"Entombment" Quotes from Famous Books
 ... all right," murmured the Cap'n, gazing gloomily on the scene of the involuntary entombment of the three-times-dead Crymble. "I couldn't prove that he was ever dead in his life, but there's one thing I've seen with my own eyes. He acted as his own sexton, and that's almost as unbelievable as a man's ...
— The Skipper and the Skipped - Being the Shore Log of Cap'n Aaron Sproul • Holman Day
... funereal. This is the most striking single phenomenon connected with them. They invariably began in darkness with groans and tears, but as invariably ended in festive triumph with shouts and smiles. In them all were a symbolic death, a mournful entombment, and a glad resurrection. We know this from the abundant direct testimony of unimpeachable ancient writers, and also from their indirect descriptions of the ceremonies and allusions to them. For example, Apuleius ...
— The Destiny of the Soul - A Critical History of the Doctrine of a Future Life • William Rounseville Alger
... entombment of the royal servants is of the highest anthropological interest, for it throws a vivid light upon the manners of the time. It shows the primeval Egyptians as a semi-barbaric people of childishly simple ways of thought. The king was dead. For all his kingship he was a man, and no ...
— History Of Egypt, Chaldaea, Syria, Babylonia, And Assyria In The Light Of Recent Discovery • L.W. King and H.R. Hall
... Michael Angelo's Creation of Man, or it means the pictorial enhancing of the telling incidents of a dramatic situation such as we find it in Rembrandt's treatment of the Crucifixion, Deposition, or Entombment. Now it seems to me the paucity of successes on these lines in one who nevertheless occasionally entirely succeeds, is what is most striking in Duerer. Perhaps when dealing with the graphic arts one should rather speak of great character than great ...
— Albert Durer • T. Sturge Moore
... by contempt for history and chronology became epical and fantastical. It is only necessary to examine any one of the works of the great Venetians to see that they bestowed hardly a thought on the subject of their pictures. When Titian painted the "Entombment of Christ", what did he see? A contrast—a white body, livid and dead, carried by full-blooded, red-haired Italians, who wept, and whose sorrow only served to make them more beautiful. That is how he understood a subject. The desire to be truthful was not very great, nor was the desire ...
— Modern Painting • George Moore |
