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Tombs
Treasury of Atreus, Mycenae: plans, elevations and perspectives
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SOURCE: Dan Cruickshank (ed.). Sir Banister Fletcher's A History of architecture, 20th ed. (Oxford: Architectural Press, 1996), p. 111
Examples of funerary architecture from Ancient Greece: Lion Tomb at Cnidos(A-F); The "Alexander" Sarcophagus: Sidon (G-H); Tomb at Cnidos (J); Tomb of the Weepers: Sidon (K): plans, sections and perspectives
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SOURCE: Dan Cruickshank (ed.). Sir Banister Fletcher's A History of architecture, 20th ed. (Oxford: Architectural Press, 1996), p. 149
Column of Trajan (A-F); A Rostral Column (G); Tomb of the Julii S. Remy, Nr Arles (H); Tor di Schiavi, Rome (K); Rock-Cut Tomb of El Khasne, Petra (J); Mausoleum of Hadrian, Rome (L): plans, sections and elevations
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SOURCE: Dan Cruickshank (ed.). Sir Banister Fletcher's A History of architecture, 20th ed. (Oxford: Architectural Press, 1996), p. 262
Tomb of Oljeitu A-B) Gur-I-Amir, Samarkand C-D) Ukhaidir, Kerbala E-F): plans, perspectives and axonometric
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SOURCE: John Musgrove (ed.). Sir Banister Fletcher's A History of architecture, 19th ed. (Butterworths, 1987), p. 562 NOTES: A-B Local Dynasties of Central Islam (Iran, c.1312); C-D The Mongols and the Timurid Dynasty (Iran c.1403): E-F Umayyad and Abbasid Caliphates
Examples of French Gothic architectureal features from ecclesiastical buildings
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SOURCE: J. C. Palmes (ed.). Sir Banister Fletcher's A History of architecture, 18th ed. (London: Athlone Press, 1975), p. 619 NOTES: A) capital, N. porch, Chartres Cathedral; B) jamb west doorway, Grand Andely; C) capital, Notre Dame Chalons-Sur-Marne; D) tympanum, left doorway of west portal, Chartres; E) pilaster, S. porch, Chartres; F) Tomb of Philibert le Beau, Brou; G) pilaster, S. porch, Chartres
Examples of late Medieval Italian architecture
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SOURCE: J. C. Palmes (ed.). Sir Banister Fletcher's A History of architecture, 18th ed. (London: Athlone Press, 1975), p. 734 NOTES: A) The Fonte Gatteschi, Viterbo; B) Tomb of the Scaligers, Verona; C) angle window, Venice; D) La Certosa, Chiaravalle; E) porch, St. Maria Maggiore, Bergamo; F) porch, the Duomo Ferrara; G) Loggia dei Mercanti, Bologna; H) facade, St Agostino, Bergamo
Examples of Gothic architectural features in Spain; A) wrought-iron Pulpit, Avila Cathedral; B) Altar of St. Ana, Burgos Cathedral; C) Stalls, Convent of St. Thomas, Avila; D) detail, Infante's tomb; E) Infante's tomb, Miraflores; G) base, Infante's Tomb; H) cornice details, Royal Tomb; J-L) Royal T
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SOURCE: J. C. Palmes (ed.). Sir Banister Fletcher's A History of architecture, 18th ed. (London: Athlone Press, 1975), p. 773
Examples of French Renaissance architecture; A) Salon, Petit Trianon, Versailles; B) Tomb of Cardinals d'Amboise, Rouen Cathedral; C) Tomb of Louis XII, St. Denis Cathedral
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SOURCE: J. C. Palmes (ed.). Sir Banister Fletcher's A History of architecture, 18th ed. (London: Athlone Press, 1975), p. 906
Dome of the Invalides, Paris (A-C); the Pantheon, Paris (D-E)
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SOURCE: J. C. Palmes (ed.). Sir Banister Fletcher's A History of architecture, 18th ed. (London: Athlone Press, 1975), p. 914 NOTES: The Hotel des Invalides was designed by Jules Hardouin Mansart (1683) and the Pantheon by Jacques-Germain Soufflot (1790).
Examples of Mughal architecture; The Taj-Mahal, Agra (A-B); Mosque, Fatehpur Sikri (C); Tomb of Salim Christi (D-F); The Jami-Masjid, Bijapur (G-H): plans, elevations and sections
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SOURCE: J. C. Palmes (ed.). Sir Banister Fletcher's A History of architecture, 18th ed. (London: Athlone Press, 1975), p. 449
Hagia Sophia, Istanbul: the tomb of Selim II
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NOTES: This image was probably taken between 1890-1910. The photographers Jean (Johannes) Sebah (son of Pascal Sebah who set up his studio from the 1860s) formed a partnership with Polycarpe Joaillier from 1890. Joaillier returned to Paris in the early 1900s, but Jean Sebah continued the work of the studio with others until 1943.
Eyup cemetery, Istanbul: unidentified tombs
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NOTES: This image was probably taken between 1890-1910. The photographers Jean (Johannes) Sebah (son of Pascal Sebah who set up his studio from the 1860s) formed a partnership with Polycarpe Joaillier from 1890. Joaillier returned to Paris in the early 1900s, but Jean Sebah continued the work of the studio with others until 1943.