Biblical Archaeology Review

Philostratus, Life of Apollonius of Tyana, lii 48. For this reason, the griffin is often represented together with real animals in classical art. See Jocelyn M.C. Toynbee, Animals in Roman Life and Art (London: Thames and Hudson, 1973), pp. 28–29.

This sepulchral chamber finds certain parallels, in terms of its decorative features, among Hellenistic and Etruscan tombs. See Paul G.P. Meyboom, The Nile Mosaic of Palestrina: Early Evidence of Egyptian Religion in Italy (Leiden: E.J. Brill, 1995), p. 374, n. 25.

In 1993 the Israel Antiquities Authority restored the interiors of Tombs I and II, as part of a project to turn the area around Tell Sandahannah into a national park. The paintings have been recreated on a layer of concrete reinforced with fibreglass, applied as a cladding to the walls. Artist Haim Kapchik used the colored lithographs in Painted Tombs for his renditions. See Amos Kloner, Yadin Roman and Ya’acov Shkolnik, “Tomb with a View,” Eretz, volume 8, no. 3, 1993.

Peters and Thiersch, Painted Tombs, pp. 37–40 and Fig. 7 (inscr. 1).

Marjorie Susan Venit, Monumental Tombs of Ancient Alexandria: The Theater of the Dead (Cambridge: Cambridge Univ. Press, 2002), pp. 22–67.

John P. Peters and Hermann Thiersch, Painted Tombs in the Necropolis of Marissa (Mareshah) (London: Palestine Exploration Fund, 1905), p. 3.

Bliss and Macalister Excavations in Palestine, pp. 52–70, 107, 124–134, 154–187, 200, 209, 238–254; M. Avi-Yonah and Amos Kloner, “Mareshah (Marisa),” The New Encyclopedia of Archaeological Excavations in the Holy Land (1993).

Frederick J. Bliss and R.A. Stewart Macalister, Excavations in Palestine during the Years 1898–1900 (London: 1902).