Vitruvius says nothing ou the subject of sepulchres and tombs, either Grecian or Roman ; yet sepulchral edifices are still very nume rous throughout Latium and Magna Grmeia, and many of them must originally have been very conspicuous objects, and not a little remark able on account of the studied architectural decoration bestowed on them externally : for besides subterraneous sepulchral chambers or vaults (which were usually very carefully finished internally, and not unfrequently ornamented with painting and stucco-work, and with marble or mosaic pavements), there is another and quite distinct class, consisting of structures raised above ground, insulated, and apparently solid. These may be described as generally of nearly cubical form, though some are of much loftier proportions. There are, besides, varieties of this class, in which either a conical or cylindrical super structure is raised upon the square portion, which then becomes a basement; or else the superstructure is also square, but is distinguished from the lower part by pilasters, panels with inscriptions, and other architectural decorations : some of these have an upper sepulchral chamber, others a subterraneous one also, or one below the level of the ground.
What is called the "Sepolero di Nerone," near Ponte Molle, may be taken as a specimen of the usual character of Roman tombs partaking of the cubic form. Like the generality of them, this is somewhat more than a perfect cube, the dimensions being 20 feet by 24 in height, or, including its covering, 27 feet. At each angle is a large acroterium presenting two quadrant-shaped surfaces, meeting at right angles at the external edge of two adjoining sides—a species of orna ment almost peculiar to ancient altars and tombs. Of larger tombs of this class, there is one in the Via Portuensis, a double cube in height, the measurements being respectively 44 and 80 feet. In the example previously mentioned, the upper part is rather less in height than the basement, but hero it is about a third more, and is also decorated with four pilasters on each front, with a small pediment, not supporting, but placed between the large aeroteria at the angles. Of circular tombs we have a well-known example in that of Manutius Plancna at Gaeta, —a low circular tower (nearly solid within), about 60 feet in diameter, and 10 feet more in height ; therefore, owing to its size, it is rather a mausoleum than a mere tomb. The same may be said of that of Crecilia Mctella at Rome; which structure, otherwise called 11 Cape di Bove, from the ornaments in its Doric frieze, exceeds the one just mentioned in size, it being 90 feet in diameter, and its entire height about 130 feet. It does not, however, partake so much of the character of a mere tower as the tomb at Gaeta, because it consists of two nearly equal masses, namely, a square one with a cylindrical super structure, and is therefore an example of that compound form class which we have above pointed out. Among the tombs at Pompeii
there is one which is circular in the upper part of its exterior, and internally has a dome of very peculiar shape, which does not show itself on the outside, but is cut out of the solid mass. Other sepulchral structures at Pompeii are very numerous, forming what is called the "Street of Tombs." Instead of cemeteries, or public burying-grounds, it was the custom in ancient Italy to erect tombs on each side of the principal roads leading from a city, as was the case with the Via Appia and others in the immediate vicinity of Rome.
The tombs of the middle ages are within buildings, churches, chantries, cloisters, &c., and exhibit almost every variety of form and enrichment, from the primitive stone coffin or Christian 'sarcophagus, to those lavishly decorated catafalco monuments which are so many piles of architecture and sculpture. Those of the first-mentioned kind arc, for the most part, very little raised above the floor, and their upper surface is en dos d'dnc, or forms a ridge-shaped lid. The next class consists of Altar or Table Tombs, comparatively plain, although with panelling or other architectural decoration on their sides. The next in order is the LAN Tomb, first introduced in the 13th century, with a recumbent figure of the deceased upon it, extended, with the hands slightly raised, and joined as if in the attitude of prayer. Examples of this kind are very numerous, and highly interesting, both on account of their execution as works of sculpture and the information they afford in regard to the costume of the period.
Altar and effigy tombs were usually placed between the piers of an arch, or within a recess in a wall; and in either case the whole tomb was frequently covered by an arch forming a sort of canopy over it, of which kind is that of Aymer de Valence in Westminster Abbey (1334). In course of time this mode of architectural decoration came to be greatly extended. Instead of a single arch, three or more small arches were introduced, which, with the columns either supporting or placed between them, inclosed the figure on the tomb, giving the whole the appearance of a shrine or screen. Many of the French monuments of the period of the Renaissance are in this style of design, large and lofty insulated architectural masses, with a profusion of highly-enriched pilasters and arches, and numerous allegorical figures, beside other statutes and bas-reliefs, so that the deposit°, or actual tomb, is the least portion of the entire composition.