As well as being part of triumphal entries, there is also the dimension of the relationship between marble monuments (tombs, arches) and their temporary equivalent, especially for funeral ceremonies.
Popelka 1994 concentrates on the 16th-19th century, although the last illus (Abb.154) is a catafalque surmounted by a Greekish stele in the Aracoeli in 1996; includes pp.106-130 a parial list of erections, with inscriptions where known, and pointers to publications and illustrations; But why doesn't she include the church-names in the illus captions? NB the castelli can be simply memorial - there doesn't have to be a body: indeed, the good and the great often got several such structures in various influenced cities (e.g. Kings of Spain); The author gives good summaries of the various types of structural elements such as urns (p.38), towers (pp.39f), tempietti (pp.41f), triumphal arches (p.43), with remarks (pp.43ff.) on the relationship of this genre to that of the triumphal entry; she has a complete chapter (pp.74-91) on itsw relationship with the antique, dealing with effigies, weepers, imagines, apotheosis, the rogus or pyra (with plenty of repros of Renaissance understanding of Roman pyres, taken from coins and medals), and dilates on the triumphal aspects of the whole setup, with triumphal wagon, and arches; a short section on relationship with the funerary structures of the ancients naturally mentions the Mausoleum, Gronovius and Fischer von Erlach, as well as the structures of Rome such as the great Mausolea and the Pyramid of Cestius.
Many of the funerary structures above have typological connections with the Capriccio as a form, whether drawn, painted or engraved. Ditto the ideal representation of Rome and her monuments, especially from the 18th century onwards. cf. the treatment in Mai 1997, and cf. Kiene in ibid. 83-93;
links not just to the triumphal imagery of the tombs, but also to the festivities in the Piazza;
Landwehr 1971 for a bibliography of ceremonies, and Spagnolo-Stiff 1996 for its French floraison;;
Pochat 1990 pp.241ff for the reconstruction of the Viitruvian stage by Serlio, Alberti, Palladio, Peruzzi et al., Has a chapter, pp.278-320 onie Raeumliche perspektivbuehne von Bramante bis Serlio, and then an interesting section , pp.321ff., on their appearance in intarsia-work;