The tomb was built at the request of the brothers Raffaello and Francesco, and it is the first and most complete example in Certosa of the iconography that was so dear to the Italian bourgeois culture of the late 1800s of the Suffering woman visiting the tomb that the sculptor Carlo Monari (1831-1918) would propose in the cemetery in different variants.
In this case the young girl prays kneeling in front of the coffin covered by the pall on which rests a crown of flowers, waiting for it to be taken to the sepulchre, whose door is slightly open.
The iconography of the door to inferno is deduced, through Canova, from the sarcophagi of ancient Rome, but in our case it also assumes a value of verismo.
Highly effective is the depiction of the clothing, particularly in the sleeves, the buttons and in the large skirt. Also meticulously reproduced is the fine flowery meadow, depicted in bas-relief on the pedestal on which the sculpture rests. The initial words inscribed at the base of the tomb are also meaningful, alluding to an Italy still under foreign rule.
The choice of Monari by the family was therefore probably not random, as the sculptor had participated as a volunteer in the partisan battles of Bezzecca and Mentana (1866 and 1867).