A small cemetery has been found outside the western limit of Aquileia. It consists of five enclosures separated by brick walls. The sarcophagi/monuments in each enclosure belonged to members of the same family. A small sculpture (original at the Archaeological Museum) portrays a (dead) woman being comforted by Psyche, a very young girl with wings who accompanied the dead to the underworld.
Many of the sarcophagi/monuments are finely decorated. Some of their reliefs show jars, most likely a reference to funerary ceremonies. A relief with dolphins around a trident, which was very popular in many contexts, when placed on a tomb might have indicated that the dead was a seaman or a ship owner or that he was about to begin his last journey to beyond the Pillars of Hercules, which the living were not allowed to cross.
The mausoleum, reconstructed within the ancient city in 1956, was discovered in pieces in the Roncolon area along the Roman road to Tergeste (Trieste). It comprises an enclosure protected by two lions, with a high base with relief decorations, surmounted by a circular, temple-like structure that guards the statue of the toga-clad deceased. Although heavily patched up with modern materials, the mausoleum is an example of a great Augustan burial monument, one that would have belonged to an eminent figure in the city.
The Student Union of Jondishapour University in Ahvaz, Iran by Kamran Diba, 1968-1972. The building is built using elongated brick indigenous to the region surrounding the delta of the Tigris and Euphrates and is built in a traditional Islamic plan, being centered around various courtyards. An exaggerated staircase leads up to a gate framed by towers, emphasizing the importance of the project as a grand entrance. The architectural language is influenced by the bold revolutionary German modernist movement and the monumentalism of Italian futurism. In addition the artist was influenced by artist Giorgio de Chirico and his operatic scenes set in desolate deserts with dramatic lighting. Through this, the structure manipulates the harsh desert light into an art form. Diba combines all of these elements into a way that mirrors the utilitarian principles of southern Persian architecture and thus retains the unique national identity of Iran.
So, the story behind this grave. They say it’s haunted so of course i had to pay a closer look to this one. Situated at the back of the Kirkyard, a beautiful italianate monument for Sir George Mackenzie and his.. restless spirit. It’s an almost black mausoleum covered in weeds and flowers while i would expect nothing to grow on or around this one since his owner was not a good person. “He was ruthless in his treatment of the Covenanters and hundreds of them were tortured and killed, their bodies laid to rest in the site of the Covenanters prison.” There have been many terrifying stories so of course i had to look inside. I was informed afterwards, that “the space beneath the mausoleum contained bodies - plague victims who had been dumped and covered over as a quick means of disposal.” Cool huh? I miss this place so much!
Theron of Acragas was an Olympic championand the Greek tyrant
of the town of Acragas in Sicily. According to Polyaenus, he came to power by
using public funds allocated for the hire of private contractors meant to
assist with a temple building project, to instead hire a personal group of
bodyguards. With this force at his disposal, he was able to seize control of
the town’s government.
Pindar dedicates two Olympian odes, 2 & 3, to Theron,
both for the same victory in the chariot race at the Olympic Games of 476 B.C.
The poet Simonides of Ceos was also active at Theron’s court.
Johnston -Felton - Hay House by LT Via Flickr: Johnston-Felton-Hay House, often abbreviated Hay House, is a historic residence in Macon, Georgia. Built between 1855 and 1859 by William Butler Johnston and his wife Anne Tracy Johnston in the Italian Renaissance Revival style, the house has been called the “Palace of the South.” The mansion sits atop Coleman Hill on Georgia Avenue in downtown Macon, near the Walter F. George School of Law, part of Mercer University.
The 18,000-square-foot (1,700 m2), 24-room home designed by the New York architect T. Thomas and Son has four levels and is crowned by a three-story cupola. Commissioned by imaginative owners and constructed by the most skillful workers of the time, its technological amenities were unsurpassed in the mid-nineteenth century: hot and cold running water, central heat, a speaker-tube system connecting 15 rooms, a French lift equivalent to today’s elevator, in-house kitchen, and an elaborate ventilation system. House history
Two families lived in Hay House, the first over four generations. Most of the home’s present-day furnishings date from the Hay family’s occupancy (1926-1962). A few pieces are from the Johnston family (1860-1896), most notably the Eastlake-style dining room suite. The most notable piece in the collection may be the 1857 marble statue, “Ruth Gleaning,” by American expatriate sculptor Randolph Rogers.
The home was a place of comfort for the Johnston family and their daughters until the late 1800s. In 1896 after the death of Mrs. Johnston, their daughter Mary Ellen Felton and her husband lived in the home. The Feltons updated the plumbing and electricity and stayed in the home until the time of their deaths in 1926.
The Hay House living room
William Butler Johnston obtained his substantial wealth through investments in banking, railroads and public utilities rather than from the agrarian cotton economy. In 1851, he married Anne Clark Tracy, 20 years his junior, and the couple embarked on an extended honeymoon in Europe from 1852 to 1855. During their trip, the Johnstons visited hundreds of museums, historic sites and art studios. They collected fine porcelains, sculptures and paintings as mementos during their grand tour. Inspired by the Italian architecture they observed, the Johnstons constructed the monumental Italian Renaissance Revival mansion in Macon upon their return to America. Only two of the Johnstons’ six children survived to adulthood. Caroline and Mary Ellen Johnston were born in 1862 and 1864, respectively, and grew up in the house on Georgia Avenue.
After the death of Mrs. Johnston in 1896, daughter Mary Ellen and her husband, Judge William H. Felton, lived in the house. They remodeled and redecorated parts of the house, updated the plumbing and added electricity. Their only child, William Hamilton Felton, Jr., was born in 1889. He married Luisa Macgill Gibson in 1915, and the newlywed couple soon moved in with the Feltons. They and their two sons, William Hamilton Felton III and George Gibson Felton, lived in the house until 1926.
After the deaths of William Sr. and Mary Ellen Felton, the house was sold to Parks Lee Hay and his wife, Maude. After purchasing, the Hays redecorated the entire home, updating it to fit the new twentieth-century décor. The home was seen as a local landmark to all in middle Georgia. Mr. Hay died in 1957; when Mrs. Hay died in 1962, the home was turned into a house museum. In 1977, the Georgia Trust for Historic Preservation took over ownership of the home and it is now a National Historic Landmark. 
Following Mrs. Hay’s death, her heirs established the P.L. Hay Foundation and operated the house as a private house museum. By virtue of its national significance, Hay House was declared a National Historic Landmark in 1974. In 1977, the ownership and operation of the house was formally transferred to The Georgia Trust for Historic Preservation to ensure its long-term preservation.
In 2000, the White House Millennium Council designated Hay House an Official Project of Save America’s Treasures in 2000. Today, Hay House is one of Macon’s most popular tourist attractions with 20,000 visitors each year. The House is also a prominent rental venue for special events.
Portrait of a Lady (c.1550). Peter de Kempeneer (Flemish, 1503-1586). Mixed technique on poplar. Städel Museum.
Because it combines the monumental Italian conception of the portrait with the busy, small-scale Netherlandish approach to landscape, the attribution of this portrait was long disputed. Its recent ascription to Peter de Kempeneer is the most persuasive proposal, since it offers a plausible explanation for the work’s conflicting “stylistic registers”. Trained in Brussels, de Kempeneer went to Italy as a young man, where he probably painted the portrait now at the Städel.