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PARK AND CEMETERY. 
The Monumental Cemetery of Milan. 
It is only something over eighty years ago that 
a writer drew attention to the dilapidated condition 
of the cemeteries of Milan. Words could hardly 
describe the wretched and lugubrious pass to which 
cemetery matters had come, if the language of this 
writer is to be relied on. Utter carelessness and 
disregard of the commonest decencies attending the 
care and disposition of the dead seemed to rule so- 
ciety. 
Then a reaction set in and from the one extreme 
of poverty, popular sentiment clamored for the other 
of ostentatious monumental display, regardless of all 
proper associations connected with the cemetery and 
its object. For a number of years the discussion of 
the cemetery project was carried on, but the first real 
work in the matter dates from 1837, from that 
year until 1863 the time was occupied in discussion 
and debate between opposing factions. During the 
period many designs were submitted and examined, 
sites selected, questions of public health considered 
and the whole question overhauled throughout. 
Finally, on November 2, 1866, the religious de- 
dication took place and the Monumental Cemetery 
waited its future. 
The illustration of the entrance to this cemetery, 
shows a modified Byzantine in style and it is con- 
structed of native stone of various colors, the whole 
structure costing some $6oo,ooo. In the centre is 
the ’’Famedio, ” it might be called Pantheon, in which 
grand mass is held once a year for the souls of the 
departed. The area of the buildings about the en- 
trance amounts* to 5000 square metres. In plan the 
entrance extends across the entire width of the 
grounds, and on one side returns tor a considerable 
distance. The several buildings included are con- 
nected by colonades, and the monumental idea is 
carried out in all particulars to a degree which must 
be seen to be appreciated. 
About the central building are grouped the of- 
fices and other accommodations. 
In front of each corner of the entrance, in recesses 
formed by the plan, so as to be distinctly separated 
from the cemetery interior, is the area devoted to 
Non-Catholics on the left and to the Jews on the 
right, with their appropriate buildings. 
In various niches in the interior and about the 
colonnades connected with these buildings are plac- 
ed many fine examples of mortuary statuary and 
monumental work. Here i.-; also to be found the 
Columbarium, proper, besides systematically arrang- 
ed depositories for the ashes of the departed. 
The cemetery, comprising some 50 acres, is ar- 
ranged on a plan not by any means conducive to 
harmonious effect. For instance, certain contiguous 
sections are devoted to perpetual burial, and are 
consequently crowded with statuary and memorials, 
as will be seen by the illustration. All idea of the 
sanctity of the cemetery is destroyed by this grand 
array of the sculptor’s art, and as no two monu- 
ments are allowed to be erected on the same design, 
while originality will be a constant attraction, after 
all it is the display of sculpture which will always 
be the loadstone to draw the visitor. 
Another section is devoted to ten year burial; an- 
other to twenty year burial and another to thirty 
year burial. In the latter section no monument is 
allowed over about two feet in height and a mono- 
tony is the result hard to describe, notwithstanding 
the rule against duplicating. At the expiration of 
the limit oftime burial the remains are collected and 
deposited in the Ossario. 
About 2000 feet from the entrance gates and at 
the rear of the cemetery stands the crematorium, the 
ENTRANCE TO MONUMENTAL CEMETERY. MILAN, ITALY. 
