架构师提供的文本描述。Sansepolcro是圣地亚哥·德孔波斯特拉和耶路撒冷之间的中点，也是皮耶罗·德拉·弗朗西斯卡的出生地，四周是托斯卡纳和翁布里亚之间的山丘，画家把这座山转移到了自己的画室里。皮耶罗经常从内部观察风景：对他来说，背景很重要，观点也很重要。非凡的视角应用于他的形象，强加于眼睛，建筑或纪念碑之间的关系，与景观的教学清晰度。Sansepolcro的景观被认为是一个与Pliny的描述一样久远的地方：“美丽是这个地区的一面：你可以想象它是一个巨大的圆形剧场，只有大自然才能创造。”

Text description provided by the architects. Sansepolcro, the halfway point between Santiago de Compostela and Jerusalem, and birthplace of Piero della Francesca, is surrounded by the hills on the border between Tuscany and Umbria that the painter transferred into his own pictorial space. Piero often observed the landscape from inside: for him, the background was important, as was the point of view. The extraordinary perspective application of his images imposes the relationship between eye, architecture or monument, and landscape with didactic clarity. The landscape of Sansepolcro is a place recognised as far back as the description given by Pliny: “Beautiful is the aspect of the region: you can imagine it as an immense amphitheatre, such that only nature is able to create.”

 © Mauro Davoli

莫罗·达沃利

新坟场以长方形的轮廓发展，把现有的坟场完全纳入南面，而部分则在北面，由19世纪至现在，增加了多项新的坟场。

The new cemetery develops on a rectangular outline, incorporating the existing cemetery completely on the southern side, and partially on the northern side, through various additions, from the 1800s to the present.

 © Mauro Davoli

莫罗·达沃利

外围体由砖砌的梯田组成，适应从东面到西侧大约10米的高度变化趋势，但将墙顶的高度恢复到单一的高度。从外面看，在150米直线最长的一侧，墓地似乎是山丘的一种基地。从外部，你可以看到支撑景观的基础，从内部你可以看到景观和循环。

The perimetral body, consisting of brick terracing, adapts to the altimetric trends that vary, from the east to the west side, by approximately ten linear metres, but takes the level of the summit of the wall back to a single elevation. From the outside, developing on the longest side for 150 linear metres, the cemetery thus appears to be a sort of base for the hills. From outside, one sees the base supporting the landscape, and from inside one can see the landscape and the cycle.

 © Mauro Davoli

莫罗·达沃利

这条大交叉，是一条悬空的人行道，里面的灰烬被沉积在上面，朝向周围的基础，朝向城市，引入了一条精确的城市通道，指明了新的主入口。相对于周围的墙壁，除了骨细胞外，十字架是空的，位于更高的位置，几乎是去物质化。

The large cross, a suspended walkway inside which the ashes are deposited, at the top faces onto the perimeter base, towards the city, introducing a precise urban pathway that indicates the new main entrance. With respect to the surrounding wall, the cross, empty except for the ossuary cells and situated higher up, almost dematerialises.