St. Michael’s was a German parish, but it must have had a small Hungarian contingent as well, or it shared its cemetery with a Hungarian parish. This statue of Christ blessing visitors as they enter the cemetery (it is placed in the middle of a circle at the entrance) stands on a base with the inscription EGO SUM RESURRECTIO ET VITA in Latin and three other languages: German, English, and Hungarian.
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Statue of Christ in St. Michael’s Cemetery
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William J. Burns Mausoleum, Calvary Cemetery
A fine temple of the “modern Ionic” order (Ionic columns with the volutes at the four corners) with a large statue of Christ standing above the pediment. It has not escaped festooning with artificial flowers.
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Purpura Monument, Calvary Cemetery
A classical gateway with fluted Doric columns frames a Sacred Heart statue. Tablets for two branches of the Purpura family flank the gateway. This is one of those curious combinations we often see in Catholic cemeteries: ostentatiously classical taste applied to traditional Catholic religious symbolism.
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Catanzaro Monument, Calvary Cemetery
Perhaps Dan Brown could recommend a Harvard symbologist to unravel the strands of symbolism here. Christ (holding a bouquet of artificial flowers, because he stood still too long in a Catholic cemetery) is stepping down from a ruined Ionic temple, his left hand seeming to gesture toward the ruins behind him, as if he has something to tell us about them. We could say that the ruined temple represents shattered and broken paganism, and Christ shows the way forward. Or perhaps, in spite of the Greek style, the ruins represent the Temple in Jerusalem, where not one stone was left upon another, and Christ emerges fresh from that ancient tradition, stepping forward to bring the real Temple to us.