Philippe Aries - The Hour of Our Death: The Classic History of Western Attitudes Toward Death over the Last One Thousand Years
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Starting at the very foundations of Western culture, the eminent historian Phillipe Aris shows how, from Graeco-Roman times through the first ten centuries of the Common Era, death was too common to be frightening; each life was quietly subordinated to the community, which paid its respects and then moved on. Aris identifies the first major shift in attitude with the turn of the eleventh century when a sense of individuality began to rise and with it, profound consequences: death no longer meant merely the weakening of community, but rather the destruction of self. Hence the growing fear of the afterlife, new conceptions of the Last Judgment, and the first attempts (by Masses and other rituals) to guarantee a better life in the next world. In the 1500s attention shifted from the demise of the self to that of the loved one (as family supplants community), and by the nineteenth century death comes to be viewed as simply a staging post toward reunion in the hereafter. Finally, Aris shows why death has become such an unendurable truth in our own centuryhow it has been nearly banished from our daily livesand points out what may be done to re-tame this secret terror.
The richness of Ariss source material and investigative work is breathtaking. While exploring everything from churches, religious rituals, and graveyards (with their often macabre headstones and monuments), to wills and testaments, love letters, literature, paintings, diaries, town plans, crime and sanitation reports, and grave robbing complaints, Aries ranges across Europe to Russia on the one hand and to England and America on the other. As he sorts out the tangled mysteries of our accumulated terrors and beliefs, we come to understand the historyindeed the pathologyof our intellectual and psychological tensions in the face of death.
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SECOND VINTAGE BOOKS EDITION, JUNE 2008
Copyright1981 by Alfred A. Knopf, Inc.
All rights reserved. Published in the United States by Vintage Books, a division of Random House, Inc., New York. Originally published in France as LHomme devant la mort by ditions du Seuil, Paris. Copyright 1977 by ditions du Seuil. This translation originally published in hardcover by Alfred A. Knopf, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto, in 1981.
Vintage and colophon are registered trademarks of Random House, Inc.
Assistance for the translation of this book was given by the Franco-American Foundation.
The Library of Congress has cataloged the Knopf edition as follows:
Aris, Philippe [date]
The hour of our death.
Translation of Lhomme devant la mort. Includes index.
1. Death I. Title
BD444.A67313
128.5 79-2227
Vintage ISBN: 978-0-394-75156-6
eBook ISBN: 978-0-8041-5200-6
www.vintagebooks.com
v3.1
The Appian Way, Rome. In the foreground, the tomb of Sesto Pompeo Giusto, Consul ( A.D. 14). Alinari-Giraudon, Paris.
Christian necropolis around the basilica of Saint-Salsa, Tipasa, Algeria. Robert Harding Associates, London; photograph by F. Jackson.
Saint-Bavon, Haarlem, tomb slabs in the floor. Courtesy of The Courtauld Institue of Art, London.
Les Innocents in the Time of Franois I, sixteenth century. Muse Carnavalet, Paris; Photographie Giraudon, Paris.
The Christ of the Book of Revelation, with the four winged beasts. Sculpture on the Royal Portal, Chartres, twelfth century. Courtesy of The Courtauld Institute of Art, London; photograph by George Zarnecki.
The Last Judgment. Sculpture on the south portal, Chartres, thirteenth century. Courtesy of the Courtauld Institute of Art. Saint Sebastian Interceding for the Plague-Stricken, 14979, Josse Lieferinxe, Walters Art Gallery, Baltimore.
The tomb of Jean de Lagrange, with representation of decomposing cadaver, 1402. Muse Calvet, Avignon; photograph copyright James Austin.
Death, the shop of Hans Memling, late fifteenth century. Muse de Beaux Arts, Strasbourg; Photographie Giraudon, Paris.
Danse Macabre, fifteenth century, la Chaise-Dieu. Photographie Giraudon, Paris.
The Triumph of Death, Florentine School, fifteenth century. Pinacoteca, Siena; Anderson-Giraudon, Paris.
Consular diptych of Flavius Petrus Sabbaticus Justinianus, Byzantine, sixth century. The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917.
The tomb of Philippe Pot of Burgundy, fifteenth century. The Louvre; The Mansell Collection, London.
Roman sarcophagus, with portrait of a physician seated in front of his cabinet of surgical instruments, fourth century. The Metropolitan Museum of Art, New York. Gift of Ernest and Beata M. Brummer, 1948, in memory of Joseph Brummer.
Sarcophagus of Saint Theodechilde, seventh century, Crypt of Jouarre. Photographie Giraudon, Paris.
Mural tomb of Guillaume Caucelme de Taillet, thirteenth century, Arles-sur-Tech. Photograph copyright James Austin.
Tomb slab of Abbot Isarnus, eleventh century, from the Abbey of Saint Victor, Marseilles. Courtesy of The Courtauld Institute of Art, London.
Tomb effigy of Jean dAlluye, 1248, French. The Metropolitan Museum of Art, New York. The Cloisters Collection, 1925.
Tomb effigy of a lady, possibly Margaret of Gloucester, late thirteenth century. The Metropolitan Museum of Art, New York. The Cloisters Collection, 1953.
Funerary monument of Louis XII and Anne de Bretagne, sixteenth century, Jean Juste, Abbey of Saint-Denis, Paris. Photographie Giraudon, Paris.
Funerary statue of Marie de Barbancon-Cany, attributed to Barthelemy Prieur (d. 1611), Palace of Versailles. Photographie Giraudon, Paris.
The tomb of Nicolas Aubry, 1621, cemetary chapel, Saint-Hilaire, Marville. Inventaire Gnral Lorraine; photograph by H. Simon.
A row of Hapsburg sarcophagi in the Kaisergruft, the Church of the Capuchins, Vienna: Ferdinand III (d. 1657), Mattias (d. 1619), and Marie Magdalena (d. 1743). Kunsthistorisches Institut, University of Vienna.
The Pantheon in the Monastery of San Lorenzo, the Escorial. Engraving by P. de Villafranca, 1654, from Description del real monasterio de San Lorenzo, Madrid, 1681. Arts, Prints, and Photographs Division, The New York Public Library. Astor, Lenox and Tilden Foundations.
New England burial ground, Wakefield, Massachusetts. Photograph copyright1980 Allan I. Ludwig, all rights reserved.
New England headstones: Joseph Hickox (detail), 1725, Durham, Connecticut; Jacob Strong (detail), 1749, South Windsor, Connecticut; Sarah Skiner (detail), 1753, South Windsor, Connecticut; William Wolcott (detail), 1749, South Windsor, Connecticut. Photographs copyright1980 Allan I. Ludwig, all rights reserved.
Brunhilde Watching Watching Gunther Suspended from the Ceiling, 1807, Henry Fuseli. Castle Museum, Nottingham Castle, Nottingham.
The Ecstacy of the Blessed Ludovica Albertoni, 16714, Gianlorenzo Bernini, Church of San Francesco, Ripa. Alinari/Editorial Photocolor Archives.
The Martyrdom of Saint Daniel, 1592, Tiziano Aspetti, The Metropolitan Museum of Art, New York. Purchase, 1970, The Edith Perry Chapman Fund and The Fletcher Fund.
Catacombs of the Capuchin Convent, Palermo. The Mansell Collection, London.
The Tomb of Spurzheim, Mount Auburn Cemetery. Engraving after a drawing by James Smillie, 1847, from Rural Cemeteries of America (Nehemiah Cleveland, Greenwood Illustrated, 1847, and Cornelia M. Walter, Mount Auburn Illustrated, 1850), New York, 1847, 1850. Local History and Genealogy Division, The New York Public Library. Astor, Lenox and Tilden Foundations. Alley, Pre-Lachaise, Paris. Photograph by Anne de Brunhoff.
Diederich M. Havemeyer monument, Greenwood Cemetery, Brooklyn, New York. Photograph by Edmund V. Gillon, Jr. The Little Margaret, funerary portrait sculpted after a photograph, ca. 1900, Green Mount Cemetery, Montpelier, Vermont. Photograph by Edmund V. Gillon, Jr.
Pierrette, Woodlawn Cemetery, The Bronx, New York. Photograph by Edmund V. Gillon, Jr.
The Tomb of Raffaele Pienovi, 1879, G. B. Villa, Genoa. Photograph by Anne de Brunhoff.
Jane My Wife, Griffith family monument, Greenwood Cemetery, Brooklyn, New York. Photograph by Edmund V. Gillion, Jr.
This is not an introduction. The real introduction to this book was published in 1975 in my Essais sur lhistoire de la mort. In that little essay I explained why I had chosen this subject, what was my original point of departure, how I was later drawn to expand my area of investigation both backward and forward in time, and some of the problems that attended an undertaking of such magnitude. I need not repeat those remarks here, for they have been reprinted as the preface to this edition.
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