Death in the Victorian Era part 11: Sin Eater

Death in the Victorian Era part 11: Sin Eater

A relic from times previous to the Victorian Era, Sin Eaters, carried on a long held tradition that became more refined as the century past. Sin Eaters were men, usually of the lowest socioeconomic status, paid to enter the house of the dead and eat bread and salt from a plate that rested upon the chest of the deceased during the wake period.  It was thought that the Sin Eater, by consuming the food, would take on the sins of the deceased, who had magically transferred their wrong doings into the food that lay upon their chest.
 It was quite common for Sin Eaters, after finishing their meal, to beaten severely by the family,

abused by onlookers and generally treated with disdain by gathered mourners.

 After the Sin Eater left the building, the mourning family would stand on one side of the coffin and hand pieces of “Arvil” cake across the corpse to mourners, the cake wold then be washed down with port or spiced ale, once this ritual was complete; the pallbearers could begin their job.
 Some of the upper class used special ‘mazer’ bowls to place the Sin Eater’s food in upon the body, these bowls were highly decorative, and some were specifically designed well in advance of death, so the deceased could rest assured that he would have the funeral decorations that he deserved, and that showed his social status to the degree he desired. After the funeral, the bowls would become family heirlooms passed down through generations.

 By the end of the Victorian Era, funeral furniture and etiquette’s had begun to change dramatically, and Sin Eaters were close to being forgotten. Funerals now featured small ‘funeral biscuits’, symbolising the earlier ‘Arvil Cakes’. In America these gave way to Funeral Cookies.
 The wealthier elite instead of the lesser ‘funeral biscuit’ had a cake somewhat like a ‘lady finger’. These cakes would be wrapped in paper with a black wax seal, and could be taken home after the funeral to eat.
 The following is a description after a funeral in Yorkshire:

“funeral of the richer sort”: “They had burnt wine and a paper with two [Lady Finger] biscuits sealed up to carry home for their families. The paper in which these biscuits were sealed was printed on one side with a coffin, cross-bones, skulls, hacks, spades, hour-glass, etc… sealed with black wax.”
 
 One of the last Sin Eaters recorded was an unknown man who stood beside the grave of Richard Munslow in Shropshire, England in 1906. After eating bread and drinking ale, said the following words; “I give easement and rest now to thee, dear man. Come not down the lanes or in our meadows. And for thy peace I pawn my own soul. Amen”

 The common folk of many European villages held the belief that sin eaters had mystical powers, not only did they eat the sins of the dead, they could also stop their souls returning as wandering ghosts.

 Sin Eaters were shunned by society, it was the lowest of the low to become one, and in turn, the townsfolk of the villages these poor people would live in, would go out of their way to avoid known Sin Eaters, yet they would call upon them in an instant to eat the sins of their dearly beloved, to gain them passage in to Heaven.

Believe it or not, the practice of Sin Eating survives to this day in some areas of Germany, Romania, Serbia, Croatia and other Balkans nations.

Next Week: Death in the Victorian Era part 12: Frozen Charlotte

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Death in the Victorian Era part 11: Sin Eater

Death in the Victorian Era part 11: Sin Eater

A relic from times previous to the Victorian Era, Sin Eaters carried on a long-held tradition that became more refined as the century past. Sin-Eaters were men, usually of the lowest socioeconomic status, paid to enter the house of the dead and eat bread and salt from a plate that rested upon the chest of the deceased during the wake period.  It was thought that the Sin Eater, by consuming the food would take on the sins of the deceased, who had magically transferred their wrongdoings into the food that lay upon their chest.

 It was quite common for Sin-Eaters, after finishing their meal, to beaten severely by the family, abused by onlookers and generally treated with disdain by gathered mourners.

 After the Sin Eater left the building, the mourning family would stand on one side of the coffin and handpieces of “Arvil” cake across the corpse to mourners, the cake wold then be washed down with port or spiced ale, once this ritual was complete; the pallbearers could begin their job.
 Some of the upper class used special ‘mazer’ bowls to place the Sin Eater’s food in upon the body, these bowls were highly decorative, and some were specifically designed well in advance of death, so the deceased could rest assured that he would have the funeral decorations that he deserved and that showed his social status to the degree he desired. After the funeral, the bowls would become family heirlooms passed down through generations.

 By the end of the Victorian Era, funeral furniture and etiquette’s had begun to change dramatically, and Sin-Eaters were close to being forgotten. Funerals now featured small ‘funeral biscuits’, symbolising the earlier ‘Arvil Cakes’. In America these gave way to Funeral Cookies.

 The wealthier elite instead of the lesser ‘funeral biscuit’ had a cake somewhat like a ‘ladyfinger’. These cakes would be wrapped in paper with a black wax seal and could be taken home after the funeral to eat.
 The following is a description after a funeral in Yorkshire:

“funeral of the richer sort”: “They had burnt wine and a paper with two [Lady Finger] biscuits sealed up to carry home for their families. The paper in which these biscuits were sealed was printed on one side with a coffin, cross-bones, skulls, hacks, spades, hour-glass, etc… sealed with black wax.”
 
 One of the last Sin-Eaters recorded was an unknown man who stood beside the grave of Richard Munslow in Shropshire, England in 1906. After eating bread and drinking ale, said the following words; “I give easement and rest now to thee, dear man. Come not down the lanes or in our meadows. And for thy peace I pawn my own soul. Amen”

 The common folk of many European villages held the belief that sin eaters had mystical powers, not only did they eat the sins of the dead, they could also stop their souls returning as wandering ghosts.

 Sin-Eaters were shunned by society, it was the lowest of the low to become one, and in turn, the townsfolk of the villages these poor people would live in would go out of their way to avoid known Sin-Eaters, yet they would call upon them in an instant to eat the sins of their dearly beloved, to gain them passage in to Heaven.

Believe it or not, the practice of Sin Eating survives to this day in some areas of Germany, Romania, Serbia, Croatia and other Balkans nations.

Next Week: Death in the Victorian Era part 12: Frozen Charlotte

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Death in the Victorian Era part 10: Mourning Cards

Death in the Victorian Era part 10: Mourning Cards

A tradition that has stayed with us from the Victorian Era, although somewhat altered and modernised is the Mourning Card.

Traditionally, Mourning Cards were supplied by the Undertaker. The card was usually printed black and silver on a white background, but depending on the status of the person, they could become quite ornate, with some examples having inset photos.
 Most would feature traditional grief symbology, crosses, a female mourner or one of the many other symbols that reminded the reader of death.

The card featured the name of the deceased, sometimes their birth-date and details about the funeral. They were a standard size of around 3 by 4.5 inches.  On occasion they might be sent out to those who could not attend the funeral, as a reminder of the person, and to remind the viewer to add the recently deceased to their prayers.

 

 As Mourning Cards became ever more popular, their appearance became more intricate, with some containing gold embossing, poems, prayers, artworks or photos of the deceased. Cards belonging to direct family members might’ve also contained a lock of the deceased’s hair or a button from their clothing. The card and the lock of hair would then be presented in the home in a special frame, or sometimes an elaborate mourning card stand

By the 1900’s the cards had become much simpler, and with the modern advent of printing technology, today we see cards that feature photos, prayers, funeral details and so much more in high gloss print, but nothing we do today, comes close to the artistry of the Victorian Era Mourning Card.

Next Week: Death in the Victorian Era part 11: Sin Eaters

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Death in the Victorian Era part 10: Mourning Cards

Death in the Victorian Era part 10: Mourning Cards

A tradition that has stayed with us from the Victorian Era, although somewhat altered and modernised is the Mourning Card.

Traditionally, Mourning Cards were supplied by the Undertaker. The card was usually printed black and silver on a white background, but depending on the status of the person, they could become quite ornate, with some examples having inset photos.
 Most would feature traditional grief symbology crosses, a female mourner or one of the many other symbols that reminded the reader of death.

The card featured the name of the deceased, sometimes their birth-date and details about the funeral. They were a standard size of around 3 by 4.5 inches.  On occasion, they might be sent out to those who could not attend the funeral, as a reminder of the person, and to remind the viewer to add the recently deceased to their prayers.

 

 As Mourning Cards became ever more popular, their appearance became more intricate, with some containing gold embossing, poems, prayers, artworks or photos of the deceased. Cards belonging to direct family members might’ve also contained a lock of the deceased’s hair or a button from their clothing. The card and the lock of hair would then be presented in the home in a special frame, or sometimes an elaborate mourning card stand

By the 1900s the cards had become much simpler, and with the modern advent of printing technology, today we see cards that feature photos, prayers, funeral details and so much more in high gloss print, but nothing we do today, comes close to the artistry of the Victorian Era Mourning Card.

Next Week: Death in the Victorian Era part 11: Sin Eaters

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Death in the Victorian Era part 9: Funeral Mutes

Death in the Victorian Era part 9: Funeral Mutes

 

 It would be unheard of today, and probably considered an extravagant expense, but during the Victorian Era “Funeral Mutes” were considered a normal sight at most upper-class funerals.

Mutes were usually men whose job it was to stand outside the door of the deceased persons house, then accompany the coffin to its final resting place. They wore mainly black (or very dark clothing), carried long walking sticks (called a wand) which was covered in black crape, and wore solemn looks upon their faces, much like the clichéd funeral director image we have become accustomed too through cinema and TV shows like Scooby Doo.

 It is thought the tradition may be a left over from the old Roman tradition of “lictors” that escorted the funeral processions of Rome’s prominent citizens through the streets to their final resting places.    In the early usage of funeral Mutes they were essentially ceremonial funeral protectors, standing guard at the doorways of the dead, but as time went on they become more symbolic of the correct way to mourn and conduct oneself at a funeral and set the overall tone for the event.  

 Mutes had their own customs too, black was worn when in service for an adult, but white adornments were added when in service for a child, this included white gloves, white sash, a top hat with white lace veil tied around it and sometimes a white scarf tucked inside the Mutes jacket.
 They were generously supplied with gin by their employers, to help them fight the cold when they walked alongside the hearse – this sometimes saw those Mutes who were not so professional, end up very drunk.

 Probably one of the best known Mutes is Oliver Twist from Charles Dickens second novel of the same name. Twist, a young boy, is sold by Mr Bumble to Undertaker and Coffin Maker, Mr. Sowerberry to work as a mute at children’s funerals and to be his apprentice undertaker.

 By the late 1890’s the employment of Funeral Mutes had all but ceased, and were seen as a very extravagant cost for the middle and lower classes. By World War One they were all but forgotten.

Next Week:  Death in the Victorian Era part 10: Mourning Cards

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Death in the Victorian Era part 9: Funeral Mutes

Death in the Victorian Era part 9: Funeral Mutes

 

 It would be unheard of today, and probably considered an extravagant expense, but during the Victorian Era “Funeral Mutes” were considered a normal sight at most upper-class funerals.

Mutes were usually men whose job it was to stand outside the door of the deceased persons house, then accompany the coffin to its final resting place. They wore mainly black (or very dark clothing), carried long walking sticks (called a wand) which was covered in black crape, and wore solemn looks upon their faces, much like the clichéd funeral director image we have become accustomed too through cinema and TV shows like Scooby-Doo.

 It is thought the tradition may be a leftover from the old Roman tradition of “lictors” that escorted the funeral processions of Rome’s prominent citizens through the streets to their final resting places.    In the early usage of funeral Mutes, they were essentially ceremonial funeral protectors, standing guard at the doorways of the dead, but as time went on they become more symbolic of the correct way to mourn and conduct oneself at a funeral and set the overall tone for the event.  

 Mutes had their own customs too, black was worn when in service for an adult, but white adornments were added when in service for a child, this included white gloves, white sash, a top hat with white lace veil tied around it and sometimes a white scarf tucked inside the Mutes jacket.

 They were generously supplied with gin by their employers, to help them fight the cold when they walked alongside the hearse – this sometimes saw those Mutes who were not so professional, end up very drunk.

 Probably one of the best known Mutes is Oliver Twist from Charles Dickens second novel of the same name. Twist, a young boy, is sold by Mr Bumble to Undertaker and Coffin Maker, Mr Sowerberry to work as a mute at children’s funerals and to be his apprentice undertaker.

 By the late 1890’s the employment of Funeral Mutes had all but ceased and were seen as a very extravagant cost for the middle and lower classes. By World War One they were all but forgotten.

Next Week:  Death in the Victorian Era part 10: Mourning Cards

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Death in the Victorian Era part 8: Coffins

Death in the Victorian Era part 8: Coffins

“Nothing can be more hideous, than the raised metal work, called coffin furniture that is so generally used at the present time; heathen emblems, posturing angels, trumpets, death’s heads and cross bones, are mingled together in a glorious confusion, and many of them partake of a ludicrous character.”  A. Welby Pugin, Glossary of Ecclesiastical Ornament and Costume, 1844

One of the peculiar rituals of Victorian Era death was the “turning of the screws”. It became part of the rituals of placing a deceased family member in a coffin. The head of the family, or a very close relative, would place the lid of the coffin on the casket, then they themselves, not the undertaker, would take very ornate screws, and twist them into place, sealing the coffin lid.

 Some coffins of this period also contained viewing windows. Many of you may of heard of other Victorian period innovations such as “saved by the bell”, the coffin that contained a wire mechanism that went up to small bell to let passer-by know you weren’t dead, and to come and rescue you!

Coffins in this period ranged from the cheap, pauper burial coffin to elaborate decorative coffins with tin plate embellishments and ornate carvings.
 In 1848, Almond Fisk, and American, patented a metal coffin dubbed “Fisk Airtight Coffin of Cast

or Raised Metal” that he thought would revolutionise the funeral industry. The coffin looked like a large metal sarcophagus, decorated with Victorian era symbology of angels, crosses skulls or whatever the client desired – it didn’t not prove to be a hit, as many people were scared that if they were not actually dead, they had zero chance of escaping from this coffin.

 There were also wicker “cooling coffins”, these particular coffins were not for burial, but for the family to lay the body in to keep it safe from flies and animals whilst the “wake” occurred (the wake in this period was a three or day 24 hour watch of the body to make sure someone wasn’t just in a coma, but actually dead).

Coffins bound for above ground mausoleums or family crypts would be lined on the interior, (or “triple shelled”) with lead and could weigh up to a quarter of a ton.

An engrave breastplate was one of the most important features of any Victorian era coffin wand was usually one of the first pieces added to a coffin. These plates, even found on pauper’s coffins, were usually highly decorated and contained the name age and date of death of the deceased and motifs, religious iconography and were sometimes adorned with biblical scripture.

 The insides of coffins were usually lined with black silks, crape and other expensive materials and handmade pillows under the body and head. The outside of coffins featured the previously mentioned ornate screws, but also, ornate, metal lifting handles, and sometimes ornate metal hinges – the metals could range from tin, iron, and brass, to silver and even gold!

Next week: Death in the Victorian Era part 9: Funeral Mutes

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Death in the Victorian Era part 8: Coffins

Death in the Victorian Era part 8: Coffins

“Nothing can be more hideous, than the raised metal work, called coffin furniture that is so generally used at the present time; heathen emblems, posturing angels, trumpets, death’s heads and cross bones, are mingled together in a glorious confusion, and many of them partake of a ludicrous character.”  A. Welby Pugin, Glossary of Ecclesiastical Ornament and Costume, 1844

One of the peculiar rituals of Victorian Era death was the “turning of the screws”. It became part of the rituals of placing a deceased family member in a coffin. The head of the family, or a very close relative, would place the lid of the coffin on the casket, then they themselves, not the undertaker, would take very ornate screws, and twist them into place, sealing the coffin lid.

 Some coffins of this period also contained viewing windows. Many of you may have heard of other Victorian period innovations such as “saved by the bell”, the coffin that contained a wire mechanism that went up to small bell to let passer-by know you weren’t dead, and to come and rescue you!

Coffins in this period ranged from the cheap, pauper burial coffin to elaborate decorative coffins with tin plate embellishments and ornate carvings.
 In 1848, Almond Fisk, and American, patented a metal coffin dubbed “Fisk Airtight Coffin of Cast

or Raised Metal” that he thought would revolutionise the funeral industry. The coffin looked like a large metal sarcophagus, decorated with Victorian-era symbology of angels, crosses, skulls, or whatever the client desired – it did not prove to be a hit, as many people were scared that if they were not actually dead, they had zero chance of escaping from this coffin.

 There were also wicker “cooling coffins”, these particular coffins were not for burial, but for the family to lay the body in to keep it safe from flies and animals whilst the “wake” occurred (the wake in this period was a three or day 24-hour watch of the body to make sure someone wasn’t just in a coma, but actually dead).

Coffins bound for above ground mausoleums or family crypts would be lined on the interior, (or “triple shelled”) with lead and could weigh up to a quarter of a ton.

An engrave breastplate was one of the most important features of any Victorian-era coffin wand was usually one of the first pieces added to a coffin. These plates, even found on pauper’s coffins, were usually highly decorated and contained the name age and date of death of the deceased and motifs, religious iconography and were sometimes adorned with biblical scripture.

 The insides of coffins were usually lined with black silks, crape and other expensive materials and handmade pillows under the body and head. The outside of coffins featured the previously mentioned ornate screws, but also, ornate, metal lifting handles, and sometimes ornate metal hinges – the metals could range from tin, iron, and brass, to silver and even gold!

Next week: Death in the Victorian Era part 9: Funeral Mutes

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