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Monteath Mausoleum in Jedburgh, Scotland A spectacular Victorian era mausoleum commissioned by General Sir Thomas Monteath Douglas stands on Gersit Law, overlooking the village of Ancrum below. Thomas Monteath was born in 1788, in Jamaica, to a Scottish father and an English mother. Thomas grew up to serve in the British Army, starting out as a cadet he quickly rose through the ranks becoming a major-general with the Bengal Infantry. He spent most of his career serving in northern India. He returned home in 1845, then in 1850 he inherited the Douglas family fortune. In 1851 he added Douglas to his name to honour the family from which he inherited his fortune, becoming Thomas Monteath Douglas. In 1865, he was awarded a knighthood by Queen Victoria for his long service to the Empire, becoming Sir Thomas Monteath Douglas. It is not 100% certain why he chose this location for his mausoleum, one thought is that as the land belonged to his son-in-law Sir William Monteath Scott, Laird of Ancrum, that it was easy to gain permission to construct it here. Another suggestion is that as a soldier Sir Thomas had an affinity to the land, as the hill overlooks the site of the Battle of Ancrum Moor. This was a significant battle during the 1545 Rough Wooing, where the Scottish army routed the English army of Henry VIII. The views of the surrounding area alone make the location a beautiful spot for eternal rest! The mausoleum was constructed in 1864, four years before Sir Thomas passed. Sir Thomas commissioned the Edinburgh architects Peddie & Kinnear to create his mausoleum, their mark (an entwined P and K) can be found towards the base of the tower. However, Sir Thomas was very involved in the design of his mausoleum. The mausoleum is constructed from ashlar sandstone which Sir Thomas had imported to the site, despite the mausoleum been constructed close to a local quarry simply because he did not like the colour of the local stone. The mausoleum is guarded by two large stone lions lying either side of the entrance, one lion is awake while the other lion mysteriously appears to be asleep. Inside the crypt two huge carved angels stand guard over the sarcophagus, although they initially appear to be a matching pair, on closer examination differences in their facial features can be observed. It is believed that the statues were modelled on Sir Thomas's two daughters, Amelia and Agatha. Sir Thomas specifically chose the stone for the angel sculptures, with the wings been a different material to the bodies, if you flash a light on the wings, you will notice they sparkle while the bodies do not. The stone box between the angels was designed to hold Sir Thomas's coffin, however, it has been discovered to be empty. Why Sir Thomas's is not in his mausoleum and the whereabouts of his remains are now a mystery! If you are lucky enough to visit on a sunny day, soft green light filters down from the domed roof through 48 star shaped skylights. As the day progresses, the star shaped puddles of light pass across the walls of the mausoleum, like the stars traverse the night sky. Standing with your back to the entrance, you will notice what appears to be a bricked up doorway part way up the wall on your left side. This is the builder's door, during construction a temporary floor would have been put in part way up the tower to allow the builders to bring construction materials in to the building at a more convenient height, once construction was complete the floor was removed and the doorway blocked up. The mausoleum was intended to be sealed forever at Sir Thomas's request. However, at some point in history people broke in, it is suggested they were under the impression that Sir Thomas had been buried with his fortune. What makes Sir Thomas's mausoleum unusual is that these structures are usually designed to hold many generations of a family, however Dir Thomas had his designed so he would be the only occupant. The mausoleum fell into disrepair until 2014 when a group of locals came across it and became the long process of restoration. The renovation was completed in 2018 and the mausoleum was opened to the public in 2019.

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Cemitério dos Prazeres (Prazeres Cemetery) in Lisbon, Portugal Founded in 1833 to address the high mortality of a cholera epidemic, the Prazeres Cemetery is located on the western side of the city and was built around a hermitage dedicated to Our Lady of Prazeres. It has a beautiful view over Alcântara Vale, the 25th of April Bridge, and the Tagus river. In 1838 the Municipality of Lisbon requested the regulations and map of the Père Lachaise Cemetery from the city of Paris and, the following year, started to sell plots of land for the building of family mausoleums in Prazeres. The influence of the Père Lachaise style is evident in the cemetery's design. Most of Lisbon's aristocratic families of the 19th century bought plots in the cemetery, choosing the best artists and architects of the time to create their family mausoleums, resulting in beautiful works, rich with symbolism and art. Many important personalities are buried here, such as the poet Fernando Pessoa, the fado singer Amália Rodrigues, the writer Aquilino Ribeiro, the painter Maluda, the Italian writer Antonio Tabucchi, the artist Rafael Bordalo Pinheiro, the painter Columbano Bordalo Pinheiro, and Portugal's former President Mário Soares. Through the glass doors of the mausoleums one can see the funeral decorations, flowers, stained glass windows, altars with photographs of the deceased and images of saints and, also on display, coffins. Made of expensive woods, carved, painted or decorated, with metal handles with funerary symbols, some mausoleums are like time capsules from the past. In this cemetery one can find the Palmela Mausoleum, considered the largest private mausoleum in Europe, with capacity for 200 remains, designed by the Italian architect Giuseppe Cinatti for Pedro de Sousa Holstein, the 1st Duque of Palmela. Built in 1848 and comprised of a pyramid on top of a cubic underground crypt, this mausoleum rises in a separated plot, with a path flanked by cypress trees and the graves of the Palmela family servants. Inside, sculpted works by Italian neo-classical artist Antonio Canova, French artist Anatole Calmels and the Portuguese artists António Teixeira Lopes and Vitor Bastos, make this mausoleum a must see work in European funerary art.

Cemitério dos Prazeres (Prazeres Cemetery) in Lisbon, Portugal Founded in 1833 to address the high mortality of a cholera epidemic, the Prazeres Cemetery is located on the western side of the city and was built around a hermitage dedicated to Our Lady of Prazeres. It has a beautiful view over Alcântara Vale, the 25th of April Bridge, and the Tagus river. In 1838 the Municipality of Lisbon requested the regulations and map of the Père Lachaise Cemetery from the city of Paris and, the following year, started to sell plots of land for the building of family mausoleums in Prazeres. The influence of the Père Lachaise style is evident in the cemetery's design. Most of Lisbon's aristocratic families of the 19th century bought plots in the cemetery, choosing the best artists and architects of the time to create their family mausoleums, resulting in beautiful works, rich with symbolism and art. Many important personalities are buried here, such as the poet Fernando Pessoa, the fado singer Amália Rodrigues, the writer Aquilino Ribeiro, the painter Maluda, the Italian writer Antonio Tabucchi, the artist Rafael Bordalo Pinheiro, the painter Columbano Bordalo Pinheiro, and Portugal's former President Mário Soares. Through the glass doors of the mausoleums one can see the funeral decorations, flowers, stained glass windows, altars with photographs of the deceased and images of saints and, also on display, coffins. Made of expensive woods, carved, painted or decorated, with metal handles with funerary symbols, some mausoleums are like time capsules from the past. In this cemetery one can find the Palmela Mausoleum, considered the largest private mausoleum in Europe, with capacity for 200 remains, designed by the Italian architect Giuseppe Cinatti for Pedro de Sousa Holstein, the 1st Duque of Palmela. Built in 1848 and comprised of a pyramid on top of a cubic underground crypt, this mausoleum rises in a separated plot, with a path flanked by cypress trees and the graves of the Palmela family servants. Inside, sculpted works by Italian neo-classical artist Antonio Canova, French artist Anatole Calmels and the Portuguese artists António Teixeira Lopes and Vitor Bastos, make this mausoleum a must see work in European funerary art.

Goblet d’Alviella Mausoleum in Court-Saint-Étienne,, Belgium Court-Saint-Étienne is a municipality located 40 minutes by car south-east of Brussels. Upon entering the local cemetery, one monument clearly stands out among the other graves: a grey limestone mausoleum resembling an oriental temple. This mausoleum belongs to the Goblet d'Alviella family. Originally from Court-Saint-Étienne, this family is well known in Belgium: several members have distinguished themselves mainly in politics since the 19th century. When the municipality decided to create the current cemetery in 1885, Count Eugène Goblet d'Alviella seized the opportunity to create a mausoleum that paid tribute to his family. Being a Freemason, he asked the architect Adolphe Samyn (also a Freemason) to design the monument. The work of this Brussels architect, as short as it was prolific, is characterised by a wide variety of styles: Egyptian, Neo-Romanesque, Baroque. This mausoleum was built between 1886 and 1888 or 1889. Eugène Goblet d'Alviella, who was a professor of religious history at the Free University of Brussels (ULB), asked the architect to incorporate the phrase ‘the one being with more than one name’ in gold letters on each side and in four different languages. This phrase appears in a virtually identical form in a text by Aristotle (in Greek), in the Vedas (in Sanskrit) and in a hymn in honor of Ammon (in Egyptian). On the outer faces of the monument's columns, we can see symbols representing or designating the main deity in a dozen religions. On the inner sides of the columns, there are symbolic representations of life, death and the afterlife, again from a dozen different religions. Through this iconographic choice, Eugène Goblet d'Alviella wanted to highlight the elements common to all religions. This is a symbolic representation of a fundamental characteristic of Freemasonry: the desire to create a space where all people are equal and can engage in dialogue. The borrowing of architectural details from many cultures and eras can also be seen as reinforcing this desire for universal equality. There are few historical monuments relating to Freemasonry in Belgium. With its unique eclectic architectural style, the Goblet d'Alviella Mausoleum is unrivaled.

Goblet d’Alviella Mausoleum in Court-Saint-Étienne,, Belgium Court-Saint-Étienne is a municipality located 40 minutes by car south-east of Brussels. Upon entering the local cemetery, one monument clearly stands out among the other graves: a grey limestone mausoleum resembling an oriental temple. This mausoleum belongs to the Goblet d'Alviella family. Originally from Court-Saint-Étienne, this family is well known in Belgium: several members have distinguished themselves mainly in politics since the 19th century. When the municipality decided to create the current cemetery in 1885, Count Eugène Goblet d'Alviella seized the opportunity to create a mausoleum that paid tribute to his family. Being a Freemason, he asked the architect Adolphe Samyn (also a Freemason) to design the monument. The work of this Brussels architect, as short as it was prolific, is characterised by a wide variety of styles: Egyptian, Neo-Romanesque, Baroque. This mausoleum was built between 1886 and 1888 or 1889. Eugène Goblet d'Alviella, who was a professor of religious history at the Free University of Brussels (ULB), asked the architect to incorporate the phrase ‘the one being with more than one name’ in gold letters on each side and in four different languages. This phrase appears in a virtually identical form in a text by Aristotle (in Greek), in the Vedas (in Sanskrit) and in a hymn in honor of Ammon (in Egyptian). On the outer faces of the monument's columns, we can see symbols representing or designating the main deity in a dozen religions. On the inner sides of the columns, there are symbolic representations of life, death and the afterlife, again from a dozen different religions. Through this iconographic choice, Eugène Goblet d'Alviella wanted to highlight the elements common to all religions. This is a symbolic representation of a fundamental characteristic of Freemasonry: the desire to create a space where all people are equal and can engage in dialogue. The borrowing of architectural details from many cultures and eras can also be seen as reinforcing this desire for universal equality. There are few historical monuments relating to Freemasonry in Belgium. With its unique eclectic architectural style, the Goblet d'Alviella Mausoleum is unrivaled.

Goblet d’Alviella Mausoleum in Court-Saint-Étienne,, Belgium Court-Saint-Étienne is a municipality located 40 minutes by car south-east of Brussels. Upon entering the local cemetery, one monument clearly stands out among the other graves: a grey limestone mausoleum resembling an oriental temple. This mausoleum belongs to the Goblet d'Alviella family. Originally from Court-Saint-Étienne, this family is well known in Belgium: several members have distinguished themselves mainly in politics since the 19th century. When the municipality decided to create the current cemetery in 1885, Count Eugène Goblet d'Alviella seized the opportunity to create a mausoleum that paid tribute to his family. Being a Freemason, he asked the architect Adolphe Samyn (also a Freemason) to design the monument. The work of this Brussels architect, as short as it was prolific, is characterised by a wide variety of styles: Egyptian, Neo-Romanesque, Baroque. This mausoleum was built between 1886 and 1888 or 1889. Eugène Goblet d'Alviella, who was a professor of religious history at the Free University of Brussels (ULB), asked the architect to incorporate the phrase ‘the one being with more than one name’ in gold letters on each side and in four different languages. This phrase appears in a virtually identical form in a text by Aristotle (in Greek), in the Vedas (in Sanskrit) and in a hymn in honor of Ammon (in Egyptian). On the outer faces of the monument's columns, we can see symbols representing or designating the main deity in a dozen religions. On the inner sides of the columns, there are symbolic representations of life, death and the afterlife, again from a dozen different religions. Through this iconographic choice, Eugène Goblet d'Alviella wanted to highlight the elements common to all religions. This is a symbolic representation of a fundamental characteristic of Freemasonry: the desire to create a space where all people are equal and can engage in dialogue. The borrowing of architectural details from many cultures and eras can also be seen as reinforcing this desire for universal equality. There are few historical monuments relating to Freemasonry in Belgium. With its unique eclectic architectural style, the Goblet d'Alviella Mausoleum is unrivaled.

Goblet d’Alviella Mausoleum in Court-Saint-Étienne,, Belgium Court-Saint-Étienne is a municipality located 40 minutes by car south-east of Brussels. Upon entering the local cemetery, one monument clearly stands out among the other graves: a grey limestone mausoleum resembling an oriental temple. This mausoleum belongs to the Goblet d'Alviella family. Originally from Court-Saint-Étienne, this family is well known in Belgium: several members have distinguished themselves mainly in politics since the 19th century. When the municipality decided to create the current cemetery in 1885, Count Eugène Goblet d'Alviella seized the opportunity to create a mausoleum that paid tribute to his family. Being a Freemason, he asked the architect Adolphe Samyn (also a Freemason) to design the monument. The work of this Brussels architect, as short as it was prolific, is characterised by a wide variety of styles: Egyptian, Neo-Romanesque, Baroque. This mausoleum was built between 1886 and 1888 or 1889. Eugène Goblet d'Alviella, who was a professor of religious history at the Free University of Brussels (ULB), asked the architect to incorporate the phrase ‘the one being with more than one name’ in gold letters on each side and in four different languages. This phrase appears in a virtually identical form in a text by Aristotle (in Greek), in the Vedas (in Sanskrit) and in a hymn in honor of Ammon (in Egyptian). On the outer faces of the monument's columns, we can see symbols representing or designating the main deity in a dozen religions. On the inner sides of the columns, there are symbolic representations of life, death and the afterlife, again from a dozen different religions. Through this iconographic choice, Eugène Goblet d'Alviella wanted to highlight the elements common to all religions. This is a symbolic representation of a fundamental characteristic of Freemasonry: the desire to create a space where all people are equal and can engage in dialogue. The borrowing of architectural details from many cultures and eras can also be seen as reinforcing this desire for universal equality. There are few historical monuments relating to Freemasonry in Belgium. With its unique eclectic architectural style, the Goblet d'Alviella Mausoleum is unrivaled.

Anitkabir (Mausoleum of Kemal Atatürk) in Turkey Located in the heart of Ankara, Anitkabir, is the mausoleum dedicated to Turkey's founder Mustafa Kemal Atatürk. Anitkabir stands as a symbol of Turkish independence and an example of the architectural style of the Second National Architecture Movement, with influences also from Seljuk and Ottoman design. The construction of Anitkabir began in 1944 and was completed in 1953, following an international design competition. The winning design, by Turkish architects Emin Onat and Ahmet Orhan Arda, combines neoclassical elements with traditional Turkish aesthetics, emphasizing simplicity, grandeur, and respect for the natural landscape. Turkey's first female civil engineer, Sabiha Rifat Gürayman served as chief engineer in the construction project. The Anitkabir complex is comprised of several significant structures and areas. These include the Hall of Honor, the Road of Lions, the Ceremonial Plaza, and the Independence and Freedom Towers. There is also a museum narrating the life of Kemal Atatürk and displaying his personal belongings and mementos. Special ceremonies are held in Anitkabir on national holidays, such as Republic Day (October 29) and Atatürk Memorial Day (November 10).

Turabek-Khanum Mausoleum in Köneürgench, Turkmenistan Turabek-Khanum Mausoleum is a mausoleum in the ancient city and now archaeological site of Konye-Urgench. Known for its beautiful mosaics and arches, the mausoleum gets its name from Turabek-Khanum, the daughter of a Khan who brought Islam to the area. However nobody knows for sure who is buried here. Many assume that it is the tomb of some Sufi kings as well as Turabek-Khanum herself. The mausoleum is known for its symbolism of time. Four large windows symbolize weeks of the month. The mosaic has 365 sections, one for each day of the year. There are 24 pointed arches and 12 larger arches below. Legends say that this building was constructed to win the heart of Mongolian princess Turabek-Khanum by someone named Gulgardan. Gulgardan proceeded to construct this building. However, the story goes that Turabek-Khanum did not fulfill her promise and married the governor of Khoresm Kutlug Timur. Gulgardan, devastated, threw himself off the top of his own building. Inside, one can find an open and light hexagon-shaped hall with the about one hundred square meters in area. At the top of the building is a large dome which is tied on the top, as was tradition. The inside of the dome contains a mosaic featuring stars and flowers. Kunya-Urgench, or "Old Urgench", is a municipality in Turkmenistan that holds the archeologial ruins of Ürgenç (Urgench). Urgench was the capital of the Khorezm region of the First Persian Empire, also known as the Achaemenid Empire. Monuments ranging from from the 11th to 16th centuries can be found in the ancient city, such as a mosque, the gates of a caravanserai (roadside inn associated with the Silk Road), fortresses, mausoleums and a minaret. The minaret, known as the Kutlug-Timur Minaret, is one of the most popular attractions in Kunya-Urgench, as it is very visually striking. It stands at 60 meters tall, 12 meters wide at the base, and 6 meters wide at the top. The ancient city was deserted in the 17the century after its citizens left to develop a new settlement, and has remained largely undisturbed since then. The ancient city became an UNESCO World Heritage Sites in 2005.

Turabek-Khanum Mausoleum in Köneürgench, Turkmenistan Turabek-Khanum Mausoleum is a mausoleum in the ancient city and now archaeological site of Konye-Urgench. Known for its beautiful mosaics and arches, the mausoleum gets its name from Turabek-Khanum, the daughter of a Khan who brought Islam to the area. However nobody knows for sure who is buried here. Many assume that it is the tomb of some Sufi kings as well as Turabek-Khanum herself. The mausoleum is known for its symbolism of time. Four large windows symbolize weeks of the month. The mosaic has 365 sections, one for each day of the year. There are 24 pointed arches and 12 larger arches below. Legends say that this building was constructed to win the heart of Mongolian princess Turabek-Khanum by someone named Gulgardan. Gulgardan proceeded to construct this building. However, the story goes that Turabek-Khanum did not fulfill her promise and married the governor of Khoresm Kutlug Timur. Gulgardan, devastated, threw himself off the top of his own building. Inside, one can find an open and light hexagon-shaped hall with the about one hundred square meters in area. At the top of the building is a large dome which is tied on the top, as was tradition. The inside of the dome contains a mosaic featuring stars and flowers. Kunya-Urgench, or "Old Urgench", is a municipality in Turkmenistan that holds the archeologial ruins of Ürgenç (Urgench). Urgench was the capital of the Khorezm region of the First Persian Empire, also known as the Achaemenid Empire. Monuments ranging from from the 11th to 16th centuries can be found in the ancient city, such as a mosque, the gates of a caravanserai (roadside inn associated with the Silk Road), fortresses, mausoleums and a minaret. The minaret, known as the Kutlug-Timur Minaret, is one of the most popular attractions in Kunya-Urgench, as it is very visually striking. It stands at 60 meters tall, 12 meters wide at the base, and 6 meters wide at the top. The ancient city was deserted in the 17the century after its citizens left to develop a new settlement, and has remained largely undisturbed since then. The ancient city became an UNESCO World Heritage Sites in 2005.

Turabek-Khanum Mausoleum in Köneürgench, Turkmenistan Turabek-Khanum Mausoleum is a mausoleum in the ancient city and now archaeological site of Konye-Urgench. Known for its beautiful mosaics and arches, the mausoleum gets its name from Turabek-Khanum, the daughter of a Khan who brought Islam to the area. However nobody knows for sure who is buried here. Many assume that it is the tomb of some Sufi kings as well as Turabek-Khanum herself. The mausoleum is known for its symbolism of time. Four large windows symbolize weeks of the month. The mosaic has 365 sections, one for each day of the year. There are 24 pointed arches and 12 larger arches below. Legends say that this building was constructed to win the heart of Mongolian princess Turabek-Khanum by someone named Gulgardan. Gulgardan proceeded to construct this building. However, the story goes that Turabek-Khanum did not fulfill her promise and married the governor of Khoresm Kutlug Timur. Gulgardan, devastated, threw himself off the top of his own building. Inside, one can find an open and light hexagon-shaped hall with the about one hundred square meters in area. At the top of the building is a large dome which is tied on the top, as was tradition. The inside of the dome contains a mosaic featuring stars and flowers. Kunya-Urgench, or "Old Urgench", is a municipality in Turkmenistan that holds the archeologial ruins of Ürgenç (Urgench). Urgench was the capital of the Khorezm region of the First Persian Empire, also known as the Achaemenid Empire. Monuments ranging from from the 11th to 16th centuries can be found in the ancient city, such as a mosque, the gates of a caravanserai (roadside inn associated with the Silk Road), fortresses, mausoleums and a minaret. The minaret, known as the Kutlug-Timur Minaret, is one of the most popular attractions in Kunya-Urgench, as it is very visually striking. It stands at 60 meters tall, 12 meters wide at the base, and 6 meters wide at the top. The ancient city was deserted in the 17the century after its citizens left to develop a new settlement, and has remained largely undisturbed since then. The ancient city became an UNESCO World Heritage Sites in 2005.

Wilhelm’s Portland Memorial Funeral Home in Portland, Oregon In 1901, the original Portland Crematorium was established as the first of its kind west of the Mississippi. The established gradually expanded in its services and physical footprint in the following decades, and today is a 8-story tall complex of maze-like hallways, elaborate memorials and crypts, and beautiful stained glass and statues. The mausoleum is 3 stories above ground, and 5 stories down the side of the bluff overlooking the Willamette River and Oaks Bottom. The exterior of the building is home to the aptly named Portland Memorial Mausoleum Mural, one of the largest murals in the United States, covering over 50,000 square feet. Completed in 2009, it is hand-painted and depicts the Oaks Bottom Wetlands Wildlife Area. On the inside, the hallways seem to go on forever—there is in fact more than 5 miles (8 km) of hallways on all levels. It might be the closest thing Portland has to Seattle’s Pike Place Market, layout wise. Many wealthy early Portlanders are buried here, some with their own rooms or halls, and various other wings are named after religious figures and notable people. Highly ornate stained glass crafted by Povey Brothers and ironwork are found throughout. The site features large underground chapels with marbel statues from Italy and a sarcophagus. There is also a room dedicated to children burials, with a teddy bear in front of each crypt and an elevated fountain in the center. The mausoleum also features the lavish Rae room, the historic private tomb of George Rae, one of the wealthiest men in Portland history. The tomb is the only one that has a dedicated entrance at ground level, and is only to be opened one day per year on Memorial Day, even for staff members.

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