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The grandeur of the Mausoleum resonated through the ages, as shown by this 1669 fresco by Nikolaus Schiel in the Monastery of Novacella, South Tyrol, Germany.

This sculpture recovered from the Mausoleum has traditionally been identified as Mausolus.

The Mausoleum of Halicarnassus rises high above the harbor of the fourth-century B.C. Carian capital. Richly decorated, the wondrous tomb stood tall for more than 16 centuries.

Hall's coffin is wrapped in a U.S. flag in this 1880 engraving of his funeral procession through the ice.

Jane Austen's handwritten letter from 1807 is showcased in the J. Pierpont Morgan Library.

This engraving is an idealized version of the only surviving portrait of Jane Austen.

In this late 19th-century illustration by Gustave Doré, Lucifer, trapped in ice, devours the traitors Judas, Brutus, and Cassius.

Dante uses the damned as a means to voice his opinions on the politics and society of his time. The encounters inspire a range of emotions in the poet: affection, pity, and even humor. The works of 19th-century artist Gustave Doré make these encounters all the more vivid. In this illustration, one of the damned, Pope Nicholas III, mistakes Dante's voice for that of the then-living Pope Boniface VIII. Nicholas thus prophesies he will join him in Hell after his death.

Paolo Malatesta and Francesca da Rimini embrace as the infernal wind tosses them about in a 19th-century engraving by Gustave Doré.

Two centaur guards greet Dante and Virgil in the seventh circle, where the violent are condemned to immersion in boiling blood for eternity, in a late 15th-century codex.