte funerária européia como o neoclássico, eclético, art nouveau, art deco e moderno para atender as necessidades dos cidadãos campineiros de perpetuar sua memória. Essas construções fazem do Cemitério da Saudade, além de local de reflexão e memória, parte significativa do Patrimônio Histórico e Cultural da cidade de Campinas

A pesquisa intitulada História e Arte Funerária dos Cemitérios São José I e II em Porto Alegre (1888-2014) analisa as mudanças culturais no trato com a morte e com o sepultamento, bem como com o impacto dessas mudanças para a preservação da arte cemiterial. Apresentamos ao leitor um histórico dos principais cemitérios de Porto Alegre, com foco nos Cemitérios São José I e II, pertencentes à Comunidade de Alemães Católicos de São José. Desde 2000, os Cemitérios São José I e São José II sofrem a gradual subtração de seus monumentos funerários em virtude da construção de um estacionamento anexo a um crematório. O estudo aborda também a obra das marmorarias que construíram os túmulos dos Cemitérios São José I e II, em especial a Marmoraria Casa Aloys (1894-1961). Além do inventário tumular, realizamos um levantamento dos sepultados nos cemitérios de São José, encontrando ali diversos nomes importantes, ligados a atividades artísticas e culturais no Rio Grande do Sul, como os pintores Pedro Weingärtner e José Lutzenberger. Propomos, ainda, um roteiro para visita monitorada que apresente à sociedade estes e outros mortos ilustres sepultados nos Cemitérios São José I e II. / The research entitled History and Funerary Art of São José I and II Cemeteries in Porto Alegre (1888-2014) examines the cultural changes in dealing with death and burial, as well as the impact of these changes for the preservation of graveyard art. We present the reader with a history of the major cemeteries in Porto Alegre, focusing on Cemeteries São José I and II, owned by the Community of Catholic Germans of São José. Since 2000, Cemeteries São José I and II suffer the gradual subtraction of their funerary monuments due to construction of an annex parking at a crematorium. The study also addresses the work of marble yards which built the tombs of Cemeteries São José I and II, especially the marble yard Casa Aloys (1894-1961). Besides the tomb inventory, we conducted a survey of those buried in the Cemeteries São José, finding several important names linked to artistic and cultural activities in Rio Grande do Sul, such as painters Pedro Weingärtner and Jose Lutzenberger. We also propose an itinerary for a guided tour to present to the society these and other illustrious dead buried in Cemeteries São José I and II.

A pesquisa intitulada História e Arte Funerária dos Cemitérios São José I e II em Porto Alegre (1888-2014) analisa as mudanças culturais no trato com a morte e com o sepultamento, bem como com o impacto dessas mudanças para a preservação da arte cemiterial. Apresentamos ao leitor um histórico dos principais cemitérios de Porto Alegre, com foco nos Cemitérios São José I e II, pertencentes à Comunidade de Alemães Católicos de São José. Desde 2000, os Cemitérios São José I e São José II sofrem a gradual subtração de seus monumentos funerários em virtude da construção de um estacionamento anexo a um crematório. O estudo aborda também a obra das marmorarias que construíram os túmulos dos Cemitérios São José I e II, em especial a Marmoraria Casa Aloys (1894-1961). Além do inventário tumular, realizamos um levantamento dos sepultados nos cemitérios de São José, encontrando ali diversos nomes importantes, ligados a atividades artísticas e culturais no Rio Grande do Sul, como os pintores Pedro Weingärtner e José Lutzenberger. Propomos, ainda, um roteiro para visita monitorada que apresente à sociedade estes e outros mortos ilustres sepultados nos Cemitérios São José I e II. / The research entitled History and Funerary Art of São José I and II Cemeteries in Porto Alegre (1888-2014) examines the cultural changes in dealing with death and burial, as well as the impact of these changes for the preservation of graveyard art. We present the reader with a history of the major cemeteries in Porto Alegre, focusing on Cemeteries São José I and II, owned by the Community of Catholic Germans of São José. Since 2000, Cemeteries São José I and II suffer the gradual subtraction of their funerary monuments due to construction of an annex parking at a crematorium. The study also addresses the work of marble yards which built the tombs of Cemeteries São José I and II, especially the marble yard Casa Aloys (1894-1961). Besides the tomb inventory, we conducted a survey of those buried in the Cemeteries São José, finding several important names linked to artistic and cultural activities in Rio Grande do Sul, such as painters Pedro Weingärtner and Jose Lutzenberger. We also propose an itinerary for a guided tour to present to the society these and other illustrious dead buried in Cemeteries São José I and II.