Old cemetery (Greifswald)

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The old cemetery is under monument protection standing cemetery of the Hanseatic City of Greifswald , of the oldest planned landscaped cemeteries Pomerania belongs. The 4.4 hectare cemetery is located in the Mühlenvorstadt between Ryck and Wolgaster Straße.

historical overview

By decrees of the Swedish King Gustav III. of 1778 and the French occupation of 1808, burials within church buildings and city ​​walls were prohibited in Swedish Pomerania . The mayors of Greifswald, Heinrich Julius Roggenbau and Johann Hermann Odebrecht , announced the ban on burials in churches and in the church yards in the inner city in 1810. In the years 1812 and 1813, the construction of a burial place in the Mühlenvorstadt began. For this purpose, a clay pit of the city brickwork was filled with earth from the ramparts and a bastion of the Greifswald city fortifications . Around 24,000 wagon trips were carried out to transport the material .

The cemetery was laid out according to plans by the university architect Johann Gottfried Quistorp . The model was the new burial ground in Dessau , one of the first municipal cemeteries in Germany. For the first surrounding wall, stones from the former butcher's gate, the former Gertruden chapel and the Heilig-Geist-Hospital were used between 1815 and 1817.

The system was designed symmetrically in the form of a Greek cross . 16 crypt chambers were built on the cemetery walls to replace the hereditary burials previously located in the Greifswald churches.

On September 13, 1818, the Greifswald municipal cemetery was inaugurated by Johann Christoph Ziemssen , the general superintendent of Pomerania. Between 1821 and 1826 an octagonal chapel, which was one of the earliest neo-Gothic sacred buildings, was built on a roundabout in the middle, based on a design by Gottlieb Giese .

Despite multiple occupancy of the grave sites and an extension to the north from 1851 to 1853, the cemetery had to be closed in 1864 due to overcrowding. Instead, the New Cemetery on Grimmer Strasse was used. In the years 1869 and 1870, today's neo-Gothic wall was built from yellow brick. After an extension to the north and east, the old cemetery was used again to a limited extent from 1886. The city architect Friedrich Johannes Haas began to transform the cemetery into a park in 1889. Paths were laid, mostly in a north-south direction, through which almost all grave sites could be reached. Yew trees were planted along the main paths , which meanwhile give them the shape of avenues.

At the time of the German Democratic Republic , the cemetery was to be abandoned and converted into a city park. Therefore, the dilapidated burial chapel was demolished in 1986. In 1991 the citizens of Greifswald decided to keep the old cemetery. Since then, only urn burials have been carried out.

A development association has been trying to maintain the facility since 2005. The main tasks include the renovation of the still existing, mostly very dilapidated crypt chapels.

Funerary monuments

In the course of the more than 100 years of use of the old cemetery, a large number of different grave monuments have been created. The spectrum of grave monument forms ranges from mausoleums to obelisks , urns and earth crosses to monoliths and steles .

Mausoleums

What is striking about the seven mausoleums still preserved today is that they were all built on the inside of the cemetery wall. Barbara Happe speaks of this typical distribution of graves in German cemeteries in the early 19th century of a "banishment of the monuments to the periphery and here initially to the wall". There are probably several reasons for this, above all logistical and representational ideas play a role. At the edge of the four burial fields, equipped with their own entrances and also at regular intervals, these larger facilities neither blocked the processes in the cemeteries nor the access to the row graves, and because of the spatial separation they do not dispute space. The fact that particular attention has been paid to the representativeness of the architecture is shown by their orientation towards the cemetery - the entrances thus became visible sides - and their monumental effect on the cemetery-goers. The separation from the row graves made it possible to pay attention to class differences even after death, just as it has been the case for centuries in the churches and in the church yards. As late as 1891, the commune forbade building a massive grave tomb within the row grave fields, for aesthetic reasons, but also for pragmatic reasons. It is also interesting in this context that the city administration intervened normatively in the design process of the hereditary burial by building a "model mausoleum" in 1819 shortly after the inauguration of the cemetery, so they wanted a uniform effect of the facility and a regulation of the building drive according to their own Imaginations. This "standard chapel" was designed and built by the construction scribe Petzold from Greifswald.

Balzer Peter von Vahl (1755–1825) had an inheritance burial laid out for his family in 1823, and later his daughters married into the Gesterding family , so that their members were also buried here. The mausoleum has a strictly monumental appearance and a clear structure. A triangular gable was placed over the rectangular substructure. The front is structured by several arches that get smaller and smaller towards the inside. The outer arch is designed with stepped wedge stones in a paratactic sequence, the upper ones bearing the coats of arms of the von Vahl and Gesterding families. In addition, until the last restoration, terracotta rosettes were attached to the outer wall, which contrasted in color and design with the severity of the grave construction - but are missing today. Instead of an entrance gate, there is an inscription tablet in the middle of the mausoleum, which gives the names, dates of life and death as well as the social status of the buried. In addition to Peter von Vahl, the royal Swedish councilor and landowner, Carl Gesterding (1774–1843), Mayor of the Hanseatic City of Greifswald , is also here . The mausoleums of the early Classicism in Prussia, which were built by Friedrich Gilly in Prussian cemeteries at the end of the 18th century, such as the tomb for CG Luft in the cemetery of the Jerusalem and New Churches in , were particularly exemplary for this type of funerary art Berlin from 1794. So it has to be said that the Vahl-Gesterding-Mausoleum, which was built around 1823, represents a late reception of this ancient trend.

The monument for Baron Wilhelm von Klot-Trautvetter (1788–1857) was designed in a similar manner in terms of shape and design . It was built in 1853. Compared to the Vahl-Gesterding-Mausoleum, we encounter a reduction and simplification of the architecture, so the building follows a common type of classicistic sepulchral architecture of the early 19th century in Europe. The mausoleum is characterized by an absolute renunciation of sculptures or ornamentation. The entire building rests on a low base and is shaped as a cube. A double-leaf door gives access to the crypt. Although the absence of columns or pilasters in the sense of Vitruvius must be stated, the artist nonetheless resorted to elements of the column orders. The frame profiles of the door, for example, are of the antique type. The three-part entablature, which gives the building a strong degree of solidity and seclusion, is also part of the formal language of the column arrangements: architrave, a wider frieze and a sweeping cornice. The tower-like structure, which tapers towards the top, is also to be understood as a series of ancient beams. The plain and simple decor of the building corresponds to its purpose as a burial place, the dignity of the dead is made architecturally evident, above all through the monumental design of the basic cubic shape.

The mausoleum of the brothers Lorenz Wilhelm and Gabriel Peter von Haselberg is in a very poor condition. When designing the monument, the architect resorted to ancient forms and structured the front with a complete Tuscan order, which was omitted in the previous example. The arrangement of the half-columns in pairs in narrow trusses to the left and right of the portal indicates the shape of a Roman triumphal arch. Above the segmental arch portal, the two-part entablature is lifted out of the horizontal line and continues the arch of the portal - this softens the austere appearance of the mausoleum a little. Statements about the roof structure and the vertical closure cannot be made due to the state of construction.

Mausoleum of the von Hildebrandt family in Dänischenhagen, built in 1884

Two further mausoleums from the 19th century are intended to exemplify the diversity in the conception of sepulchral architecture, because both are no longer in the tradition of the monumental, simple grave complexes of the Berlin classicism of a Gilly or Schinkel, but for the eclectic historicism, which in the Funerary art is clearly noticeable. The architect of the mausoleum for the Freemason Ferdinand Karl Friedrich Schütze (1815–1899) from 1886 mainly used Italian models from the Renaissance period. Relief representations of Masonic symbols can be found in the intervals between the triglyphs of the frieze. A similar example can be found in Dänischenhagen, Schleswig-Holstein, built in 1884 for the von Hildebrandt family.

The mausoleum for Theodor Pyl (1826–1904) and Emanuel Friedrich von Hagemeister (1764–1819) can be seen in complete contrast . It is a narrow brick building with a gable roof and an ornamental gable on the entrance side. A dedication board is attached to the longitudinal front, naming the founder and those to be honored. Although the architect tried to create a medieval impression by choosing the medieval building material and the coat of arms above the portal, the use of circular oculi (for the ventilation slots) is early modern. Presumably there were pinnacles on the sides and on the triangular gable, but these are missing today. The Hagemeister-Pyl mausoleum is a remarkable exception in the Old Cemetery, and not only because of its architectural structure: it is not, like the other examples discussed, built on the inside of the surrounding wall, but on the edge of an inner square; and it was not aligned towards the circular path, but towards the lawn. Why the burial chapel was rotated in this direction must remain open. Perhaps behind the inclusion of neo-Gothic design principles there is an emphatically Christian-sacred component, which we could hardly observe at the design level in the mausoleums of the early 19th century, since these were primarily based on ancient models. Theodor Pyl is also known for his extensive work on Greifswald's church and town history, and his passion for the history and architecture and art of the Middle Ages may be reflected in his mausoleum. Due to its brick-facing architecture and its medieval detail forms, the Hagemeister-Pyl tomb approaches the Giese cemetery chapel. Like all other mausoleums, that of Hagemeister-Pyl fulfills both the aspects of commemoration of the dead, representation and appeal to posterity. However, the differences between the Hagemeister-Pyl tomb and the other hereditary burials cannot only be determined on the stylistic level: While the other families obviously wanted to pay attention to the class differences even after death, and therefore on the edge of the cemetery in their own Plots were buried, the neo-Gothic complex was built on one of the four lawn squares that were actually reserved for the lower classes - whether it was a special closeness to the people, a reformed-bourgeois view of the leveled class society or simply pragmatic reasons for the choice of location were decisive, would have to be checked. Memmesheimer assumes, for example, that the “types of grave monuments were not tied to specific stands”, which is not applicable to Greifswald on the basis of the results so far.

Other funerary monuments: obelisk, cross, field stone

Most of the graves in the Old Cemetery are not mausoleums, but simple earth graves. Nevertheless, these vary considerably in terms of form, design and requirements. The obelisk or the pylon, the cast-iron cross and the field stone or monolith have emerged as the basic forms, with notable exceptions.

The obelisk seems to have been a common form of design for graves in Greifswald's old cemetery throughout the entire 19th century. This ancient Egyptian motif also found its way into the area of ​​sepulchral architecture through the confrontation of classicism with ancient architecture, often as a sign of seriousness, dignity, rigor, solidity and durability. Examples of this are the steles by Caroline (1806–1890) and Georg Friedrich Schoemann (1793–1873): the substructure of the pylon, usually a square block made of the same material, rises above a base made of gray granite. Set off from it again with a recess, the actual obelisk, bearing the carved inscription, rests on it. Towards the top, the figure is completed by tapering. A large number of graves have been designed according to this pattern.

In addition, from a statistical point of view, cast iron crosses make up a large proportion of grave designs. There are examples from the 1830s, 1840s and 1850s in the old cemetery. There is a concentration of monuments, especially around the middle of the century, although the size and shape of the crosses has changed little. A particularly successful example is the grave of the clockmaker widow Diederich from 1845. The cross rests on a small pedestal just above the ground. The inscription is placed at the intersection of the arms and bars of the cross. The ends of the cross are designed with antique palmette shapes. The artist has thus succeeded in combining one of the early Christian symbols with the design fashions of the time. This resulted in a mixture of the simple and memorable large shape of the cross and the decorative details of late classicism.

Urn tombs are a genuinely classical form of funerary art , such as Gottfried Schadow's memorial for the actor Johann Fleck from 1803. In Greifswald, the monument for the mayor Carl Päpke (1797-1858), donated by friends, is an example of this - today only preserved in fragments . probably in the late 1860s. An urn was probably attached to a plinth-like substructure with inscription panels and a large, profiled cover plate. The tradition of the urn grave was maintained in Greifswald after the turn of the century. This is proven by the tomb for Willy Gerding (1879–1917), who, like Päpke before him, was Mayor of Greifswald (1910–1917). The emphatically strict geometric shapes of the substructure with their reddish coloring and glossy polish form a successful contrast to the round urn, which was sanded in a matt green tone. Subtle ornamentation on the neck area of ​​the base or the vase of the dead and the noble materials show the influence of Art Nouveau on this elegant example of an urn grave from the beginning of the 20th century. At the grave of the Lucht family from 1913, whose most famous representative was the Greifswald university master builder Ernst Lucht (1871-1934), you can still feel the echoes of Art Nouveau, as well as the decorative frame at the top of the monument. The stele for the physician Paul Strübing (1852–1915) is only two years older and has a similar basic shape: a rectangular block tapering towards the top on a base, the end of which forms a curved frame. Also to be mentioned here is a hollowing out of the headstone in the head area. There the artist peeled a deep niche out of the block and surrounded it with a second frame, the lower side is also limited by a volute in the shape of a shell, creating the impression of a small basin. Whether it was used to hold water or objects (candles) must remain open at this point.

Monoliths make up a large area of ​​Greifswald's (grave) monuments. Ice Age erratic boulders were often used for this purpose and provided with an inscription - carved into the stone or on a plaque attached to it. The Hanseatic and university town of Greifswald has a downright tradition of erratic monuments, evidence of which can be found on the inner-city ramparts, on Nexö-Platz or in Elisenhain . The Old Cemetery is no exception as there are several monolithic monuments here. A very extroverted example, which stands out clearly from the mass of boulder graves due to its unusual shape and its origins, is the grave for the Greifswald professor of geography and founder of the Pomeranian Geographical Society , Rudolf Credner (1850–1908). A large, almost rectangular block of granite, which bears the inscription tablet, rises on a low plinth. The stone is characterized by its unusual shape and interesting grain. This monument is ideal for a review of the theses briefly outlined at the beginning on the connection between function, form and meaning of grave monuments. The editors of the publication "Grab - Kult - Memoria" agree that: "Grave monuments and their different forms of memoria are not only to be understood as looking backwards, but rather as future-oriented, serving the relatives of the deceased in very different ways" If the assumption is correct, Credner should not only be thought of with this monument, but at the same time an "image" of the deceased is created with the shape of the memorial, which should shape posterity in their judgment about Credner. On the one hand, the monolith could be traced back to the profession of the deceased, on the other hand it succeeds in suggestively referring to the professor's merits, after all, Credner has made a contribution to the geological and geographical exploration of the region. The stone is therefore to be seen as the object of Credner's urge to research, both figuratively and in fact. But a second level could have been affected by the choice of a monolith. Credner's activities include the construction of a boulder complex based on a prehistoric model in the northern part of the Greifswald ramparts, not far from the old clinic complex. It was not just about local history studies, but also a reference to a mythical, transfigured and exaggerated early period in the Pomeranian region. At the Foundlingsgruppe am Wall, a Germanic architectural language emerged that was emphatically archaic and was intended to convey ethnic-national content without resorting to the neo-styles of historicism. In front of this film, Credner's tomb takes on a local political and ideological coloring, which, with its obvious design and reference to the motif of the Ice Age boulder, clearly shows the deceased's position in society, his professional ambitions and his conservative, German-national attitude in artistic questions power. With the choice of a boulder for the design of his grave, Credner broke a local tradition in sepulchral art, for which the classicist hereditary burials as well as the obelisks and cast iron crosses stand, but on the other hand joined a new form of language in the architecture and monument art of the late period Empire, which in Greifswald was exemplified by the Bismarckian column on the Epistelberg (1900) based on designs by Wilhelm Kreis . Credner's tomb is also worth mentioning because it preceded the so-called “cemetery reform” of the early 20th century - only a few years after the stone was erected, this form of the tomb was strictly rejected by the reformers. Whether this attitude was also noticeable in the Greifswald monuments - after all, a large fund of boulder monuments had been built here around 1900 - cannot be clarified at this point.

An analysis of another boulder, which was set up in 1934 for the local researcher Robert Holstein (1862–1934), would certainly lead to a similar finding with regard to the connection between ideological positions and formal tomb design. This stone was roughly processed only on its front and then directly dedication, so that it looks even more martial. The shape and meaning of the tomb are once again part of a unity; again, due to the shape of the tomb, the position of the deceased and his claims can be debated. Since it would go beyond the scope of this work, it is only allowed to point out that due to the choice of material and a monolith, Holstein's grave goes in a similar direction to that of Rudolf Credner - the accent is on the emphasis on the primeval coarse, the old and solid stone that has been in Pomerania since prehistoric times, it is alluding to a local, emphatically conservative national monument tradition, which is why one deliberately resorted to such a coarse and hard form of a stone block.

The memorial stone erected only in 1996 by the Pomeranian Landsmannschaft for the “Fallen and Victims of Flight and Displacement of World War II”, according to the inscription on the memorial, proves the long-term existence of such associations. Almost 100 years after the inauguration of the tomb for Rudolf Credner, monoliths and boulders are still considered to be native, down-to-earth objects that have firmly grown into the region, making them ideal for the design of monuments and graves. There is no need for elaborate iconographic concepts or sophisticated artistic design to make the monument's task clear; We are actually dealing with a very “speaking” form, a form that clearly articulates certain meanings and can explain them to the recipient almost unmistakably. The original figure of the boulder, connected to the clod, complements the dedication of the monument.

Other forms of tombs in the old cemetery

Friedrich Loeffler's tomb

One of the most famous Greifswald researchers is certainly Friedrich Loeffler (1852–1915). He founded the Friedrich Loeffler Institute on Riems near Greifswald, which still exists today, and which was only given this name in 1952. Loeffler died in Berlin, his body was posthumously transferred to Greifswald and buried here. Although there was a New Greifswald Cemetery since the end of the 19th century, Loeffler was buried here - among other well-known and important personalities in the city - and thus placed in a line of tradition with them. The memory of the virologist is secured by a very simple, black gravestone on a low base. Of all the examples discussed so far, the Loeffler tomb is the simplest in shape and form, because even the boulder for Robert Holstein is more noticeable due to its rough shape. With Friedrich Loeffler, there is a contradiction between the actual significance of this truly important personality in medicine and his undemanding grave. As an exception, what Birgit Emich formulated as a demand does not apply here : "For art history, it could be worthwhile to consider more than before the influence that the office of the buried had on the design of his tomb in words and images". Because in my opinion, in the emphatically simple style of the memorial for Loeffler, his merits cannot be read in any way, rather the exact opposite is the case here. It is not known why the Loeffler monument is so modest and thus contrary to the statements cited so far.

The tomb of the Vogt family was created in the 1920s and stands for the incipient reception of strict, classical design modes in the monument art of the Weimar Republic . The memorial to Elsbeth (1855–1921) and Ernst Vogt (1848–1925) is made up of three parts. The base is formed by a broad base made of smaller blocks that alternate with T-shaped pillars. This centered the grave stele made of gray stone, which was only worked very sparingly. No ornamental shapes or other decorations appear here at all. Only a wide indentation in the neck area of ​​the stele and the cover plate attached to it ensure a certain horizontal structure of the otherwise very massive and heavy-looking monument. A comparison with contemporary graves of important people, especially the grave of Gustav Stresemann in the Luisenstädtischer Friedhof in Berlin, created 1929–1930 by Hugo Lederer , could reveal similar design modes of neoclassicism .

The grave of the Nitzelnadel family also raises some questions, especially since it has only come to us in a rudimentary state. Presumably it dates from the late 1920s. Limestone was used as the material for the tomb, which is reminiscent of travertine in its color and consistency. The monument is composed of three zones. The base is formed by a substructure that becomes wider towards the top with the applied metal inscriptions. Stepped and narrower attachments, the middle one with a characteristic band of zigzag lines, used to prepare the vertical closure of the tomb, which has not been preserved. It should be noted that the tomb of the Nitzelnadel family was designed as a false sarcophagus. In this case, one speaks of a cenotaph because the bones of the dead rest underground, but the tomb was designed as a coffin-like structure. Similar to the grave of the Vogt family and the monument to Max Fleischmann explained below, the Greifswald tomb art of the late 1920s and early 1930s was dominated by neoclassical design forms.

The memorial to Max Fleischmann (1877–1935), Mayor of Greifswald from 1917 to 1935, is an extraordinary phenomenon for the old Greifswald cemetery and has not yet been recognized by local art historians. The basic shape to which the entire grave with all its components can be traced back is the rectangle. Both the laid-out floor slabs and the vertical tombstone are rectangular in shape. The site of the grave was laid out with paving stones of different sizes and arranged in a regular rhythm. Four large plates in each of the four corners of the square form the boundaries of the inner shape made of smaller stones. They are designed as a cross with four arms of equal length, i.e. a Greek cross. In the middle of the cross rises the stele made of raw and gray stone with the dedication inscription . In the background you can still feel the shapes of the obelisk and pylon, even if Fleischmann's grave with its strong geometrical shape only forms a slight echo of the classicist sepulchral art. In the center of the grave is a cast iron - Latin - cross, which again takes up the shape of the floor pattern. Max Fleischmann's term of office was characterized by the establishment of an emphatically functional and objective architectural language in Greifswald, which no longer made use of the forms of historicism, but was based on the artistic and aesthetic ideas of the Dessau Bauhaus. Fleischmann promoted the construction of social housing, and his tomb is based on related artistic design principles. The impression arises as if Max Fleischmann wanted to identify himself in the form of his tomb as a patron and friend of the (building) art of the classical modern of the 1920s.

Graves of famous people

literature

  • State Office for Monument Preservation Mecklenburg-Western Pomerania (Hrsg.): The architectural and art monuments in Mecklenburg-Western Pomerania. Western Pomerania coastal region. Henschel Verlag, Berlin 1995, ISBN 3-89487-222-5 , p. 445.
  • Hans Reddemann : The listed old cemetery in the university and Hanseatic city of Greifswald. 3 parts, self-published, Greifswald 2009, ISBN 978-3-00-027660-6 .

Web links

Commons : Alter Friedhof  - Collection of pictures, videos and audio files

Remarks

  1. ↑ See also Michaela Henning: Privatfriedhöfe und Mausoleen. A contribution to the culture of the nobility in Schleswig-Holstein and Hamburg. In: Norbert Fischer, Markwart Herzog (ed.): Nekropolis. The cemetery as a place of the dead and the living. Kohlhammer, Stuttgart 2005, ISBN 3-17-018508-X , pp. 79–94, p. 86. (Irseer Dialoge, Volume 10)
  2. ↑ Michael Lissok: The Reception of Ancient Egyptian Structures and Motifs in German Architecture, Monument and Sepulchral Art between 1760 and 1840. Diss. Phil. Greifswald 1990, DNB 911488200 , pp. 72–74.
  3. ↑ On the importance of the urn for commemorating the dead in the 19th century, cf. Karl Arndt: memorial and tomb. Notes on the development since classicism. In: Hans-Kurt Boehlke (Ed.): How the old formed death. Changes in the Sepulchral Culture 1750–1850. Mainz 1979, pp. 17-26, pp. 24-25. (Kassel Studies on Sepulchral Culture Volume 1)
  4. ↑ Today only an iron bracket can be seen
  5. ↑ Further monolith monuments can be found in Anklam (1995), Eugenienberg (1996), Greifswald (1996), Waren (1996), Stralsund (1997), Schwerin (2000); Information according to: Archive link ( Memento from October 6, 2007 in the Internet Archive ); Retrieved July 4, 2008.

Individual evidence

  1. ↑ Barbara Happe: The development of the German cemeteries from the Reformation to 1870. Tübingen 1991, ISBN 3-925340-69-6 , p. 168. (Investigations by the Ludwig-Uhland-Institut of the University of Tübingen, Volume 77; also. Diss. Phil. Tübingen 1988)
  2. ↑ Ulrike Evangelia Meyer-Woeller: Tombs of the 19th century in the Rhineland between identity, adaptation and individuality. Diss. Phil. Bonn 1999, DNB 968337309 , p. 50: "The lower class occupied the row graves."
  3. ↑ Fischer: From the church to the crematorium. 1996, p. 62.
  4. ↑ Fischer: From the church to the crematorium. 1996, p. 66: "The dominant function is the tectonic structure."
  5. ↑ See Henning: private cemeteries and mausoleums. 2005, p. 82.
  6. ^ Meyer-Woeller: Tombs of the 19th century. 1999, pp. 75-85, especially p. 76.
  7. ^ Theodor Pyl: The Greifswald collections, patriotic antiquities and the works of art of the Middle Ages and the Renaissance in the possession of the university, the churches and authorities and the Greifswald department of the Society for Pomeranian History and Antiquity. Greifswald 1869; History of the Eldena Cistertian monastery in connection with the city and University of Greifswald. 1st and 2nd part and addendum in 2 volumes, Greifswald 1880–1883; History of the Greifswald churches and monasteries, as well as their monuments. In addition to an introduction on the origins of the city of Greifswald, 6 volumes, Greifswald 1885–1900.
  8. ↑ Fischer: From the church to the crematorium. 1996, p. 66.
  9. ↑ See Fischer: Vom Gottesacker zum Krematorium. 1996, p. 53. See Meyer-Woeller: Grabmäler des 19. Jahrhundert. 1999, p. 50.
  10. ↑ Paul Arthur Memmesheimer: The classicist tomb. A typology. Diss. Phil. Bonn 1969, DNB 481510982 , p. 9; On the contrary, Happe: The development of German cemeteries. 1991, pp. 165-166.
  11. ↑ See this: Gerhard Seib: The cast iron in the service of honoring the dead in the time between 1750 and 1850. In: Hans-Kurt Boehlke (Ed.): How the old formed death. Changes in the Sepulchral Culture 1750–1850. Mainz 1979, ISBN 3-7758-0982-1 , pp. 85-94. (Kassel Studies on Sepulchral Culture Volume 1)
  12. ↑ Fischer: From the church to the crematorium. 1996, p. 70.
  13. ↑ Carolin Behrmann, Arne Karsten , Philipp Zitzlsperger: Foreword. In this. (Ed.): Grave - Cult - Memoria. Cologne 2007, ISBN 978-3-412-21506-4 , pp. 9-14, p. 9.
  14. ↑ Cf. Central Institute for Sepulchral Culture Kassel (ed.): Large Lexicon of Funeral and Cemetery Culture . Dictionary of Sepulchral Culture. Volume 1: Reiner Sörries (edit.): Folklore-cultural-historical part: From abdication to second burial. Braunschweig 2002, ISBN 3-87815-173-X , p. 86.
  15. ^ Johannes Schweizer: Kirchhof und Friedhof. An illustration of the two main types of European burial sites. Linz an der Donau 1956, DNB 454620489 , p. 270.
  16. ↑ Birgit Emich: Dead in the second row - The graves of the state secretaries in Rome. An experiment on the connection between office and grave. In: Carolin Behrmann, Arne Karsten, Philipp Zitzlsperger: Foreword. In this. (Ed.): Grave - Cult - Memoria. Cologne 2007, pp. 181–201, p. 195.
  17. ↑ Cf. Lissok: The Reception of Ancient Egyptian Structures. P. 97.


Coordinates: 54 ° 5 ′ 45.6 ″  N , 13 ° 23 ′ 39.6 ″  E