228 
PARK AND CEME.TE.RY 
Monumental Art in 
The characteristic feature of the Italian ceme- 
tery is the colonnade that invariably surrounds the 
Campo Santa (holy field). This colonnade, like the 
cloister proper in a monastery, encloses the green 
field in which are laid to rest those who are too 
poor to purchase for themselves a burial place in 
the colonnade. Monuments of white and colored 
marble, bronze or alabaster, in far richer variety of 
form and design, than found in our cemeteries, fill 
the space between the columns of the colannade 
and the niches on the opposite wall. If the Campo 
Santo happens to be a fashionable one, then usually 
a second colonnade encloses the first, the former 
receiving its light from above. We are accustomed 
to see in our cemeteries headstones, crosses, obe- 
lisks and broken columns, here and there an alle- 
gorical figure, a bust or some more costly work of 
sculpture. In our larger cemeteries we find lav- 
ishly built mausoleums. How far different are the 
monuments in the Italian Campo Santo. Cluster- 
ing around allegorical figures, such as Faith anil 
Hope, we find the most realistic reproductions in 
cold marble. Disconsolate hopelessness, psychic 
and physical pain, grief in its most heart-rending 
aspect are here depicted in a fashion that makes 
you shudder all over. The Italian monumental pur- 
veyor does not believe in illustrating the meeting 
in the hereafter of those whom death has tem- 
porarily put asunder; he believes it to be his duty 
to bring out the tragedy of death in blunt, cruel 
fashion. Here we see a female, garbed in hat and 
jacket of the present time, crouching disconsolate- 
ly before a marble shaft. The face of the female 
figure is not idealized. It represents the widow of 
the man who is buried here, and the sculptor was 
congratulated for bringing out the lifelike features 
of the mourning widow. On another grave we find 
that the sculptor has actually depicted a mother 
holding her infant towards his father who lies 
buried here. It is not an unusual thing to see a 
marble of Death, impersonated by a grim skeleton, 
seizing with brutally-depicted strength the figure 
of the person who lies buried underneath the dia- 
bolical monument. 
The Campo Santo of Genoa is one of the most 
magnificent cemeteries in all Italy. It is beauti- 
fully situated in the midst of the peaceful quietness 
of the mountains. A street car runs from Genoa to ' 
the cemetery portals. From the cemetery the 
Genoese fortifications are visible. From the dis- 
tance the greenish white view of the Campo Santo 
is almost overpowering. It comprises a great big 
square enclosed by two colonnades ; innumerable 
small, white crosses dot the graves of those who 
Italian Cemeteries. 
are buried in the center square. In the center is a 
lofty figure of Faith, leaning with the right arm on 
a gigantic cross, the Holy Writ in her left. In the 
background are marble steps that lead to another 
division of the cemetery where we find a miniature 
reproduction of the Pantheon of Rome, with its 
magnificent cupola and portico. This chapel is 
furnished and fitted up in truly sumptuous style. 
Support for the edifice is furnished by sixteen 
monolithic black marble columns, each worth 
12,000 lires. The eight niches between the columns 
are filled with the most famous works of living mas- 
ters. Nowhere in the world is there a masterpiece 
that surpasses in ideal beauty the representation of 
TOMB OF MAZZINI, GFNOA. 
Adam and Eve which is to be seen here in heroic 
size. Nearby are the statues of Daniel, the prophet, 
the Holy Michael in martial uniform and the Im- 
maculate Virgin, who is pictured bringing the mes- 
sage of the Lord that means redemption. 
The burial places in the rotunda cannot be pur- 
chased. It is a special honor to be buried there, and 
only those who have specially distinguished them- 
selves, are accorded a final resting place in this hal- 
lowed ground. Rossini, the Genoese composer, lie.s- 
buried here. Amid the terraces that abound in the 
Campo Santo, many Gothic mausoleums, small tem- 
ples and neat, refreshing monuments are to be seen 
surrounded by many of the grim kind already al- 
luded to. Here we see the head of an angelic boy 
of tender age. Underneath is the inscription : “He 
was our joy and hope..” At last we have found 
Mazzini’s last resting place, far away from the 
colonnade in an almost lonely spot. No allegorical 
figure to adorn his grave, no statue, just a plain 
mausoleum with the inscription : Giuseppe Mazzini.. 
William Crawford Hirsch. 
(To be continued.) 
