It is almost impossible to imagine how this book could have been improved upon; for anyone in any way interested in the attitude of the British to our dead, and in the development of British cemeteries, this has to be the definitive work.
By the early nineteenth century, disposing of the dead in Britain had come to crisis point. Increased urbanisation, ever-present disease and the limited amount of consecrated land had led to vastly overcrowded churchyards, burial grounds and private chapels, the dead left to rot at the surface or dug up again and burned to make room for the next paying customer.
Curl traces how the remedy for these horrors was found in a pastoralisation and celebration of death, from the gothic imaginings of seventeenth century poets like Robert Blair and Edward Young, inspired by the great necropoleis of Europe and India, and finally put into a practical form by pioneers like J C Loudon. He catalogues the spectacular cemeteries opened for the rich of the big cities, and the rather later and more meagre facilities made available for the disposal of the poor.
This is history written with a very human face. Unlike many of their contemporary, middle-class philanthropists, Curl whole-heartedly supports the right of the Victorian lower classes to emulate their social superiors and abrogate to themselves in death a dignity they never found in life. His attention to detail in unparalleled in any book on this subject I have read, as is his breadth of knowledge and obvious love for his subject.
This covers the development of the private cemeteries, the final push in the mid-nineteenth century for state intervention in burial practises, and the decline of cemeteries and increase in the number of those cremated. Two state funerals, those of the Duke of Wellington and of Queen Victoria herself, are followed in detail. Curl invokes an vast range of evidence to follow the change in attitude to death during this period, from something both hideous and expensive, to a necessity which could be made quite beautiful, and then to the beginnings of our own extreme antipathy to what must come to us all.
Back up Curl's work with a vast number of illustrations, many of them previously unpublished and from his own collection, and a compellingly vast bibilography, and we have a book that cannot be faulted.