Façana monumental amb la porta principal decorada amb pilastres i gran cornisa, sota la qual hi ha un fris amb un baix relleu que representa Jesús pujant al Calvari. Les parets laterals a dita porta estan decorades amb grans làpides. A l'interior, la porta reprodueix la façana d'un temple grec amb dues columnes de capitells dòrics i frontó triangular. A cada banda es desenvolupa un corredor amb columnes clàssiques (12 a cada costat) d'ordre toscà, fins a trobar l'església. En aquests corredors hi ha practicats els nínxols, alguns de gran valor artístic. Dins el recinte tancat pels pòrtics i l'entrada estant disseminats de manera ordenada els panteons i sepulcres familiars, alguns d'ells veritables obres d'arquitectura i escultura de gran qualitat que fan del conjunt un atractiu mostrari dels estils de finals del XIX i començaments del XX. Cal destacar: el sepulcre de la família Portabella i Argullol, construït per l'arquitecte Bernat Pejoan i l'escultor Josep Llimona; el panteó de la família Serra i Santamans, d'estil neoromànic, i el de la família Borràs, d'estil neogòtic. La capella del cementiri és de composició i formalització clàssiques, molt adient al conjunt de la façana exterior-interior. Projecte de l'edifici del 1846.

El cementiri és situat en el cim del Molar o Mulà amb l'entrada orientada a nord enmig d'una zona arbrada. S'hi arriba a través d'un vial que serpenteja per la vessant nord del Mulà que surt del Parc de la Font Cuitora. Recinte de planta rectangular amb l'eix longitudinal orientat nord-sud. En una de les darreres ampliacions, la portalada del primer clos va quedar incorporada dins l'actual recinte, quedant aïllades les dues pilastres de pedra en les quals recolza un element de ferro forjat que incorpora la data "1858", corresponent a la data de construcció del cementiri. L'eix de la portalada coincideix amb l'eix de la capella. L'espai antic, conegut com el "cementiri vell", està dividit en dos àmbits de planta rectangular. En el cos central del primer, hi ha la capella, dos panteons laterals i diverses sepultures de personatges capelladins. Els laterals els tanquen sèries de nínxols de quatre filades, amb el forat del nínxol d'arc de mig punt i coberts amb teula àrab a una vessant. El cos central construït, el formen tres capellespanteó. Recinte de planta rectangular amb l'eix longitudinal orientat nord-sud. En una de les darreres ampliacions, la portalada del primer clos va quedar incorporada dins l'actual recinte, quedant aïllades les dues pilastres de pedra en les quals recolza un element de ferro forjat que incorpora la data "1858", corresponent a la data de construcció del cementiri. L'eix de la portalada coincideix amb l'eix de la capella. L'espai antic, conegut com el "cementiri vell", està dividit en dos àmbits de planta rectangular. En el cos central del primer, hi ha la capella, dos panteons laterals i diverses sepultures de personatges capelladins. Els laterals els tanquen sèries de nínxols de quatre filades, amb el forat del nínxol d'arc de mig punt i coberts amb teula àrab a una vessant. El cos central construït, el formen tres capellespanteó. És un interessant conjunt funerari del qual s'ha destacar els dosàmbits històrics, el de 1858 i el de la dècada de 1910-1920. El primer, perquè conté els sepulcres de les famílies benestants de la vila, i el segon, per la seva singular tipologia de porxades amb arqueria que protegeixen els nínxols.

Funeral complex that, originally, was laid out with a Greek cross plan centred on an octagonal square, with a central department, three districts and a dissident area. Due to various subsequent extensions, the latter is organised into four quadrants or departments (Sant Oleguer, Sant Nicolau, Santa Eulàlia and Sant Salvador). External areas have also been included (departments of Sant Oriol, Sant Otó, Sant Nicodemus, Gregal and Sant Joaquim).

Structured in three sectors. The one corresponding to the north wing is formed by a block of niches attached to the fences of the cemetery. The remaining spaces are occupied by avenues and graves. In the central sector there is the chapel and most of the graves with the most relevant sculptural elements, while respecting a symmetrical composition in which the central corridor and the chapel are the axis of the main access. The southern sector is configured by sections of attached niches on the side walls of the east and west facades. Attached to the main façade, where the access is located, are the attached and service outbuildings. The central space is soberly landscaped with cypress trees and a symmetrical composition of avenues. The ornamental wealth of some tombs and graves made by prominent artistic personalities of the time is worth noting, among whom we must point out the sculptors Venanci Vallmitjana, Josep Llimona and Josep Carcassó -disciple of Vallmitjana-. The works stand out for their chromatic austerity in contrast to the white of the walls and the green of the cypress trees. Modernist chapel (Enric Sagnier, 1918): built by Enric Sagnier, it is a large pantheon of Iu Bosch's family. Sculpture of a woman from the Mundet Pantheon (Josep Llimona, 1900): sculpture representing a seated woman with a thinker's attitude, resting her head on one hand. She wears a dress with long skirts that cover her feet. The head is almost the same as the other statue of the same Lemon that is very close, both have the same hairstyle, long hair with a clip in the middle and pulled back towards the corner where the hand that supports it is. Also, like the other, he keeps a distant look. This one, however, has a stronger sensitivity than the other. Its state of conservation would be good if it weren't for the holes it has, which were produced by bullet shots. Woman sculpture from the Massaguer Pantheon (Josep Llimona, 1925): sculpture that represents a woman sitting on some steps, rehung in the tomb of which it is a part. It is of great beauty and refinement. When you look at it from the side, it looks a little out of proportion. Built with white marble, it gives off an air of mysticism accentuated by the lost and distant gaze of the figure represented. Holy Trinity or Eternal Father (Venanci Vallmitjana Barbany, 1909): Sculptural ensemble in white marble representing the Holy Trinity. It is made to life size and its presence impresses the visitor. The figure of the Father is represented by a welcoming image of an old, bearded man with a dove on his chest with outstretched wings representing the Holy Spirit. The son is leaning on the father, with his head at an angle, and he has, at his feet, an angel. The whole group is held in a stony mass that gives the feeling of clouds, an element which makes the whole not feel heavy and increases the feeling of magnificence. Sculpture of a woman (Josep Carcassó i Font, 19th century): Stone sculpture representing a seated girl with a bouquet of flowers in her hands. Her head is down and is looking at the ground. This attitude, together with all the movement that the dress provides, thanks to its long skirts with pleats, gives her a romantic and reserved look. It is of small height and is located behind a sculptural group by V. Vallmitjana. Virgin Mary with Jesus Christ or Piety (Venanci Vallmitjana Barbany, 1905): Sculptural group formed by the Virgin and Jesus Christ. The son is sitting on the Virgin's lap, representing the theme of Piety, inspired by Michelangelo. Built with white marble, a temple was later added to protect it from inclement weather. Tomb of the Fontcuberta i Jubany consorts (Cèsar Martinell Brunet, 1941): Tomb built in granite, with a raised base on which rests a body in the form of a sarcophagus and as background, a funerary stele with the cross in relief and the image of Christ in bronze, work of Frederic Marès. Fence vault with corner pillars finished in lantern and joined with metal chain. The Arenys de Mar cemetery is the result of three successive construction phases - from the middle of the 19th century to the second decade of the 20th century - which have formed individual sectors with different character and composition, but which maintain a harmonious and environmental balance, one of the most relevant values of this place. Located on the Pietat hill, the cemetery is the second erected in this place. Around 1813 the construction of the first cemetery began. Around 1860, it was decided to build a new one, whose works were almost finished in 1864. The chapel was not completed until December 31, 1867. The author of the project and director of the work was done by the master builder Domènec Casacuberta. The disappearance of the old cemetery was considered in the seventies of the 19th century. Twenty years later, population growth advised an extension of the site. In 1895, the reform of the path to the cemetery was inaugurated, allowing the passage of carriages, which avoids the driving of dead bodies by the weight of arms. At the end of 1917 the cemetery takes on its current configuration, when the last block of niches is built in the center of the wide area, which is decorated on the face corresponding to the ascending axis of the cemetery with the construction of ten niches luxury framed by artificial stone columns. Since then, the cemetery has not changed its layout. Its environment has, however, suffered serious attacks.

The municipal cemetery of Sant Martí Sarroca is located near the city centre, on a level at the foot of La Roca. It is rectangular in plan, enclosed by walls with attached niches. In the centre there is a walk flanked by cypress trees that leads to the chapel. At the ends there are towers. The sculptural elements of the interior should be noted. The complex shows the characteristics of the neoclassical style. The cemetery was built according to the project carried out by the architect Modest Fossas in 1868. The documentation relating to the work is preserved in the Municipal Archive of Sant Martí Sarroca.

Complex of a rectangular plan made up of gardens, public chapel, graves and family pantheons. It has an eclectic language with some modernist details. The public chapel, with its eclectic language, should be highlighted, as well as the chapels of the Anton Jané family (Neo-Gothic), the Miret-Abad family, the Via-Oliveros family (Neo-Gothic-modernist) and the Ramon Marimon family. The Vilafranca cemetery was built in 1839 on the site where there used to be a Capuchin convent. The public chapel dates from 1878 and was done by the master builder Raimon Raventós i Queraltó, with reliefs on the façade by the sculptor Ramon Elies. Anton Jané's Pantheon was carried out by Santiago Güell i Grau and the project of the Marimon family was signed by Domènech i Estapà.

Porta d'entrada realitzada en maó que ha estat arrebossat i que presenta com a elements decoratius més remarcables els 4 obeliscs, disposats simètricament i esglaonadament (dos i dos ) com a acabament de 4 pilars, també petits, que sobresurten de l'estructura de la porta. El colera asiàtic matà 79 persones el 1185 i 46 el 1887, sorgeix de sobte un nou cementiri a la partida de Plans d'Arau, més enllà del molí de la Boixera. L'any 1892 ja s'hi construïren nínxols i es votà amb paret de tanca. El cementiri Vell fou totalment exhumat el 1903.

Complex building in the form of an angle, given the layout of the plots acquired. Two of the plots are occupied by the crypt and the third one is occupied by the staircase. The main volume is the outer part of the crypt. On a podium, which is accessed via a flight of four steps, stands the sculptural group of "Faith consoling pain", by Josep Llimona i Bruguera, where Faith is an angel and pain is a woman who cries inconsolably. The sculpture is made of marble, except for the angel's wings which are made of bronze. The pantheon is finished with a cross, also of bronze, richly decorated with floral and zoomorphic motifs. The perimeter is surrounded by pillars decorated with flames and crowns at the top. These pillars were attached by iron chains decorated with bronze medallions, but they were stolen. The sculptural group stands on a large marble plinth. On the front there is an inscription with the date and the name of the owner. On one side, there is a plaque placed by the City Council on the industrialist's death in 1926, in tribute to his favourite son. The staircase body is a construction created from an ogival vault. The main façade, facing north, has a pointed arched door made of wrought iron. The side walls are a continuation of the same stepped roof. At the ends there are pilasters topped by capitals in the shape of a cul-de-lampe. It is also delimited around the perimeter by the same type of pillars in the crypt sector, where they were also joined with chains that were also stolen. Pere Grau Maristany i Oliver is one of the most illustrious characters in the town of El Masnou. He made his fortune as a wine exporter in the Americas (Brazil, Argentina, Uruguay, ...). He was very present in the economic, social and cultural life of the Catalan capital. He was president of the Chamber of Commerce, royal delegate of the Provincial Development Council, juror of the Universal Exhibition of Barcelona in 1888. Fund XII decorated him with the Grand Cross and Alfonso XIII granted him the noble title of Count of Lavern. He bought two more plots from the cemetery to annex them to the one he already had and build a new pantheon, the design of which he commissioned Bonaventura Bassegoda i Amigó.

Pantheon with a Latin cross plan that ends its eight angles with buttresses. The roof is gabled with glazed ceramic flakes on each arm. On the main façade, the gate is an ornamental wrought-iron grille and breakwater, above which is a representation of angels ascending to heaven. The crowning is with perimeter blind arches, steps and cross. The side façades have the same crowning. On the rear façade there is a half point window of leaded glass. The interior is covered with corner vaults, with side niches and two marble bas-reliefs with scenes from the life of Jesus. In the background there is an altar, sgraffito walls and a marble sculpture of Christ.

Grave with stone pit and iron elements that support chains. The decorative lines show Secessionist geometric figures with Gothic-Naturalist elements. The slab, located in an eccentric position, bears the inscription "Property of Francisco/ de A. Guixeras/ Viñas y familia".

Funerary monument composed of a rectangular base resting on a stone paving that forms a step, a rectangular pedestal with smooth faces and the following inscriptions: 'Víctor Balaguer. Without love for me I had it for everyone'. Plus a crown formed by an altar and a sarcophagus. The base contains two inclined tombstones worked in relief and with floral motifs. These contain inscriptions in Latin with the birth and death dates of Víctor Balaguer and his wife Manuela Carbonell. The altar is decorated with ogival tracery, folds of clothing and coats of arms with the four bars of the Catalan flag, the cross of Sant Jordi, of Vilanova and his initials. The sarcophagus – rectangular and with a gable roof – is divided into bands, with floral motifs and inscriptions. In 1905, the remains of Víctor Balaguer were transferred from the Samà family pantheon to the new monumental pantheon, built in his memory by his heirs. This monument was designed by architect Bonaventura Pollés i Vivó, cut by Alfons Juyol and carried out by builder Joan Sas i Gorgori.

This complex has a rectangular plan with an entrance pavilion, formed by three symmetrical bodies located in the centre of one of the sides and three groups of nine niches located in the centre of the other three sides. The central body is covered by a hip roof whilst the lateral ones are covered by gable roofs. The roof of the central body is supported by a wooden truss. In the centre of the enclosure there is a cross on a plinth. The crowning of the walls and niches is made of mosaic. On the façade there are glazed ceramic gargoyles. Currently, the site has been greatly modified. It was built in 1909 to replace the cemetery that was next to the church which, with the expansion of the town, had remained within the town. The project is carried out by the architect Antoni de Falguera, who also built the one in Castellar del Vallès. When it was expanded to build more niches they did not destroy the previous ones. In 1988, a new extension was made that tried to follow the original style.