FIAT-IFTA IAFM Heritage Report 2012

THE WORLD ORGANIZATION OF FUNERAL OPERATIVES

IAFM INTERNATIONAL ASSOCIATION OF FUNERAL MUSEUMS

Funeral Heritage Report 2012

Fédération Internationale des Associations de Thanatoloques International Federation of Thanatologists Associations

Colofon

Biannual publication of FIAT-IFTA and IAFM EDITORIAL OFFICE FIAT-IFTA Secretariat Melkpad 23 1217 KA Hilversum NL info@thanos.org LAYOUT & DESIGN IDIOT Creative Concepts Mr. Albert van Vuure idiotcreativeconcepts.nl PRINTING Printforce pf@printforce.nl

Copyright © 2012 FIAT-IFTA

THE WORLD ORGANIZATION OF FUNERAL OPERATIVES

THE WORLD ORGANIZATION OF FUNERAL OPERATIVES

IAFM

THE WORLD ORGANIZATION OF FUNERAL OPERATIVES

INTERNATIONAL ASSOCIATION OF FUNERAL MUSEUMS

Table of Contents 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Introduction

Music for Death and Mourning

Page 46 Page 52

Page 54

FIAT-IFTA Charter of Global Funeral Heritage

Survey

Page 42

Pinacothèque, Paris, France

Charter

Page 38

Barry Albin-Dyer - F.A. Albin & Sons Funeral Directors, London, UK

Jade Masks of the Mayas

Peter Harbison - Royal Institute of Architects, Dublin, Ireland

A Living Museum

Page 34

Karóly Balogh - OTEI, Budapest, Hungary

Glasnevin Cemetery Museum

Sergey Jakushin - World Funeral Museum, Novosibirsk, Russia

Museum of Funerals

Page 30

Fernando Sanchez Tulla - Museu de Carosses Fúnebres, Barcelona, Spain

Memorial Concerts Novosibirsk

Page 26

Teresa Saavedra - President of ALPAR, Colombia

Collection Horse-Drawn Hearses

Page 20

Wittigo Keller - Funeral Museum, Vienna, Austria

Rituals to Remember

Page 16

Muriel Perrin - Ghys, General Delegate of AFMN, Paris, France

Vienna Funeral Museum

Page 8

Charlotte Stanford - Brigham Young University, Provo UT., USA

History of Cremation in France

Page 4

Volker Kalish - Robert-Schumann-HochSchule, Düsseldorf, Germany

Held in Perpetual Memory

Page 2

Henry J. Keizer - Chair FIAT-IFTA Funeral Heritage Steering Committee

Funeral Museums and Collections

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Page 55

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FIAT-IFTA Funeral Heritage Report 2012

Dear reader, The FIAT IFTA Heritage Committee is proud to present its second report to you.

Our Committee draws attention to the many impressive traditions, historical buildings and artifacts that still exist today in relation to death, funerals and bereavement. They are worth preserving and our Committee is very pleased that we have received so much support in the past year.

Our Expert Committee has made important progress in forming a relationship with the UNESCO. Bringing the importance of our task to the attention of UNESCO has not been an easy task and much paperwork and personal contacts are involved. Our Committee is extremely pleased that our efforts are now bringing the necessary focus and attention within the international community of governments.

Music has always been, and still is, connected to funeral traditions. Our traditions find their origin in history, even dating back to the Middle Ages. Worldwide funeral museums present impressive collections, with unique artifacts on display. Funeral traditions can vary widely on the different continents and some countries have instituted a special day of remembrance. All these topics you will find in this report. We are very grateful to the many members that have made a contribution.

Again in the past year we have been supported by many active FIAT IFTA members that have dedicated much time and effort to the work of our Committee. Not in the least we are very thankful for the support that has been provided to us by the FIAT IFTA Secretariat.

We hope that you will enjoy the content of this report. Our Committee is always available to answer your questions or listen to your comments.

Henry J. Keizer, Chairman FIAT IFTA Heritage Steering Committee President International Association of Funeral Museums, Amsterdam

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MUSIC FOR DEATH

AND MOURNING

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MUSIC OF LIFE

Not a single memorial service without music; no funeral, burial, cremation without musical accompaniment; no grieving by the bereaved who haven’t chosen their own musical representation; no social gathering for the death of a loved one and often even for the dying, but even more so music for remembrance that hasn’t been carefully planned. And this holds true through all ages, worldwide! It is a rarity that people of all cultures are or have been so united. Why?

Dying, death and burial of a human being are challenging events for all involved. They expose all participants and all bereaved to an existential experience, expect of them very specific “event concentration”, out of the ordinary activities, a normal demeanor and all of this combined with keeping difficult emotions totally under control. But this is exactly what the music is for.

Music reaches out for such challenges and situations, embarks almost into the midst of such existential experiences, but it is an important trigger, guide and designer of emotions. Of course, what is meant with emotions here are those heavy emotional conflict situations that, with a tremendous diversity, actually take possession of the people involved, and confront

them with their multi-faceted yet sometimes contradictory, vagabond-like disguised as a cluster of feelings such as pain, helplessness, grief, despair, disappointment, anger, etc. All these “feelings” certainly have their own right and their own dynamics and, at the same time, face such contradictory feelings like relief, gentleness, comfort, gratitude or love. How can you accept these emotions, how can you experience them individually in their own right, how can you deal with them?

The emotions of mourners are changing, sometimes slower, sometimes faster, sometimes they seem to build a wall around our own experiences and dominate our feelings completely.

When in this state of mind, only very few or at times no other experiences can break through,

FIAT-IFTA Funeral Heritage Report 2012

be it emotions of accompaniment, reinforcement, conflict, realization, etc. Music is an exception. Music can break through those walls; can reach for those inner emotions that we are trying to hide behind our painful experiences of grief. Such intrusions also carry certain risks.

And music has possibly entangled itself into this risk as well and has become a “risk taker”.

The emotions that are released through music need to go somewhere and they push for harmony, for channels of release, thereby running in unintended directions, or are perhaps even directed. In extreme cases it can’t even be ruled out that memorial services can “crash” because of these misguided emotions. All these concerns put together are the strongest argument for the need for awareness of the importance of music in the context of grief. Even with the right intentions – responsibility and respect we need to re-think the often random use of

music. Music is powerful and because of its force, it possesses the power to channel emotions, break through those caught up emotions in times of grievance, harmonise and guide you in the right direction.

The use and selection of music for mourning therefore needs to be considered carefully and responsibly. That at least is the demand on those who deal with dying, death and burials as a profession. Although there are different phases and transitions, anyone dealing with music must ask themselves at least two key questions: What does a certain type of music have to do with the life of the dying, the deceased, with his survivors? What role does the selected music have on the topic “Death and Mourning”?

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FIAT-IFTA Funeral Heritage Report 2012

The first question relates to the personality of the deceased and puts the music into a specific social context. It is less about aspects of individuality or deliberately cultivated by the more or less skillful placement of musical requests.

Rather, the main question is, what does the selected music have to do with the life of the deceased, what does the music say about the deceased’s attitude to life. Certainly this has little to do with the conventional use at a funeral.

The second question refers to the contribution the music can explicitly make on the topic of “Death and Mourning”. This can only be achieved if the answer to this question has found its way into an aesthetic form.

This doesn’t mean that music cannot be a conventional “acoustic mourning,” but the music should not be reduced to only that!

True “Death and Mourning” music will help to find “answers” to all those questions and fears related to grieving. At the same time these are the questions of “sorrow and death” that the living ask themselves. If music is perceived and understood so true to life in the face of death as a genuine effort to answer the essential question, then music, over and above emotional experiences, can connect the issues of living with the certainty of death. Music for death and mourning then truly becomes “Music of

Life”, positioning itself to answer the question of the sense and reason of life and death. Music thus makes a crucial contribution towards seeing death as a part of life, rather than just being opposed and hostile towards death.

Therefore music steps back into our lives from a different angle when dealing with death and mourning, in a new relationship to life itself.

Music which was always linked to mourning will remain that way. At the same time however, this music should be seen as “Music of Life” because in the hour of death and parting, the music immediately reflects on the life of the deceased and connects the deceased to their bereaved. Music thereby once again shows how much death is a part of life and how music is unmistakably connected to life. Accepting funeral music as “Music of Life” therefore results in not looking upon a funeral as an isolated event. Moreover, music decisively represents the experience of “Death and Mourning”, puts music back into its normal role in all phases of life and therefore, illustrates through its own ways and means, what death means in our lives and how the meaning of life does not end with death.

Prof. Volker Kalisch Robert-Schumann-Hochschule, Düsseldorf

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HELD IN PERPETUAL

MEMORY

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FUNERALS AND COMMEMORATION OF THE ELITE DEAD IN THE LATE MIDDLE AGES The late medieval period has been described as a time obsessed with death.

Images, literature, and liturgy all highlight the decay of the body and the necessity of last things. From paintings of the Danse macabre, to transi tombs showing the skeletal frame to which all bodies are reduced and the manuals of the Ars moriendi instructing the faithful how to make a pious end, death and its aftermath was a vivid and forceful part of medieval life. Perhaps no other period in the western tradition is so rich in the spectacles of death and decay.

Key among these spectacles was that of the funeral and the attendant recreation of anniversary ceremonies. These liturgical rituals were a part of the medieval memoria that French historian JeanClaude Schmitt has recently described as a “form of collective memory… [that forms] a social technique of forgetting. Its function was “to ‘cool off’ the memory under the guise of maintaining it”. Indeed, as influential cultural historian Philippe Ariès explains, most medieval funerary rituals involved a flurry of heightened remembrance, including anniversaries, in the period just after burial. Eventually, Ariès notes, memory would subside, just as the body of the deceased would decay into the earth that held it, becoming part of the group of Christian

souls that lay in the churchyard, and that would be disinterred after decomposition and integrated into the charnels under the church eaves. The majority of medieval burials conformed to this pattern of anonymity, despite the anxiety voiced by numerous people that they be remembered in perpetuity upon their own demise. In this essay, I argue that an important, indeed essential, strategy of the privileged few who resisted this forgetting was the repetition of funeral rites during anniversary services. I explore the form and meaning of these funeral re-creations, demonstrating that for the privileged few, resisting a forgetting of the dead was both desirable and possible.

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Cathedral of Troyes, France

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Death in the Middle Ages was an inescapable part of the fabric of everyday experience. Both urban and country geography were defined by parish and monastic boundaries and the churches within them.

Approaching a church meant passing by or through the cemetery, marked by its wooden burial crosses, and possibly even past open pits of common graves.

Once inside the church, worshipers would have been surrounded by numerous monuments—memorial tablets on the walls, brass tomb slabs underfoot, the large sepulchers of the very wealthy—clustered around altars and other favored sites just as the living clustered to see the elevation of the Host.

The whole Christian community, dead and living, was united quite literally within the structure of the church. For the medieval churchgoers, the sights and smells of death would have mingled inescapably with the very air they breathed.

However, the inescapable presence of death in the culture of the later Middle Ages does not indicate necessarily the attitude of pessimism insisted upon by the followers of the great medievalist Johan Huizinga. This is far from the case. Instead, medieval attitudes towards death exhibit a pragmatism mingled with intense sensibility. The pragmatism was a result of close exposure to the logistics of death, while the sensibility was based on deeply-rooted religious convictions on the nature of postmortem existence. Close exposure to death was not, of course, a specifically medieval phenomenon.

Until the development of what Ariès has called “the invisible death”—our contemporary model of death that hides the horror of technology’s failure to save us from annihilation— death was an accepted part of social exchange. But the medieval approach to death is sharply distinguished from the attitudes of the Reformation and later eras. Understanding this difference revolves around the crucial doctrine of Purgatory.

Though medieval descriptions of Purgatory invoke images of agonizing flames and great suffering, Purgatory was ultimately a place of hope, as Jacques Le Goff has pointed out in his seminal study on the subject. Indeed, the message of hope was central to the notion of Purgatory, as was its temporality. Pur-

gatory was a sinner’s salvation: there the penance owed on one’s debt of sin could be paid even after death, thus allowing for escape from hell. Nevertheless, medieval preachers’ and writers’ graphic descriptions of Purgatory were designed to elicit timely repentance and increased good works from parishioners that would reduce the time they spent there. The poet Dante’s famous exhortation “Do not think of the torments: think, I say / of what comes after them: think that at worst / they cannot last beyond the Judgment Day” (Purgatory X 106—108) is coupled with Dante’s description of the pleas that the souls in Purgatory make, asking the aid of the living to redeem them from their pains: “I beg … you speak my need / most graciously in Fano, that they to Heaven / send holy prayers to intercede for me; / so may my great offenses be forgiven” (Purgatory V 75—78). Hopeful or not, souls clearly longed to be set free of Purgatory.

Barring a life of extraordinary sanctity, however, every medieval individual anticipated a stay of some length in Purgatory. The most a person could hope for was quick deliverance, and for this the dead had to rely on the living. The relationship between the quick and dead was therefore one of mutual reliance— albeit one laced with unease—for what if the living forgot the dead too quickly? Moral exempla abounded of forgetful heirs. These ranged from the merely negligent to the greedy and disobedient who did not carry out the will of the deceased, to the detriment of both the living and the dead. John Mirk, the early fifteenth century Austin monk, recounted in his sermon for All Soul’s Day a typical tale from the Golden Legend of Jacobus de Voragine that illustrates this point: A knight, as he rode toward a battle, he bade his cousin, that if he died in the battle, that he should sell his horse and give the money in alms for his soul. Then, when this knight was dead, his cousin liked well his horse and took him to his own use.

Then, soon after, this knight appeared to his cousin and said: ‘Because thou hast not done by my horse as I bade thee, thou hast made me to be in Purgatory eight days. Wherefore God will take vengeance on thee, for thy soul shall go to hell, and my soul shall go to bliss.’ Then anon a horrible voice was heard in

FIAT-IFTA Funeral Heritage Report 2012

the air, of lions, and bears, and wolves, that caught up this man bodily and bore him forth, that nevermore after man heard of him. Cautionary tales like this one provide evidence that no matter how carefully medieval people planned for their postmortem deliverance, the weakness of the living could betray them. Therefore, it was not only necessary to refresh the mind of the living toward the plight of the dead, but also to arouse afresh in them the feelings of grief and loss. This would drive the living to take pity on and fulfill their duties to the dead. Many exhortations and appeals to the memory of the living could be found in the church. Every church held at least a dozen tomb slabs on which the dead requested the passersby: “Orate pro eo,” meaning pray for him.

These pious prompts aided in the task of refreshing the churchgoer’s memory, but with many of these reminders literally underfoot, people often must have become numb to the mute appeal of brass and stone—even supposing they knew how to read the inscriptions. Images were likely to have better success: the inclusion of small “weeper” figures in English and Continental European tombs of the late fourteenth and fifteenth centuries urged grief on the beholder through the language of the eye.

These small ‘weepers” sometimes were replaced by life-size mourning figures, as in the impressive late fifteenth-century funeral effigy of Philippe Pot, Grand Seneschal of Burgundy. Spoken language could also urge the faithful to remember their duty to the dead: Mirk’s All Souls’ sermon encouraged folk to pray “for all Christian souls”, a blanket injunction designed to cover all contingencies. But the most vivid way to remind the living of the needs of the dead was to heighten society’s recognition of loss. This could most effectively be done through spectacle, by recreating the most poignant moment of social separation.

The funeral, not the actual moment of death, was the moment which the living experienced supreme loss. Though the medieval deathbed was normally treated as a public occasion, the deathbed scene was focused on the salvation of the soul and not on the sustained memory of the living. Family, neighbors, and clergy joined together to exhort the dying man (or woman) to make a good end by focusing on the

things of God. In the Ars moriendi, the deathbed is depicted as a battlefield, with demons beneath the bed and angels hovering in the air above the dying man’s head, all urging him to choose his last allegiance. The priest actually interrogated the dying individual, quite pointedly, on the state of his (or, of course, her) faith: whether he abjured heresy, and whether he put all his trust in Christ. Such rigor was necessary, for it was better to stir up the sick to “a ‘holsom fere and dred’ than to allow them to be damned because of ‘flaterynge and false dissimilacioun’ on the part of friends and relatives” who did not want to trouble the person with thoughts of death. If the dying individual did not confess all his sins, the remaining offenses would be proclaimed openly before the world on Judgment Day, unless of course they damned the individual outright. Family and neighbors were encouraged to help the dying person focus on the cross held before him, and to put all of his energies into prayer so that he did not falter at the end. In one instance from late medieval London, when the priest reached the deathbed of Alice Gysbye too late to find her conscious, neighbors did cry and call many times to the said Alice to look upon the sacrament then standing by her, and knocked her on the breast … and called out ‘What, will you die like a hellhound and a beast, not remembering your maker?” while another friend pleaded, “Alice, I am here, I pray you speak to me and remember the passion of Christ and speak for your soul’s health”.

Deathbeds were often the occasion for making wills as well. Part of the process of cleansing and preparing the soul for death included final arrangements for his or her body and property. The charge of these lay with the executor to complete. Should a person fail to make a will (either written or oral) the executor’s first duty was to see that the individual had a proper funeral, and then pay off any of the testator’s debts, and finally to provide for the surviving spouse and children, if any. The deathbed was a person’s last chance to express his or her wishes before matters were laid in the executor’s hands. As a result any medieval people made the most of this opportunity, spelling out their preferences in great detail, not only as to who should inherit what possession, but

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also what sort of spectacle their funeral should present and how much of their estate should go toward perpetuating their memory. The short gap between the dates of medieval wills and their execution in probate shows that many people did in fact wait until they were dying to compose their wills. The pressure to think on the next life and the looming urgency of the need to be remembered had purely practical repercussions for those who were dying.

In the panic of last moments, quite a few people left all their worldly goods to a religious order such as the Dominicans in exchange for prayers and masses, much to the chagrin of their disinherited relations.

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While mourning certainly played a part in these scenes, the focus of the deathbed was on helping the deceased make a good end—it was, for all its public character, a private affair for the benefit of the dying. The funeral, on the other hand, was a spectacle made for the benefit of society, a spectacle that allowed them to act as both participants and witnesses to the transition of a community member to his or her new place. The dead did not cease to be a part of medieval society, but their new category was a peculiar one, as it was poised on the verge of anonymity. Once dead, the body was washed and wrapped in a shroud. Ariès notes that the tradition in Northern Europe and England was to cover the face as well as the rest of the body, as if the veil of anonymity had already fallen. The most prominent individuals—bishops, powerful nobles—were sometimes laid out in their robes of state, or perhaps embalmed. Ordinary folk, though, were simply sewn or pinned into a winding sheet, as funerary historian Christopher Daniell notes. The body was usually placed in a coffin and remained in the house, watched over by mourners, until it came time to take it to church some two or three days later. The time delay was probably to ensure that the person was truly dead, but could be shortened, especially if the body began to stink.

The funeral ceremony truly began with the removal of the corpse from the house. Although groups of friends and neighbors gathered around the deathbed and also shared the home wake, the procession of the body to church was a ritual in which the

whole community could, and often did, participate.

French cultural historian Michel Mollat describes how criers were paid to ride throughout the region, in a circumference of five to ten miles (or more) to announce the death of a wealthy individual, request prayers on his behalf, and tell the poor to be ready to assemble for the funeral. It was desirable to recruit the poor as attendees, for their prayers were thought to be especially beneficial, as they had little else to offer. The poor for their part were no doubt anxious to attend, for alms were usually given to them as part of the funeral ceremony, thus providing a chance for the deceased to demonstrate his or her Christian charity one last time. These alms could take the form of money, food, shoes, or clothing, the latter sometimes specifically mourning garb. If the deceased was someone of social importance, relatives would also be dressed in mourning. For nobles, the whole household shared in this observance. In 1467, at the funeral of Philip the Good, Duke of Burgundy, fifteen hundred black cloths were ordered to clothe the servants of his household, as well as the household of the new Duke so that “one could see nothing but black robes in Bruges”.

Once at the church, the body, whether coffined or not, was laid before the high altar in a hearse, which in medieval times referred to a metal stand or framework, with stands for candles. This was typically covered by a pall. For wealthy people, individual palls could be made, but poorer folk must have made use of the parish pall. These were often provided as a gift from a deceased donor and could even carry the initials or name of the donor. For instance, the Bristol widow Alice Chester gave a black and gold hearse-cloth to be used at parish funerals, on which were the words “Orate pro animabus Henrici Chester et Aliciae uxoris eius” or pray for the souls of Henry Chester and his wife Alice. As Eamon Duffy points out in his study on traditional medieval religion, this strategy allowed the fortunate donor to benefit from the prayers of everyone in the parish at every funeral held.

Once the body was thus arranged, the funeral liturgy could commence. The obsequies normally took two days. Daniell describes the format of the services as

FIAT-IFTA Funeral Heritage Report 2012

follows. On the first day, during the afternoon or evening before the day of burial, an evensong service (Placebo, or Vespers for the dead) was held. An all-night vigil might be held by the clergy. Wealthy individuals also hired poor mourners to keep vigil.

According to Paul Binski, the next morning Matins and Lauds were celebrated together for the deceased, an office known as Dirige, from the opening line of the psalm text, or antiphon used, and from which the English word dirge is derived. Sometimes a mass was then celebrated, but the solemn Requiem Mass was usually celebrated a later in the day, after a pause for breakfast. Clive Burgess notes that these masses were usually sung, although they might only be spoken; the prayers, however, set them apart from the ordinary form of the mass. A sermon might also be given at this time, and preserved for repetition at anniversary celebrations, although, for many, the sermon was probably a generic one such as the homily offered by John Mirk that extolled the “meekness” and obedience of the deceased and explained the meaning behind the funeral rites.

Finally, after all of these services, the body was buried. Little ceremony accompanied the actual inter-

ment, and it is possible that many of the mourners, even those of the immediate family, did not go to the churchyard to witness it. Daniell notes that in many instances, more emphasis seems to have been given to the post-funeral meal than to the actual grave. This lack of concern for where the bones actually rested may seem odd from the perspective of our culture accustomed to individual cemetery plots, but no doubt the attitude stemmed from the medieval pragmatism I have previously mentioned.

In any case, the decayed body would be dug up eventually to make room for a new corpse, so sentiment over the actual site of interment was extremely rare.

Even the privileged few who were fortunate enough to be entombed inside the church were sometimes moved to favor a later burial. Archbishop William Courtney of Canterbury requested that he be buried in the nave of the cathedral church of Exeter at the place where there now lie three deans in a row before the great cross … I wish that those three deans who will be removed because of my burial be interred at some other honourable place …”. Only a few retained a permanent resting place or marker to indicate where their remains might be.

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This then was the ideal pattern for a medieval funeral, though individual funerals obviously varied in their adoption of the rites. The funeral functioned as a transitory rite, beginning a period of heightened remembrance of the deceased, who during this time would dominate much of the thoughts and efforts of those left living. It was during this period of mourning that masses and prayers were most typically requested on behalf of the newly departed soul. Many people considered this the most beneficial time for such suffrage, as it would help the soul escape Purgatory so much the quicker. It was not uncommon for medieval testators to request that numerous masses be said simultaneously in different religious establishments in order to concentrate all efforts at this crucial period. The “trental of St. Gregory,” a group of thirty masses said in thirty days (typically just after death), was very popular and relatively inexpensive as well. However, for those who could afford it, requests for masses in the hundreds, even thousands, were not unusual. In 1506, Henry Rudde asked for one thousand masses to be celebrated for his soul “as shortly as my executors can cause them to be sung”. Looking at another instance, in 1494, John Clopton appointed fifty marks to pay for two thousand masses within a month after his death.

Many other examples could be cited.

While no absolute time limit existed for this period of heightened memory, most of this activity took place during the first thirty days after death, a period sometimes called “the month’s mind”. At the close of the month, a new funeral feast was frequently celebrated, sometimes even more splendidly than the first. The two funeral celebrations thus formed a sort of bracket of remembrance, after which mourning could cease and life could go on as normal. But not all commemorations ceased. Many a medieval person anxiously provided means for refreshing the minds of the family and community they left behind so that this gradual transition, from remembered dead to anonymous member of the community, would stop at the first and most poignant stage. Anniversary services, also called obits, were common.

As the name implies, they were held once a year on the date of death (or funeral), although they could be more flexible in the selection of date in order not

to conflict with major ecclesiastical holidays (such as Easter or the Ascension) during which funeral services were normally suspended. To prevent any such conflicts, patrons could select a specific date.

For example, John Cropley of Bury St. Edmunds, in his will of 1506, selected April 16 as his yearly date of remembrance. Some anniversaries could be celebrated more than once in a year. Many were “perpetual.” That is, they were to be celebrated until the end of time, or, more practically speaking, until funds ran out.

The anniversary involved an exact replication of the funeral prayers and masses held in the church at the original funeral, frequently with the presence of the hearse, pall, candles and mourners—in short, everything but the body. However, as the body was seldom a visible part of the funeral to begin with, the form of the service was virtually indistinguishable from a “real” funeral. The anniversary service was made as poignant as possible: criers were hired anew to announce the anniversary, alms were given out again, bells were rung, and the clergy kept vigil.

One 1559 testator stated that his anniversary was to be held “with no less ceremony, except that there will only be six torches weighing a pound and a half each”—an interesting touch of thrift. While many testators simply left the matter in the hands of their executors, specifying that anniversaries should be continued from a general pool of funds until the money ran out, others noted detail the amounts of money to be paid for each item—the fee of the clergy, the cost of the wax, and so on—and from what portion of their estate these anniversary funerals were to be paid and for how long. Time periods ranged from one year to three or even forty, years, while a few were “in perpetuity.”

Even the funeral procession could be duplicated, at least in part. Clergy were enjoined to visit and cense the tomb (at least when the burial site was known) as part of the reenacted funeral service.

Here the tomb substituted for the body, as it was common to place a pall over the tomb, light candles, and sing a mass nearby. For the most privileged, this substitute of tomb for body often included an actual effigy. Indeed, effigies were used at the high-

FIAT-IFTA Funeral Heritage Report 2012

est level of society even during wakes and funerals for rulers. This occurred when the body itself could not be displayed for fear of spoiling. It was also done in order to show the image of rulership publicly, a practice observed both in France and in England from at least the fourteenth century on.

The substitution of an effigy for a corpse was also well known to medieval audiences through Easter dramas. From the mid-fourteenth century on, many churches constructed physical Easter sepulchers, or Holy Graves, in which an effigy of Christ’s body lay.

Both body and tomb were sculpted in stone, and were surrounded with other images (sculpted in relief or freestanding) of soldiers, angels, and holy women. The sepulcher was typically located in the nave of the church. On Good Friday a cross or the Host was brought to this tomb, covered with a cloth representing the burial cerements in which Christ’s body was wrapped, and ritually “buried.” On Easter Sunday before Matins, the cross was surreptitiously removed so that the clerical actors could play their part more convincingly, not only by announcing to the gathered congregation that “He is not here,” but by lifting the cloth to reveal the “empty” tomb. The reenactment of Christ’s death and burial, with its attendant message of resurrection, has its parallel in the commemoration of contemporary laity. It is probably no coincidence that the popularity of Easter sepulchers—and the widespread adoption of Easter sepulchers with effigies—rose at the same time as did the frequency of anniversary rituals and requests. Both were intensely dramatic expressions of remembrance and hope. Indeed, some lay folk deliberately combined the rituals of Easter with anniversary rites, choosing an annual remembrance day near Easter time. Others asked for burial near their church’s Easter sepulcher, or even created a personal tomb that served double duty as the church’s own permanent sepulcher monument. To cite one instance, in 1496, John Pympe of Nettlestead, Kent, asked that he be buried before the image of our blessed Lady where as the Sepulchre of Our Lord is wont to stand at the feast of Easter, and my body is to be laid there in a tomb of stone, made under such form that the Blessed Sacrament and the Holy Cross may be laid upon the stone of the said tomb in manner of Sepulchre at the feast abovesaid”. In this in-

stance, the conversion of the patron’s personal tomb into an Easter sepulcher blends personal and public, spectacle and art, liturgy and commemoration.

Pympe’s Easter sepulcher is but one instance of a desire, common in medieval times, to connect the dead with the community memory of the living.

Though anniversary services could be performed by religious houses, especially the Franciscans and Dominicans, burials and funerals were usually held within one’s home parish. This was true even for the wealthy urbanites who had their pick of burial site. A very narrow percentage of the elite could, of course, found a chantry, collegial church, or even monastic institution to ensure that the grateful religious would pray for them continually. Even among monastics, however, the dead hazarded the risk of being forgotten. Margaret, a widow in Strasbourg in 1323, left a testament indicating that one had to be cautious. In her donation of money to the Dominicans, given in exchange for prayers to be said for her parents, she prudently adds, “should the prayers not be said, then the money will be given instead to the building fund for the cathedral”. Clearly, safeguards were necessary, and a busy and popular order such as the Dominicans was liable to forget a dead donor or two.

On the other hand, though the neighbors and kin who remembered the deceased from life had an emotional investment in their deliverance from Purgatory, these emotions needed stirring. Through ritual and spectacle, grief could be reawakened in order to spur the living into diligence on behalf of the dead. Of all the techniques employed during the Middle Ages to stave off the erosion of forgetfulness, invoking the supreme moment of loss was perhaps the most effective. The funeral recreation therefore was much more than a macabre lingering on death.

On the contrary, it was an affirmation of continued existence in memory.

Charlotte Stanford,

Brigham Young University, Department of Humanities, Provo UT, USA

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HISTORY OF CREMATION 16

IN FRANCE Over the ages, Men have always been concerned by their own death. The funeral rites were created to help crossing the step toward beyond. These rites are quite numerous; they are based on the customs of the society, which are changing due to the mentalities, the way of life, the culture and the beliefs that are changing with the society. What to do with the body ? Would it be necessary to keep it in good condition to be able to reach the resurrection? Like in the Catholic, Moslem or Jewish culture.Would it be better to destroy the body to allow the soul to quit it and go free to heaven? Like for the Asian religions.

Our European civilisation is issued of various antiques civilisations: Egyptians, Greeks, Romans and Gauls used to bury or to cremate the bodies. Even some pottery vessels were found in Neolithic graves.

In Roman times the practice of cremation lasted until the first centuries AD, it was the norm. The Roman urns were made of clay or glass. The urns were put in funeral monuments, with jewels, offerings and value items that the deceased owned. The famous funeral

monuments built along via Appia in Rome by patrician families, used to contain urns. The monuments’ architecture was quite significant; they were decorated with various statues.

Those who couldn’t afford such a monument were buried in columbaria. Regarding the Greeks and the Romans, only the rich people could afford buying enough wood for cremation. After 4th century the cremation was no more used, the Romans preferring interments.

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Cemeter y Père Lachaise

FIAT-IFTA Funeral Heritage Report 2012

The early ages in France

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People living in this country at the early ages were the Gauls. They used to choose either cremation or interment. In a recently found Gaul cemetery close to Paris (Bobigny), it was possible to see graves with skeleton and some other with urns. Talking with the archaeologists, they said that, as of today, we don’t know the reason why some of them where cremated, was it a choice? was it a tribute to a warrior?

Was it only dedicated to noble families?

Urns fields were found in many places in France, dated either the period of the Gauls, or of the Roman time “ Gallo Romains”.

Cremation at the beginning of the Christian era Thinking that cremation was a pagan practice, the Catholic Church recommended to prefer interments, saying that Jesus Christ’s body was laid in a grave. In 789, king Charlemagne forbade cremation in his territories. Since that time, cremation was banned for the Christians, and over the centuries, the deceased people who choose cremation were not allowed to receive a funeral service at church; and were neither allowed to be buried in a catholic cemetery.

Then followed a long period of time without any cremation.

Cremation in XIXth century.At the end of the 19th century, cremation went to a renewal, with the development of freethinkers as well as an anti religious trend. Then raised a strong movement all over Europe or personalities asking for cremation. In response to this increasing demand, the new cremator furnaces were invented.

First of the French Revolutionary tried to foster cremation, as well as all over Europe

many people were thinking about finding a way to cremate the bodies. In Italy Professor Brunetti presented a new cremator furnace at the Vienna Exhibition in 1873. Sir Henry Henry Thompson, Queen Victoria’s surgeon was strongly interested in this practice, and in 1878 Woking crematorium opened close to Brookwood cemetery the largest of Great Britain.

In France, in 1887 a new law on Liberty of Funerals was voted which allowed to French citizen to be cremated with 1889 decree.

The first crematorium was built in the PèreLachaise cemetery designed by the architect Jean-Camille Formigé, opened January 1889.

This monument, now listed historical monument, is well known of the Parisians, and for many years they didn’t want to go to any other crematorium, “Le Crématorium du Père-Lachaise”, was a reference.

At that time, The Catholic Church refused funeral ceremony in church for those who chose cremation. In consequence of this position, the cremation was asked and promoted by freethinkers, free masons and those who were against the Catholic religion. Cremation was often chosen as a kind of rebellion against the rule of the conformist society.“Well thinking” people were reluctant to attend a funeral ceremony in a crematorium. This state of mind lasted until Council Vatican II in 1963.Before Vatican II, the cremation rate in France was therefore very low, (close to nil).

Growth of cremation in France The Protestant Churches never forbade cremation; therefore this practice grew much quicker in Protestant countries against Catholic ones like France.After The Vatican II Council in 1963 Catholic Church reluctantly allowed cremation, but after so many years prohibition the

FIAT-IFTA Funeral Heritage Report 2012

minds changed in a very slow way. For many years after, the French society was mixed between the previous state of mind saying that it was a non-Catholic practice and the many Catholics wanting to have access to religious funeral with cremation.

The development of Cremation in France The religion in France is Catholicism; therefore cremation was not developed in this country until the 1960 years. During the last 20 years the cremation rate grew considerably until about 30 % nowadays. This rate will reach 50 % in some decades. There are now 140 crematoria in France.

The ashes since December 2008 are now recognised have the same status as the human body.

Disposal of ashes.

Cremation is a rather new practice in France, the funeral rites changed accordingly.

The cities have now to build a columbarium of a space for the burial of urns in the cemetery.

It is also forbidden to keep the urns in a private home. The ashes must be:Scattered in a cemetery, or in a free ground out of any private property.Buried in a columbarium, in a grave, in special grave for the urns, or fixed on a monument.

Now the Catholic Church allows cremation that is no more considered as an act of paganism, however the Jewish and the Muslim are significant in the country will still refuse to be cremated.

Muriel Perrin-Ghys

General Delegate of the Association: Les Amis du MusĂŠe FunĂŠraire National, Paris

Left: Roman Urns

FIAT-IFTA Funeral Heritage Report 2012

Right: Père Lachaise

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V IENNA

FUNERAL MUSEUM DEATH WITH A TOUCH OF CHARM

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Vienna is different. The advertising slogan of a city that loves the unusual and whose statement holds true until the topic of death comes into play. There are those that claim the whole city is one big open-air museum and poets even go so far as to say that a “real” Wiener is born as a museum piece. If we then go on to speak of literature and music, they say the Viennese have a very special relationship with death and dying.

Then of course, it is only natural to pose the question whether it is the people of Vienna (who have created a colorful multicultural mosaic since the imperial and royal era) or simply the city itself who can boast a special relationship to death and dying.

On the other hand, the popular phrase “schönen Leich” (beautiful funeral) has long gone from myth to reality. It’s no surprise therefore, that this is the city in which you can find the first museum of funerary cult and burial services (located in Bestattung Wien’s headquarters), where one can embark on a journey of time through burial rituals, bringing the visitor closer to a highly taboo topic.

The museum offers a wide range of evolutionary highlights, imperial treasures and peculiar rarities.

The world’s first museum of its kind The origins date back to the time of urbanization. In 1907, under the reign of mayor Karl Lueger, „Gemeinde Wien – Städtische Leichenbestattung“ was launched. This was a service where funeral services would be provided by the City of Vienna. Only 3 years later. Lueger passed away and was given his own “schöne Leich” by this newly formed company. The 87 existing private funeral homes had to be readmitted over the course of several decades,

FIAT-IFTA Funeral Heritage Report 2012

including the entire inventory, which eventually led to the birth of the museum: a collection of historically valuable objects, which was planned primarily for internal training purposes. The exceptional nature of the exhibits could not be withheld from the public and therefore in 1967, the world’s first museum of funeral services and funerary cult opened its doors to the public in Vienna. In 1987, the museum was completely re-designed to what it is today.

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Going out in style Throughout the entire museum, the “schöne Leich” is intentionally the common theme and attracts visitors of all kinds, for e.g. tourists, schools, universities, technical specialists, Goths and voyeurs. They all come to be a part of a socio-cultural phenomenon in Vienna.

This theme represents all those extraordinary and mundane funerals that were called to life by an ever increasing wealthy population in the last decades of the 19th century and who wanted to turn the funeral industry into something theatrical.

By imitating the grand aristocratic funerals of the Baroque era, this new generation of wealth was able to present themselves in the best possible light for a final time. The deceased’s body was staged to perfection, giving the funeral ceremony the character of a grand event. No wonder that residents would take a day off work to witness such a “schöne Leich”.

From “Entreprise des Pompes Funèbres”, the first privately owned funeral home who made all this possible, the endearing Viennese expression “Pompfüneberer” emerged.

An icon figure in uniform ornamented with typical two-pointed hat. Funeral processions from the house of mourning across the entire city equaled the dramatics of a play, often as a replica of the “Spanish court etiquette”; all

very noble and pomp. Activities were especially exciting if the deceased came from a house of dynasty.

Zita’s nostalgic imperial and royal pomp Those who were fortunate enough to have an apartment in the city, never failed to advertise their large windows for viewing the spectacular events. Similar to the theatre or the opera, they were rented as a VIP loge. Appropriate mourning apparel was available for rent in exclusive “mourning boutiques”.

The last time such an event was staged in Vienna was in 1989 when Austria’s last empress, Zita, died. This was a challenge for the funeral industry and a major event with media attention from around the world. Days of farewell celebrations for commoners and aristocrats, thousands of entries in the book of condolences, a colourful sea of flowers and garlands. Viewing windows were sold at horrendous prices and the tourist industry reacted accordingly. There were far more visitors on that occasion than for the European Football Championships in 2008. After a solemn requiem in the cathedral an “imperial and royal” pomp mourning procession made their way across the city and a “pompe funèbre” for the guests of honour, i.e. the so-called “commoners”, was staged as Zita had wished. The hearse, a historical carriage, which had already served Emperor Joseph I, was chosen for Zita’s final journey. Naturally, the uniform of the coachman came from the museum depot.

P.S. The traditional “tripartition”, which applied to family members of the Habsburger reign, was somewhat reduced. The heart of her Majesty is buried in the new family tomb in the monastery of Muri in Switzerland, and the rest of Her remains here in Vienna.

FIAT-IFTA Funeral Heritage Report 2012

Falco’s last rock show 55 years old, 14 years dead and still very much alive – global superstar Falco, a Viennese phenomenon. At his funeral, musical rock friends from the early days were on hand, the Motorcycle Club “MC Austria Outsiders” with shaved heads, bushy beards and head bands turned up in jeans and leather. His pallbearers carried him in a mahogany coffin, covered with that red ermine robe à la King Ludwig II, which he loved using in his music videos. The music industry invited all fans to the final event, which was even named after one of Falco’s most famous songs: “Out of the dark, (into the light)”. Falco’s grave boasts perhaps one of the most unusual grave monuments of all time: a transparent glass CD, three meters in diameter and in the middle, the master himself depicted as Batman and surrounded by angels. Love letters and gifts are left there and his resting place in Vienna’s Central Cemetery has long been a place of pilgrimage.

What did Helmut Qualtinger, prototype of the Viennese folk literature, so aptly say? “In Vienna you need to die first before you’re celebrated, but then you live long.” Cult figure and artist Falco was paraded into immortality.

And especially people in the public eye, look at their funeral as their last - sometimes even their greatest - show.

The final dwelling for eternity Coffins have always been in season in Vienna, looked upon as luxurious “wooden pajamas” for a long sleep. Coffins looked upon ethnologically as the all-important vehicle for the journey to the afterlife and in contrast defined in the Western world according to the guidelines for the simplest “decomposition”, or even just as suitable furniture for a tomb: luxury models with adjustable interior lighting, coffin keys in velvet boxes to lock things up and elaborate

decorative coffins.

An emblem of the mourners at the grave and an urn decorated with a broken pillar situated under the hanging branches of a weeping willow became the central theme. Specialised companies popped up with their massive books of samples of figurines ranging from still art to almost kitsch, whereby the message was still there: rest peacefully, sleep well and farewell!

With very little money, the cheapest of coffins was turned into truly magnificent boxes and the illusion of an expensive “schöne Leich” was now affordable for the low-income population.

The deceased members of the “Imperial House Austria” were given overloaded zinc sarcophagi in their own private burial ground, Imperial Crypt, decorated with crowned skulls, insignia or tributes from the past in baroque exuberance. A total contrast to Joseph II, Maria Theresa’s eldest son, who was buried in the simplest copper coffin, drawing attention to the essence of his reformation model. He put an abrupt stop to pompous funerals, shocked the entire city, but eventually lost to tradition.

He started the practice of shaft graves, of communal graves with up to six deceased on top of each other, where even the likes of Wolfgang Amadeus Mozart is buried in the Victorian cemetery of St. Marx.

In his court decree of 1784, the clever emperor ruled that the so-called “Josephine community coffin” be used. The coffin had an opening at the bottom, which made it possible to let the deceased, who was wrapped in nothing but a burlap bag, to be dropped to the earth, and then sprinkled with lime in the hope that the hope that the body would decompose faster and the plot could be used sooner rather than later. The coffin was closed up after each burial and could be used over and over again free of charge. The storms of protest followed quickly

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and barely a year later, the emperor succumbed to the protests and revoked his imperial decree.

The rich returned to their “schöne Leich”.

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Bizarre possibilities for the transportation of the coffins were considered. In addition to special trams and a parlour car of the Austrian Railway Company (used, by the way, for moving the body of the murdered Empress Elizabeth (lovingly known as Kaiserin Sissi) from Geneva back to Vienna), a “pneumatic” body transporter resembling an enlarged tube mail container, was to be used to move the bodies to the Central Cemetery in Vienna. The proposed project never reached fruition for reasons of piety.

Cremations and urns are far less popular in Vienna; possibly only because urns were simply perceived as too small and insignificant for the theatrical concept of the “schöne Leich.” In addition, it might also hold true that this has to do with the so-called “transformation problem”. Some have trouble imagining a beloved friend, 190 cm tall, in such a small container.

The idea of remembrance seems to lose its meaning.

The emergency alarm clock of the local Währinger cemetery in Vienna came to fame because of the hysteria. The deceased, who was laid out twice for 24 hours in an open postmortem room in the morgue, was “armed” with a cord around his/her wrist that was connected by a rope to the alarm clock in the home of the gravedigger and triggered the alarm at the slightest movement. In 1874, after the opening of Vienna’s Central Cemetery, this concept was changed to an electromagnetic solution and could be used for several bodies simultaneously.

In contrast to such costly and complicated structures, there was a need for a simpler alternative. One could specify in your last will that the doctor who issues your death certificate, could perform a so-called “cardiac puncture”. This spontaneously reminds us of vampire movies and in practice works in a very similar way. The double-edged blade of the stiletto, 19 cm long, pierced the heart – a foolproof method. Among the long list of those who chose this option, we find famous people such as Arthur Schnitzler, the writer, himself a medical practitioner.

200 years of hysteria

Dead and yet alive

The nightmare of being buried alive is one of humanity’s most primal fears and dates back to 19th century Europe. At that time, a true mass hysteria developed that could be found across all social classes. At the same time the topic had been hyped by journalistic sensationalising. But to this day the underlying fear is still there, which is reminiscent of films such as Edgar Allen Poe’s “Buried Alive”, combined with the tiniest hope of being able to push death back just a little bit more. Good criteria for developing the most unusual rescue efforts.

A flock of inventors emerged to create devices that can be classified from real usefulness to remarkably bizarre to strange.

Albin Mutterer, a pioneer in innovative photography, expanded his artistic scope of work with a brilliant idea. With his motto “dead as alive and this in appropriate similarity,” a niche was filled. The deceased were presented in the right light one final time. At the same time, the oddity of the first “body studio” was realized, definitely with an artistic touch. In 1854 the famous death portrait of Dr. Petrus, was taken - true to life. What was impressive was the fact that Mutterer was able to seat the body, which was already in a state of postmortem rigidity, into a natural position in an armchair in order to take the photo. The photo was re-touched so that the eyes of the deceased were sketched

FIAT-IFTA Funeral Heritage Report 2012

appropriately to make them look natural.

Hence, the deceased was brought back to life one last time. The only difficulty was getting the deceased to the studio. In typical Viennese fashion, this was simply done publicly. Together with other passengers, the deceased was put into a horse-drawn carriage in an upright sitting position and driven to the studio across Vienna. It was only years later that this was forbidden for hygienic reasons.

Vienna art goes funeral In 2001, the most extraordinary art project to date emerged as homage to the surrealist painter Rene Magritte: the “seating coffin”.

The pioneer of Surrealism was looking for a new idea with new formats and simply painted a seating coffin in rectangular form onto classicistic painting (the period before). His intention was to dispose of a historical period in art. For a funeral exhibition, which takes place every few years, the idea was taken up again by a coffin manufacturer and his painting “Madame Recamier” was transformed into a three-dimensional art form and manufactured in-house.

A museum in tune with the times Since 2003, the Funeral Museum is an independent branch of the Bestattung Wien. In its “new” role as a private funeral home, the museum enhanced the image for the company as well as for the preservation of funeral heritage and culture. The original concept of “edutainment”, the combination of education and entertainment provides a playful access to knowledge through curatorial tours.

Educational programs and special activities for schools, universities and professional institutions are offered continuously.

In addition to the museum collection, an archive of documents and obituaries, a specialized library, restoration workshop and a shop to take a small piece of museum home as a souvenir - even as a joke a cigarette pack with the inscription: “Smoking protects jobs – Bestattung Wien” are all part of the concept.

The ever increasing public interest, press and media attention, and several special events have already made the funeral museum a cultural hub of international funerals. The past, the present and the future which has already begun are united. The annual participation in the Night of Museums is a hot tip and already ranks first in the unusual museums in Vienna.

The days of finding the museum in its original location, the former private funeral home “Entreprise des Pompes Funèbres” are however numbered. In 2013, the museum will re-locate to the Vienna Central Cemetery, underground, making it the “Largest Tomb of Vienna”.

Mag Wittigo Dr. Keller,

Cultural anthropologist, visual artist 1987 Concept and design Funeral Museum Vienna 2001 Concept and production of the “seating coffin” Since 2003, curator, educator and museum conservator of the Museum

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RITUALS TO REMEMBER 26

BARRILETES OF GUATEMALA AND LAS ÑATITAS OF BOLIVIA Since the beginning of times, man’s quest to understand mortality has been an important fragment in the philosophy of every civilization. There are amazing similarities around our planet when we analyze the different customs surrounding “death” in each of these societies. Latin America is no exception to this pattern, showing peculiarities that coincide from north to south, in the profound respect for the departed. To fully comprehend the origin of certain phenomenon like the “Barriletes” of Guatemala or “Las Ñatitas” of Bolivia, an overview of the perception of death in pre-hispanic civilizations is necessary.

In Central America, for example, death rituals were an important part of the Maya religion, which differentiated in the traditions to commemorate the recently departed, and the long departed ancestors.

The Maya dead were laid to rest with maize and jade in their mouth, this was a symbol of rebirth and it was the food and currency needed for their journey to the otherworld. Bodies were carefully wrapped in cotton mantles and the burial site itself was oriented towards the north or west, the direction of the Maya heavens. Burial practices changed over the course of time: from simple burials in flexed positions, to the construction of vaulted tombs or the large burial complexes like the funerary pyramids of nine

stepped platforms symbolizing the nine layers of the underworld or the temples constructed with thirteen vaults to symbolize the levels of the heavens of the Maya cosmology or the cremation practices during the post classic period.

Andean Region Further south, in the Andean region of the continent, the physical and spiritual care of the deceased was also of vital importance. Mummification was a common practice; the body was treated with abundant attention and devotion. Life in the other world

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FIAT-IFTA Funeral Heritage Report 2012

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FIAT-IFTA Funeral Heritage Report 2012

was transcendental; here there are two dimensions of life: life at the physical level and life in the space of the dead. The departed were prudently cherished, food and all the necessary utensils of daily life were put in graves to aid in their continuing path to the otherworld. Life and death are part of the same cycle, without one the other does not exist.

Upon the arrival of the Spanish or Portuguese to the continent, came the clash of cultures, ancient beliefs of the role of death, notions of the afterlife or celebrations intertwined with the religion and perception of the conquerors, fusing into an array of rites seen until today.

In this context it is easier to understand how the Catholic dates for remembering All Saints and the Faithfully Deceased on November 1st and 2nd, are celebrated together as the return of the souls of all those departed. In most countries in the continent these festivities are not only on those specific dates but may extend to the whole month. The time frame becomes important for it will implicate the agricultural cycle, in which the preparation of the land begins and ends with the first harvested crops, which according to most of the regions perspective is also accomplished with the support of the dead.

The eating, drinking, visiting, painting, praying,.. for the departed becomes a carnival of colors and profound feelings of continuing care to show that oblivion shall not overcome.

With these circumstances, the skies of Sacatequepez or Sumanpango in Guatemala become witnesses of the huge “barriletes” (kites) that were meticulously prepared and carefully adorned, as the proper manifestation of jubilee of the departed. For the k’aq’chikels in Guatemala, as part of the idiosyncrasy of the pre Hispanic world, the Death Gods like “Xibalba” needed a time to be in harmony with the Gods representing de Heart of Heaven and Sky. This is the ambiance so that the departed may participate in this festivity during these two days of November, every time a “barrillete” soars in the skies it is believed that there is a message delivered to the Gods and it is way for the departed to visit their loved ones. When the ritual ends, “barriletes” are burned so that the departed may return peacefully

to their dwelling. People believe that if they do not burn the kites, the departed may cause damage to the harvests and animals.

Highlands of Bolivia In the highlands of Bolivia, lies another traditional feast, human skulls, “Las Ñatitas”, are adorned with flowers and are taken to cemeteries and churches to be blessed. There is no precise data for the origin of the “ñatitas”, other than that they originated during pre-Columbian times. The skulls deeply related with the soul or “ajayu” for the Aymara people, according to Andean concepts – the body’s death is not necessarily related to the death of the spirit of the deceased. It is in this context that the “ñatitas” represent Andean deities, to whom favors are solicited, some are named according to their origin and others are given pseudonyms”.

The material for a anthropological and historic research is extensive, in the quest to fully understand these traditions and rituals. But the importance of preservation remains the paramount endeavor, in the desire that all efforts are conducive to the collective protection and preservation of this patrimony.

We are certain that access and sharing this research material, is a positive way to raise awareness in the subject of cultural heritage safeguarding.

Teresa Saavedra, President ALPAR Medellin, Colombia

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COLLECTION

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HORSE-DRAWN HEARSES BARCELONA MUSEU DE CAROSSES FÚNEBRES

The Barcelona Museum of Horse-Drawn Hearses houses one of the most important collections of funeral carriages and pieces in the world. The exhibited objects will take you on a 100-year journey through the history of funeral services in the city of Barcelona and an analysis of how customs have changed over the course of the past century.

The collection was created thanks to the initiative of Mr Cristobol Torras, director of Pompas Fúnebres in Barcelona. At the end of the seventies, the Barcelona City Council remodelled the city’s facilities for funeral homes and, during this process, the need was outlined to conserve a heritage that, through disuse, ran the risk of disappearing. This is how this museum came to open its doors in 1970, not only with plans to showcase material heritage, but also with the hope to become a part of the city’s historic memory.

The collection is comprised of 13 horse-drawn hearses, 6 accompanying vehicles for family members, 3 vintage motor cars, a wide range of different objects used in funeral processions, as

well as the apparel worn by Pompas Fúnebres employees in these corteges. There are also numerous period photographs and the carriages rest on authentic paving stones that covered the streets of Barcelona in the past, which aid in contextualising the pieces that are part of the exhibition. There are several things that make the Collection of Horse-Drawn Hearses of Barcelona truly unique. Firstly, the fact that all the different types of funeral services offered in those years are represented: from the hearses used in charity services to those available to the most elite and wealthy families. Secondly, the rich symbology with which the hearses are adorned highlight the importance granted to all aspects surrounding death in the past.

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FIAT-IFTA Funeral Heritage Report 2012

Gothic Hearse

Among the set of hearses on exhibit, the ones that will understandably catch visitors’ eyes first are the largest ones. These include the ‘Gothic’ hearse, of a rich purple colour and with ornamentations that could be seen in a Gothic church. This carriage was especially popular among the Barcelona bourgeoisie at the beginning of the 20th century, as part of its sobriety and elegance included an accent on the religious nature of the funeral retinue.

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Gran Dumond Hearse

The style of the ‘Gran Dumond’ is quite different, one of the most luxurious hearses exhibited, striking because of the stunning contrast between black and gold, the profusion of decorative elements and the fact that the coffin was displayed without any type of glass barrier isolating it from the outside world. This carriage’s luxury is also seen in the fact that there was no driver, but it was instead driven by three horsemen who led the deceased to his final resting place.

Angelica Hearse

The hearse known as ‘Angelica’ has a special feature that sets it apart from other luxury hearses. It is the only one restricted to bearing a specific type of person: this carriage only transported the coffins of children and single women. Hence its white colour, a colour associated with purity and innocence.

Imperial Hearse

Lastly, we must point out the ‘Imperial’ among those deemed high category. This hearse stands out above all due to its glass bevelled roof, through which the sunlight shone directly on the coffin, imbuing it with an eerily surreal appearance. It is also the only one to ever leave museum facilities to participate in an actual

funeral service. In 1986, it was transferred to Madrid in order to transport the body of the city’s mayor, Mr Enrique Tierno Galván.

In addition to these luxurious carriages, the collection has another nine hearses, which were most often used by normal citizens.

They are smaller-sized vehicles, reflecting more modest decorations both in quality and quantity, which also highlights the great social stratification present in this era. Among all of them, the one used in charity services may be most striking. This simple and sober hearse has very rudimentary accoutrements, yet also possesses the dignity that every person deserves in their last journey in this world. You can recognise the purpose of the carriage by the angels flanking the columns that support the roof.

They have outstretched hands, a gesture similar to the gesture made by the impoverished as they beg for alms at church doors.

Symbology

The funeral symbology that appears on all the collection’s hearses merits special mention.

Over the course of the years and with service standardisation, the real function of the decorative elements that were always present on funeral processions may be unknown. Their usage often dates back to the Greco-Roman era or even more ancient times.

One example of this is the use of thistle flowers on hearses. This custom originates in Celtic culture and was believed to be a symbol of sunlight, illuminating the darkness and driving away evil spirits. The Celtic culture gives way to Roman days, where you can find funeral steles from Mediterranean necropolises that were then incorporated by the Christian world.

Lilies are another symbol you will see on many horse-drawn hearses, particularly on those designed for transporting children and single women. Lilies have symbolised purity and in-

FIAT-IFTA Funeral Heritage Report 2012

nocence since the Middle Ages, appearing in pictorial works describing the Annunciation of the Virgin Mary. Another plant that appears on some hearses is the acanthus leaf. This design was used by Greeks and Romans to pay homage to important persons and acknowledged the efforts taken in particularly difficult undertakings. In the collection, this leaf scroll pattern is seen on the Gothic and Imperial hearses.

The hourglass symbol, framed by two wings and two scythes, symbolises the speed with which time passes and thus reminds us that we should use the short years well that we spend in this world because death is always lurking. The presence of the owl on several hearses merits special attention. This animal is associated with mystery, darkness and death.

Hearing their screeches or hoots in the silence

of deep night causes anxiety and disquiet.

In short, the Collection of Horse-Drawn Carriages of Barcelona was created with the purpose of conserving valuable heritage, so that future generations can understand and value the wealth of their ancestors’ funerary rituals. Through the symbology reflected on every item comprising them, you can ponder how funeral culture has evolved over the years and how death’s daily and constant presence wasn’t hidden, but completely the opposite, taking advantage of death to humble and prepare citizens for its advent. In this sense, all the collection’s pieces faithfully fulfil this original goal.

Museu de Carosses Fúnebres

Fernando Sanchez Tulla, Barcelona

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MEMORIAL CONCERTS NOVOSIBIRSK

The team of Novosibirsk Crematorium and Museum of World Funeral Culture has taken up the challenge to revive the tradition of remembering the departed. Over the past two years 10 Memorial Events took place.

The first Memorial concerts gathered up to 100 people, now the recent Memorial Events attracted about 1,000 visitors each.

Music and poetry are able to tell about feelings, comfort in distress and share grief, to enter even a wounded heart and give a drop of joy and relief.

But in addition to therapy of personal, private grief, Memorial Concerts have another important mission - they support, form, strengthen the responsibility of a citizen to honor the memory of past generations.

The idea of ​​the Memorial Concerts received the official support of the Presidential Delegate to the Siberian Federal District.

The 1st of June is International Children’s Day. We found it necessary to commemorate individual persons who did not receive needed protection, those to whom society was indifferent - about the children who died in accidents, the victims of incurable diseases or medical errors, about teenagers ruined by alcohol and drugs.

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FIAT-IFTA Funeral Heritage Report 2012

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FIAT-IFTA Funeral Heritage Report 2012

The 22nd of June - All-Russian Day of Remembrance and Sorrow, the day of the 70th anniversary of the beginning of Great Patriotic War. Veterans, homefront workers, soldiers’ children and youngsters remembered the difficult war and postwar years, commemorated those who gave their lives for Russia.

The first Sunday of autumn, the 4th of September, a traditional Concert is held in Novosibirsk in honor of all cremated at the Novosibirsk Crematorium.

Finally, the World Day of Remembrance

of Road Traffic Victims on the 20th of November 2011 in the Memorial Park of Novosibirsk Crematorium. The event marked the opening of the Funeral Culture Museum of Novosibirsk.

The concerts are accompanied by expressive visual presentations, fireworks in honor of the dead, laser shows on the projection screens. These are the symbols of the current era, but they help to maintain contact between people and departed, to feel gratitude for what they did for our society.

Sergey Jakushin,

Museum Director, Novosibirsk

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MUSEUM OF

FUNERALS

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PROFESSIONAL SHRINE

AND FUNERAL COLLECTION In Hungary the first and only Museum of Funerals has been founded by the Funeral Institution of Budapest (Budapesti Temetkezési Intézet) in 1991for the purpose of collecting, reserving relics in and around the capital, which can be shown to the great public in an appropriate exhibition. The following years this research has extended to the whole country, then to the area of the Carpathians. The Interesting and also unique collection has been visited by tens of thousands of people each year and also attracted the local and foreign researchers.

The Museum stands in the Fiume street shrine garden. This cemetery has been found in the mid XIX. Century and not just has reserved its original function but has become the National Pantheon. Because most of the Hungarian intellectual and elite, important figures from our late history has been laid rest here. The shrine garden also has an art historical value. The untouched Shrines which are rich in architectural details and the Arcades and Mausoleums are the unique examples of the XIX. - And XX. Century shrine art, many well known architect and sculptor, work can be seen here.

The Museum unique collection gives a good picture of the XIII. Century burial and tradition changes. In this ongoing exhibition we have separated the material in to four rooms classifying them in order of country side; city relics and the relics of the Hungarian church.

And there is the last room which has been named “The end of the road” here the visitors can see coffins, coffin lids, urns, and “kopjafát” which is a kind of traditional Hungarian headboard from the pagan times.

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FIAT-IFTA Funeral Heritage Report 2012

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The first room shows the traditions of the country side burials. From different regions of the country we can see all kind of mourning- dresses, and suits the most interesting one from all is the so called “white set” from Csököly. In this small little village in the county Somogy has been preserved the longest tradition of wearing white colour for mourning, this tradition has lasted till the mid nigh teen hundreds. Because of its embroidered patterns and symbols quiet unique the so called “cold sheet” from Nyárád where elements such as the tree of life and the peacock can be seen on the clothing. Here the red colour symbolizes the childhood, yellow the women, blue the man. The three set mourning dress from Tápiószecső is divide the mourning year into three time period. Early, deep mourning when they where black then brawn and by the end of the year a light blue dress been worn by the mourning women’s. A regular Hungarian man especially in the country side some time has not got for himself a mourning-suit. In this case they usually have embroidered some black symbols into the white festive suit collar and cuffs. The country side mourning traditions where weary inward, the cleaning of the lost one to dress it and then to “cry over” it has happened at home. Also the body stayed here till the burial. It was a tradition to stay awake all night with the lost one. In the time of death they use to cover all the mirrors and stop all the clocks so the once left will not try to come back and disturb the living. The lost one have left the house for its last route whit his feet facing de door way. The burial itself was modest, and went according to the religion of the lost one.

Contrary to the country side inward traditions the city folks have organized fancy, kind of “show off” burials where they liked to impress all the relatives, friends and enemies of the

lost one. In the beginning of the XX. Century some city burials become so ostentatious that it attracted the unwanted attention and dislike of the Catholic Church. The coffin carrier carriage had as many horse as important the dead where, always depending on the wealth and social rank of the lost one. The ladies attending the funeral have always dressed up by the latest fashion according to the fashion magazines from Vienna or Paris.

In the second room beside the carriages and the black uniforms worn by the hussars who have accompanied the noble one for its last journey we are showing a photo album form the XX.century most famous burials in the region. Like Count Albert Apponyi or Count Pal Teleky. These burials have attracted hundreds of thousands of people at the time and here the visitors can also see the authentic picture of Budapest. In one of the pictures we can see the funeral of Lieutenant-General Janos Kiss which is quiet unique because the coffin has been accompanied by an armoured knight who was symbolizing the soul of the LieutenantGeneral. This tradition which remind us King Robert Karoly who has lived in the middle Ages and his tradition were last seen in the XVII. Century and also was quiet unique in the mid XX. Century. Governor Lajos Kossuth who was the key figure of the Hungarian reform age has gained a whole separate wall from us where we show all the writhen and photographed documentation of his funeral. The Governor is resting in the country biggest and most famous Crypt in the Fiume street shrine garden.

Our collection includes lots of relics and ceremonial accessories from the church. One of our pride is the so called “forever lasting bouquet” which is wreath made out of thousands of pearls by the nuns for them self. The work takes many years and they use up approximate-

FIAT-IFTA Funeral Heritage Report 2012

ly four; five thousand pearls and silk flowers.

In the same room we can found the praying the ceremonial and the song books and also a nice example of the common traditions the so called “Ida- Wall” which gain in to the museum possession by privet channels, the distant relatives of the Dead. It consist a portrait sculpture a “death mask” and memorial rimes which was standing in the house of the lost one for years helping the relatives to mourn.

In the time of the Classicism the need for a personal portrait has grown there for the numbers to create Death Masks begun to rise. Later on many sculptors have raced to gain access to some of the famous people dead body in the excuse of making the perfect portrait the so called Death Mask. The sample had to be taken not more than a couple of our after the death.

In between the three upper levels and the one ground floor exhibition rooms hanged up “floating” II Josef invention the so called “Plague coffin” which has been designed for multiply uses and its bottom cud be opened.

The idea itself did not come from the need but to help the people and cut the cost of the funerals. The people did not found this helpful but rather kind of unholy and disrespectful so it had to come out of the use. Later on in times of the plague and war has been used, there for its name; plague coffin.

The Ground floor “end of the road” room first part gives home to the “Kopjafak” collection.

These carved wooden relics use to stick right in

to the head of the grave, there for its name. By identifying the different motives and symbols in the wood can be know who lay in the ground, because there is no righting on it otherwise. The interesting coffins and coffin tops are the four which come from the collection of the White Church of Vac. Here where they found hundreds of coffins in a kind of burial chamber behind a wall, during the time of the renovation in 1994. In the coffins they found mummified bodies who were probably the victims of TBC, these body`s intrigue scientist till our days. The willow tree coffin is the last piece of a slowly dying craftsmanship. A talented craftsman can wattle quiet fast a coffin so this has been used not only in the daily life but also in times of wars. Beside all the coffins and sarcophagus we also show a silver shape urn and its parts, and many porcelain urns from the local porcelain factories.

The museum also has an open air section where the visitors can see some old tombstones and also one carved boatman head board.

Beside the ongoing exhibition in the main time we organize periodic art exhibitions conferences and presentations in a separate room.

We also participate in many art exhibitions and festivals and al sort of cultural events.

The original purpose of this museum is to bring people closer to this unique part of our culture and the history of our burials, also to show to the public some artworks which in contents or motives connect the people to the mourning, the passing or the remembering.

Karóly Balogh,

Vice President OTEI, Budapest

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GLASNEVIN

CEMETERY MUSEUM 42

DUBLIN

Glasnevin Cemetery, Ireland’s necropolis, has been burying the dead in a north Dublin suburb since 1832, its 140 acres (around 55ha) now providing a final resting place for more than a million of the city’s and country’s inhabitants. Founded by the great ‘Liberator’ Daniel O’Connell to provide funeral facilities for all creeds and none, its headstones provide a visual backdrop to the history of many of those who guided Ireland’s political, literary and artistic life for the last century and a half. It is owned and run by a committee, now named the Glasnevin Trust, made up of people from various professions and walks of life.

As owners of four further Dublin cemeteries, the Trust is the largest provider of burial facilities in the country, and the prospect of providing an appropriately dignified setting for major national centenary commemorations involving people buried in the cemetery – due to take place during the next decade – prompted the Trust to consider setting up a Museum in a new building which would act as a grand introduction to the burial ground that has recently been greatly enhanced.

For the design of this exciting new venture, the Trust turned to the architectural firm of A & D Wejchert, whose Polish founder, Andrzej Wejchert, made it into what is arguably his finest building but, as it turned out, sadly also his last. The roof of the long, roadside structure tilts dramatically outwards and upwards in cantilevered fashion to pay homage, as it were, to a majestic Wellingtonia tree nearby and, above all, to the 168 foot (almost 50m) high granite Round Tower whose crypt houses the founder’s coffin.

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FIAT-IFTA Funeral Heritage Report 2012

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FIAT-IFTA Funeral Heritage Report 2012

The building has three storeys. The ground floor is the reception area where books and souvenirs seek new owners and where tickets may be bought for the frequent professionallyguided tours of the cemetery. It also houses a café-cum-restaurant, and one of the charming sights on a fine day is to see the public sipping their coffee and munching their cakes at tables outside the building, within a pebble’s throw of graves of people like the famous politician Michael Collins, subject of a recent notable film.

In the new Museum building, a stairs (but also a lift) leads down to the basement, to the accompaniment of a wall bearing a selection of beautifully scribed epitaphs from headstones in the cemetery – in Irish, English and Latin – while a display of small objects behind glass reminds us of the trades and professions of many of the people buried in Glasnevin.

An imaginative presentation tells of how the dead were buried in the days of yore, and how nineteenth-century grave-robbers would have been able to extract newly-interred bodies for the city’s anatomy schools. One small but intriguing section deals with how various religions cope with ideas of death, burial and the afterlife. In addition, a ten-minute video gives a brief overview of the history and attractions of the cemetery, near where some copies of the cemetery’s historically invaluable burial records are on show.

A lift then wafts the visitor up to the top floor, from where a splendid vista of the cemetery can be had through a seamless series of large

glass windows. Here temporary exhibitions are housed and, for a fee, genealogical information is imparted about those buried here. In an adjoining space, an historical exhibition focuses on Daniel O’Connell, and other themes are under consideration for the coming years. One of the most fascinating attractions of the first floor is the ‘Time-Line’, a 10m long digitally-interactive touch screen giving details of the lives and historical links of almost 200 of the most memorable figures buried in the cemetery – all of which comes alive at the touch of your finger, as you look out at the myriad expanse of attractive stone memorials.

Opened less than two years ago at a cost of €11.5m, the Museum lays claim to being the most modern, technologically-advanced and informatively most up-to-date Funerary Museum anywhere in the world, and it is no wonder, then, that it has already garnered many notable awards. Ireland’s Architectural Design and Public Sector Journal voted it the country’s ‘Best Historical and Educational Attraction’, but even more prestigious was winning the Thea Award for Outstanding Achievement from the Themed Entertainment Association in Burbank in California last year. It is also currently under consideration for the prize of the European Museum of the Year Award, and it will hopefully prove to be one of the most impressive event venues for the delegates to the FIAT-IFTA International Conference in Dublin next June.

Prof. Dr. Peter Harbison,

Member, Royal Institute of Architects of Ireland, Dublin

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A LIVING 46

MUSEUM

Isn’t it interesting that only 1% of the work of a Funeral Director involves the dead?

The other 99% is directed towards the living. No surprise then that a Funeral Museum would be a reflection of history, the community, its customs and its dead of course. But most of all a living body of people across the generations linked by this museum and our records.

So much of the past shapes our future. I believe that how we care for our dead is a true reflection of the kind of society we live in. The Bible says that the burial of the dead is a corporate act of mercy and therefore a great honour and although customs, religion and of course people themselves are different, respect is the common denominator across the world.

F A Albin & Sons and its subsidiary Barry Albin & Sons are a museum in themselves. Albins have been in business as undertakers for over 220 years, beginning as wardens of a cemetery in South East London near to Tower Bridge, London Bridge and the banks of the River Thames. The area is steeped in the history of Shakespeare and Dickens, how often is the humble Funeral Director mentioned in those two great authors’ works? So in truth, it is from these routes that our museum has grown and

continues to grow through to the present and beyond.

The museum reflects the funereal times and superstitions of the late Georgian and Victorian eras to the present day, with a large collection of artefacts, books, documentation, newspaper cuttings, photographs, memorial cards, funeral accounts, letters, prints, paintings and much more. Of particular interest are the photographic records and some early film records.

We have a most interesting piece of film from what we believe was the first documentary of a funeral in the late 1950s in which our firm is featured for some 20 minutes covering a complete death and funeral. The museum also houses a BBC tape recording of Arthur and Ernest Albin (brothers) in the early 1950s, talking for 15 minutes about ‘Cockney Funerals’. These two early recordings are regarded by renowned

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FIAT-IFTA Funeral Heritage Report 2012

historian Brian Parsons as the two most important records of that period in existence. The museum has modern media players allowing these to be seen or heard together with many other interviews, films and recordings.

Amongst the museum’s prized possessions are gramophone records (78 speed) featuring Handel’s Death March and many more. These were used on early funerals at Nunhead Metropolis Victorian Cemetery and are still in excellent working order.

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As one enters the funeral home, one is captivated by the living history. As we tour the building, we see the history unfold culminating in the entry to the museum lounge on the first floor. The museum would be a treat to any local history buff, its exhibits are fully collated and recorded and if you pick the right day, you may find me at hand to offer a guided tour.

Visits to the museum are strictly by appointment only. Bookings can be made through email, laura@albins.co.uk, by letter to F A Albin & Sons, 52 Culling Road, London, SE16 2TN, by telephone 020 7237 3637 or via our website www.albins.co.uk.

Now, all that made clear let’s look further at what the living museum can offer. One of our proudest and saddest of duties is to the fallen soldiers who we repatriate from conflicts abroad. There are filmed records of this work, reports, photographs and many souvenirs and presented artefacts. Very moving and emotional moments can be spent in reflection of the young men and women lost in battle.

As we look through our records, you soon begin to realise that they hold the historical mantle of families’ names over the ages. You find the same family names appear again and again like a Parish record of life and death. We see in 1918 the arrival of the dreaded Spanish

flu that ravaged our society, with thousands dying in a few months. How hard it was for the then Funeral Director trying to keep up with demand, yet constantly at risk of catching the dreaded bug themselves. Then the losses of the great wars with generations of young people wiped out at a stroke. Then from the blitz in WWII, the body parts put on the Metropolis Cemetery train in Waterloo Station, going directly to Brookwood Cemetery in Woking, which still has its own cemetery station, where many years back the so called early morning death train would stop and unload. (A book with the Brookwood history is in the museum).

A more recent addition to the film collection is that of the documentary ‘Don’t Drop the Coffin’, a six part documentary made by ITV about the company, aired at primetime and broadcast in many other countries. It was watched by an estimated audience of over 44,000,000 people.

Again it represents part of the modern history of funerals and links with the past. It is so interesting to compare the two films (the early documentary) some forty years on. Of course one is in black and white and one in colour and how documentaries have progressed. The old one has long moments of silence which would never be seen now. The one thing that remains a constant, is the careful handling of the deceased. Remarkable to compare how little the bearing (carrying) of the coffin has changed or indeed how little the dress has changed – still in mourning clothes just the same.

‘Black – the only colour you can’t see through into the spirit world’.

Why was the Victorian mourning colour black and more black? Superstition says that they believed that black was the only colour you could not see through into the spirit world thus acting as a protective blanket between the

FIAT-IFTA Funeral Heritage Report 2012

two spiritual planes. You will see top hats commonly worn by undertakers, the ribbon around the hat would depict the class of funeral – cotton for a pauper, crepe for a costermonger (stall holder) or publican and silk for the gentry.

Now superstition demands the following; If a top hat is raised to you, well that is a clear sign of respect. If however it is simply tipped in your direction, you may well be next (so beware!).

Nowadays, petals falling from the back of the hearse as it leaves the cemetery is seen to be a sure sign that another family death is imminent. The same applies to a bird entering a house – a death will follow.

The Victorians believed that when a body is laid at home after death, all mirrors must be covered and no reflections allowed, opening the door to the spirit world, so white bed sheets would cover all glass.

In Bermondsey, South London, there is a tunnel (Rotherhithe – built by Brunel the great Victorian engineer), that takes you into the East of London. When the cemetery is on the East side, we never take the funeral through the tunnel, but over the bridge. The superstition demands that we might never take anyone underground before their appointed time. Red and white flowers indicate a future disaster, as mixed they represent blood and bandages, and there are many more superstitions still feared and respected today in many quarters.

All sounds very strange you may think, but life is made up of mysteries, superstitions and fear of the unknown. All these strange tales can be looked through at your leisure.

Old nursery rhymes also play their part in life and death. ‘Come into my parlour said the spider to the fly’. Mr Salisbury, the undertaker from Dickens’ tale of Oliver Twist, beckoning

you in with a gleeful grin of financial satisfaction to follow. This is indicative of the stigma portrayed by the old “can’t wait for you to die” undertaker, thankfully no longer seen today!

When you pass by a funeral in the street, even today many children will hold their collar and not let it go until the funeral is well out of sight or you see a four legged animal. That comes from the old saying ‘Hold your collar, never swallow, never catch a fever’. In olden times plagues and fevers were commonplace and infant mortality was very high, so a rhyme was used to pass the bad fortune over. For example the old nursery rhyme ‘Ring a-ring o’ roses, a pocket full of posies, atishoo, atishoo, we all fall down’. This was a rhyme to warn of the plague, the symptoms of which were a red ring-shaped rash, followed by sneezing and death, i.e. we all fall down. I could go on and on but you must come and see for yourself.

There are also some old funeral songs to listen to such as ‘Brown Boots at a Funeral’ (a comedy tale of death), ‘My word you do look queer’ (i.e. not well!), ‘Isn’t it grand boys to be blimmin’ well dead’ (the coffin song for short) and, more up to date, ‘Always look on the bright side of life’ (death) a favourite Monty Python song. All can be enjoyed or feared, whatever your fancy, in the museum lounge. Poems also feature – old and new. So you see this is more than just a factual museum. It is fun and yet often nostalgic and tearful in its contents.

One remarkable true story relates to Louisa who died just a few years ago at the grand old age of 103. Now “nothing much out of the ordinary” you might say until you read the framed memorial cards, newspaper cutting dated 1907 and photo of three little girls, featured at the time of their late mother Helen Mary Ann Hendle’s death. Louisa is shown at the

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FIAT-IFTA Funeral Heritage Report 2012

approximate age of two years with her sisters.

The funeral was conducted by old Grandfather Albin and the cutting tells of the death and the class of funeral those had attended, and wonderful commendations of great satisfaction that was given by the firm. Over a hundred years later, Louisa’s funeral was recalled in the same manner. Her mother had only reached 32 years of age. Who could have expected in those days that Louisa would make it to 103? And yes, great satisfaction as the old term said, was given to Louisa’s family.

We have all heard tales of grave robbers, Birk and Hare being perhaps the most feared perpetrators of this most irreverent of acts. A fresh body would bring a hefty sum from a dishonest doctor desperate to advance their anatomical knowledge. A practice brought to an end by the Anatomy Act of 1832 allowing bodies to be freely donated for medical science. But up to that time, it was far more common for unscrupulous rogues to attack a funeral cortège on its way to a cemetery. The body was fresher, you didn’t have all the hard work of having to dig open the grave and then fill it again to cover your tracks. No, you attacked the hearses and made off with the coffin and body. To this end, the Funeral Director and bearers became early day security guards. The Funeral Director would carry a stick or wand as it was often known, to first ward off evil spirits and secondly fight off any would be body snatchers. Alongside the hearse there could be up to six bearers who all carried truncheons – small wands with metal ornate ends that were again to ward off evil spirits, but could and were used to protect the body.

These sticks (wands) can be seen still today, authentic in the museum and also many photos of such men walking on funerals. When the funeral arrived at the cemetery, the men would

put down the wands and bear (carry) the coffin on their shoulders.

The museum houses many pictures, service sheets, prints, newspaper articles etc., from funerals of the famous. My father would always say that a funeral was the most important event in a person’s life, when they are the centre of everything for a moment. So you could say that everyone is famous at the time of their funeral. But of course there are some, more famous than others. Albins and Albin International have in some way been connected with the funerals of those displayed, by repatriation, conducting, providing cars, service sheets, memorial cards, removal after death etc. From the common man to gentry, royalty, pop and film stars – you name it, over the years we have done it. The museum is a living memory of this. Pictures can be seen all over the museum and of course the staff will be happy to explain or answer any questions. I have not mentioned in this article any specific names because of confidentiality.

I have of course included some pictures of some of the museum pieces and a curator’s directory. I truly hope to welcome guests from around the world in the coming years, but remember visiting is limited and restricted in its times. So you will need to book early. Any Funeral Directors may wish for a funeral home tour or a tour around our two acre Memorial Garden and Cremation cemetery where some of the past owners are buried, our Albin International building, only 100 metres away has 11 spoken languages and Mr Emerson De Luca would be delighted to have our International colleagues visit.

Barry Albin Dyer

F.A. Albin & Sons | Funeral Directors

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JADE MASKS

OF THE MAYAS 52

PINACOTHÈQUE, PARIS The Pinacothèque continues its exploration of Pre-Columbian and Meso-American cultures. Following the success of the exhibition The Inca’s Gold : Origins and Mysteries, the Pinacothèque de Paris is showing the most important archeological discovery of the past decade in Mexico : masks made of jade mosaic. These outstanding masks, entirely restored by the most eminent specialists in Mayan archeology, represent the deities’ faces. Created for the governors of the most prestigious lost Mayan cities, they had the mission to ensure eternal life to these dignitaries after their death.

Part of the funeral masks represent the individualized features of the Mayan leaders. This is the case of the extraordinary mask of King Pakal on which the sovereign’s features are set forever. The masks are shown alongside the rest of the funeral trousseau and comprise necklaces, earrings, pectorals, bracelets, ceramics as well other offerings. Known for its advances in terms of art, writing and science, Mayan culture also left behind superb objects valuable from both an aesthetic as well as a historical perspective. This is the case of the fifteen masks on display at the Pinacothèque, which testify to the know-how of the artists of the era as well as the political and cultural customs of that time. Worn by Mayan leaders during ceremonies, they were also left in the burial chambers of major dignitaries to guarantee them eternal life after death. Inspired by the most emblematic Mayan deities, animals or plants, some masks, such as that of King Pakal, ac-

curately reproduce the features of Mayan leaders.

The meaning of the artifact’s is facilitated by a rich contextual setting : the masks are shown alongside the rest of the funeral trousseau and comprise necklaces, earrings, pectorals, bracelets, ceramics as well other offerings. It is the first time, since their exhumation and their dispersal throughout various museums, that these works are brought together.

Seven tombs of Mayan leaders have thus been reconstituted.

Quite a number of the masks on display also represent divinities from the Mayan pantheon which, like their mythical Inca ancestors, combined human, vegetal and animal features. The masks allowed Mayan dignitaries to assume the deity’s features and thus accomplish his role as a mediator between the earthly and the heavenly spheres.

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Mask of King Pakal

FIAT-IFTA Funeral Heritage Report 2012

CHARTER

of Global Funeral Heritage DEFINITION:

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Global Funeral Heritage consists of the expressions, customs, rituals, sites, buildings, constructions and instruments associated with death, loss and grief.

DECLARATION:

The preservation and protection of Global Funeral Heritage is the responsibility of families, local communities, religious institution and governments.

FIAT-IFTA affirms the importance and significance of Global Funeral Heritage for societies and individuals.

Funeral Heritage Association of FIAT-IFTA’s role is to inform all parties concerned and strives to work with local, national and international institutions to preserve and to protect Global Funeral Heritage for the future of humanity.

OBJECTIVES:

To support and endorse funeral museums and exhibitions worldwide To study and understand Global Funeral Heritage in order to preserve and protect it To promote understanding and appreciation of Global Funeral Heritage To promote publications and studies related to Global Funeral Heritage with respect to local and national concerns.

PRIMARY ACTIONS: 1. To cooperate with the UNESCO World Heritage Centre in order to establish and extend the presence of Funeral Heritage sites on the World Heritage List and to bring in expert knowledge 2. Establishment of the Funeral Heritage Expert Committee 3. Foundation of the Association of Funeral Museums and Collections.

Charter of Global Funeral Heritage (Adopted by the General Assembly of FIAT-IFTA, June 2008, Barcelone)

FIAT-IFTA Funeral Heritage Report 2012

SURVEY of Funeral Museums and Collections 55

AUSTRIA Bestattungsmuseum Wien Goldeggasse 19 1041 Vienna www.bestattungwien.at P.R. OF CHINA Shanghai Funeral Industry Museum Longhua Funeral Home 210 Caoxi Road., Xuhui District Shanghai Shanghai Humanism Memorial Museum Fu Shou Yuan Group No. 600, Lane 7270 Waiqingsong Road 201700 Shanghai FRANCE Musée Funéraire National (Museum to be established) 29, Square Saint Charles 75012 Paris www.museefuneraire.com GERMANY Zentralinstitut und Museum für Sepulkralkultur Weinbergstraße 25–27 D-34117 Kassel www.sepulkralmuseum.de Museum Ohlsdorfer Friedhof Fuhlsbüttler Straße 756 22337 Hamburg www.fof-ohlsdorf.de

FIAT-IFTA Funeral Heritage Report 2012

Survey of Funeral Museums and Collections HUNGARY The Kegyeleti Museum: Piety Museum Fiumei ut. 16.

1086 Budapest www.btirt.hu

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MEXICO Museo de la Muerte Plaza del Estudiante 1 Aguascalientes www.museonacionaldelamuerte.uaa.mx RUSSIA The Museum of World Funeral Culture Voenny Gorodok 96 630530 Kamenka – Novosibirsk SPAIN Museu de Carrosses Fúnebres C Sancho de Avila, 2 08018, Barcelona www.sfbsa.es SWITZERLAND Sammlung Friedhof am Hörnli Hörnliallee 70 CH - 4125 Riehen THE NETHERLANDS Nederlands Uitvaart Museum Tot Zover Kruislaan 124 1097 GA Amsterdam www.totzover.nl UNITED KINGDOM National Funeral Museum (Museum to be established) Victoria House, 10 Woolwich Manor Way, Beckton, London E6 5PA www.tcribb.co.uk The Albin Museum 52 Culling Road London SE16 2TN www.albins.co.uk

FIAT-IFTA Funeral Heritage Report 2012

Survey of Funeral Museums and Collections USA The National Museum of Funeral History 415 Barren Springs Drive Houston, Texas 77090 www.nmfh.org Museum of Funeral Customs (Museum temporarily closed) 1440 Monument Avenue Springfield, Illinois 62702 www.ifda.org

Private Funeral Collections accessible to the public CANADA Écomusée de l’Au-Delà C.P. 365, succ. C Montréal, H2L 4K3 www.ecomuseedelau-dela.net FRANCE Musée des Augustins, Collection Funéraire Gothique 21, Rue de Metz 31000 Toulouse www.augustins.org USA Ferguson Funeral Home Museum 105 Spring Street Scottdale, PA 15683 www.FergusonFunerals.com Herr Funeral Service Memorabilia 501 W. Main St. Collinsville IL www.herrfuneral.com Museum of Funeral Memorabilia Mr. Abb Dickson 168 North McDonough Street Jonesboro, GA 30236 www.popedickson.com

FIAT-IFTA Funeral Heritage Report 2012

IAFM INTERNATIONAL ASSOCIATION OF FUNERAL MUSEUMS

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THE WORLD ORGANIZATION OF FUNERAL OPERATIVES

IAFM INTERNATIONAL ASSOCIATION OF FUNERAL MUSEUMS

At the 9th FIAT-IFTA International Convention 2008, Barcelona Members have established the FIAT-IFTA Heritage Steering Committee. Its mission is formulated in the Charter of Global Funeral Heritage.

The first Heritage Report was published in 2010.

This second Report is realized in collaboration with Members of IAFM – International Association of Funeral Museums. With these publications FIAT-IFTA and IAFM aim to preserve and to safeguard the Global Funeral heritage in joint effort with other organizations and to create awareness.

The editorial staff gratefully thanks all contributors to this edition of FIAT-IFTA Funeral Heritage Report 2012. In particular memorable is the support of the Members of the Funeral Heritage Expert Advisory Committee.

Copyright © 2012 FIAT-IFTA