No trip to Kassel would be complete without a visit to the Museum für Sepulkralkultur (g), a museum devoted to death and burial. There are coffins from around the globe (including simple boxes for Orthodox Jews and gaily-decorated Ghanaian models), hell money and hell cigarettes, Totentanz sculptures, hearses, monuments, embalming kits, memorial portraits, 'death crowns' for children and young unmarried people, monuments, death masks, and art inspired by death, funerals, rebirth, and reincarnation. Outside, there are innovative grave markers designed by contemporary artists. Of course, there are also programs for kids.
There are also the obligatory information-drenched placards describing the origin and nature of European funeral practices. From these you learn that the practice of burying people in individual, marked graves only became uniform in Europe in the last 200 years — before that, most poorer citizens were dumped in mass graves. You also learn that modern German cemeteries are facing a space crisis — they're not running out of it, they often have too much of it, since almost 50% of Germans now choose to be cremated, and those numbers keep growing.
While there, I stocked up on a few back issues of Friedhof und Denkmal: Zeitschrift für Sepulkralkultur (Cemetery and Monument: Journal of Sepulchral Culture). In the 2-2011 issue of this handsome magazine, there is a discussion of the model rules for grave design in Catholic cemeteries that were recently promulgated by the Archbishopric of Cologne:
Basically, the new regulations contain only required dimensions for the grave, as well as bans on some materials that are inappropriate for cemeteries. Completely covered graves are forbidden: the grave-plate can only cover up to one-third of the grave…. [Individual church cemeteries can still] add regulations that servce to express shared religious beliefs. An example is a ban on polished stone, since this prevents natural change in the stone, which itself is an expression of the transitoriness of human life in this world. A ban on snow-white marble and showy (überschwänglich) golden inscriptions serve to prevent excessive ostentation in the religious sense.
The back of the book contains reviews of recent burial-related books, including a 400-page work by Regina Deckers on 'The Testa Velata in Baroque Sculpture' (g) an entire monograph (written at the University of Düsseldorf!) on the motif of figures with veiled heads or faces in funerary sculpture.
Now for some of the odd and delightful things in the museum, hover for info.