series of archaeological studies, beginning with Taqaishvili in 1920, has failed to locate it at the monastery. Legacy and popular culture Medieval Over the centuries, Queen Tamar has emerged as a dominant figure in the Georgian historical pantheon. The construction of her reign as a "Golden age" began in the reign itself and Tamar became the focus of the era. Several medieval Georgian poets, including Shota Rustaveli, claimed Tamar as the inspiration for their works. A legend has it that Rustaveli was even consumed with love for the queen and ended his days in a monastery. A dramatic scene from Rustaveli's poem where the seasoned King Rostevan crowns his daughter Tinatin is an allegory to George III's co-option of Tamar. Rustaveli comments on this: "A lion cub is just as good, be it female or male". The queen became a subject of several contemporary panegyrics, such as Chakhrukhadze's Tamariani and Ioane Shavteli's Abdul-Mesia. She was eulogized in the chronicles, most notably in the two accounts centered on her reign – The Life of Tamar, Queen of Queens and The Histories and Eulogies of the Sovereigns – which became the primary sources of Tamar's sanctification in Georgian literature. The chroniclers exalt her as a "protector of the widowed" and "the thrice blessed", and place a particular emphasis on Tamar's virtues as a woman: beauty, humility, love of mercy, fidelity, and purity. Although Tamar was canonized by the Georgian church much later, she was even named as a saint in her lifetime in a bilingual Greco-Georgian colophon attached to the manuscript of the Vani Gospels. The idealization of Tamar was further accentuated by the events that took place under her immediate successors; within two decades of Tamar's death, the Khwarezmian and Mongol invasions brought Georgian ascendancy to an abrupt end. Later periods of national revival were too ephemeral to match the achievements of Tamar's reign. All of these contributed to the cult of Tamar which blurred the distinction between the idealized queen and the real personality. In popular memory, Tamar's image has acquired a legendary and romantic façade. A diverse set of folk songs, poems and tales illustrate her as an ideal ruler, a holy woman onto whom certain attributes of pagan deities and Christian saints were sometimes projected. For example, in an old Ossetian legend, Queen Tamar conceives her son of a sunbeam which shines through the window. Another myth, from