TOLUYL-AMMONIA. [Tottfiti Guoue.] TOMB (in Greek, 70.13os; Latin, Tumba ; Italian, Tomba ; French, Tombe and Tombeau) signifies, in its strict meaning, a mass of masonry or stone-work raised immediately over a grave or vault used for inter ment; but it is often applied, in a wider sense, to any sepulchral structure. Of primitive sepulchres there are two classes, one of which may be distinguished by the general term Hypogamn, that is, subter raucous and excavated ; the other, by that of Ilypergamn, that is, aboveground, or raised mounds or tumuli heaped over the dead. Monuments of the first kind are very numerous in Egypt, where they occur in every variety, from the simple rock-hewn tomb to the extensive royal sepulchres consisting of numerous galleries and chambers. The other class presents itself in the Pyramids which, though far more arti ficial in form and construction, had uo Cloubt a common origin with the tumulus [Tuurftes], which occurs under various designations in every part of the globe.
The extraordinary labour bestowed in excavating or constructing these ancient sepulchres is perhaps not so surprising as the lavishness with which the ancients embellished the subterraneoue abodes of the dead, not only adorning them with polychromy and paintings, but depositing in them costly and exquisitely-wrought articles. In this respect there was a striking similarity between the practice of the Egyptians and that of the Etrurians • nor is the coincidence less remarkable from such practice being contrary to that of the compara tively modern Greeks and Romans, whose tombs and sepulchres were chiefly architectural erections intended for external display. Of Egyptian architecture and art, sonic of the most astonishing memorials are entombed within the earth. Among these arc what are called the "Tombs of the Egyptian Kings," at Biban el Molouk, in one of which Belzoni discovered the sarcophagus, or tomb, properly so termed, which is now in the Soane Museum. [EuvertaN ARCHITECTURE.]
In these tombs the entrance passages arc narrow, and the first cham bers are smaller than those to which they lead. The numerous paintings found in these tombs describe with minuteness the social life and manners of the people, their banquets, their festivals, their amuse ments, their costume, their furniture, their arts, and tiro various utensils and implements employed in them. Those records prove not only the perfection the mechanic arts had attained, but also the luxurious refinement of those remote ages. The same remark applies to the paintings and frescoes in the subterraneous tombs and sepulchral chambers discovered since 1327 at Corueto, oil the site of the ancient Tarquinii, at Vulci, Toscanella, Bonnarzo, Cerc, Val d'Asso, Orchia, and other places in the ancient Etruria. A brief description of these will be found under ETRUSCAN ARCHITECTURE.
Many of the tombs found in Lycia and other parts of Asia Minor have columns and entablatures to their facades !wrought out of the solid rock. Some of the Lydell tombs, however, arc upright insulated structures, either plain or decorated with pilasters and other ornaments, with roofs whose section is a pointed arch, after the fashion of sonic of the Indian monuments, owing to which they present a striking combi nation of Oriental and Grecian forms. Of sepulchral with temple shaped façades there are two examples at Orchia, one of them a tetrastyle, the other a distyle in antis. Both partake of the Grecian Doric character, yet deviate from it greatly in two particulars : lint, in the great height of the pediment ; secondly, in the great width of the intercolumns. What now remains of the columns themselves is only sufficient to show their number and situation ' • yet that they were hewn out of the rock, like the entablature and pediment, scarcely admits of question. Of the magnificent sepulchre of Mansolue erected by Greek architects at Halicariaasaus, an account is given under MAUSOLEUM.