Antoni "Antek" Cierplikowski was born in Poland in 1884 but made his name in Paris as Monsieur Antoine, hair stylist to the stars. In 1924 he purchased the top four floors of a Parisian apartment building which he set about remodelling as a School of Beauty and an apartment with sculpture studio. Construction of The House of Glass began in 1929. It occupied the upper floors of the building and contained the studio and living quarters. Glass was supplied by St Gobain, of whom Antoine claimed at one time to be the biggest client. The external walls were clad with large panes of opaque glass to eradicate the need for curtains, which Antoine believed had no place in the modern interior. The interiors were decorated extensively with glass including the staircase, a cupola, pillars, chairs and even a glass bed in the shape of a coffin, which attracted much press attention.

It is in the arrangements for his own funeral that Antoine's genius soars to its greatest height. In life, he surrounds himself with death, so in death he will be surrounded by sparkling life. He has engaged eight beautiful models to be his pall-bearers. They have agreed to be gay and sprightly and bright at his funeral, to shed no tears nor betray any sorrow. And, if he dies and they go through the ordeal successfully, they will be rewarded by provisions in his will.

But models die, get married, get fired, while Antoine continues to live. Always he must be replacing the original ones. He picks them out for their gaiety and their good looks.

I Margaret Thompson, &c. being of sound mind, &c. do desire, that when my soul is departed from this world, my body and effects may be disposed of in a manner following, &c. &c.—

I also desire that all my handkerchiefs that I may leave unwashed at the time of my disease, after they have been got together by my old and trust servant, Sarah Stuart, be put by her alone, at the bottom of my coffin, which I desire may be large enough for that purpose, together with such a quantity of the best Scotch snuff (in which she knoweth I always had the greatest delight) as will cover my deceased body — and this I desire more especially, as it is usual to put flowers into the coffin of departed friends, and nothing can be so fragrant and refreshing to me as that precious power.

But I strictly charge that no man be suffered to approach my body till the coffin is closed, and it is necessary to carry me to my burial, which I order in the manner following:

Six men to be my bearers, who are well known to be the greatest snuff takers in the parish of St. James', Westminster—and instead of mourning, each to wear a snuff coloured beaver, which I desire may be bought for that purpose, and given them.

Six maidens of my old acquaintance, viz. &c. to bear my pall, each to wear a proper hood, and to carry a box filled with the best Scotch snuff, to take for their refreshment as they go along. Before my corpse I desire the minister may be invited to walk, and to take a desirable quantity of the said snuff, not exceeding one pound; to whom I bequeath two guineas on condition of so doing. And I also desire my old and faithful servant, Sarah Stuart, to walk before the corpse, to distribute every twenty yards, a large handful of Scotch snuff to the ground, and upon the crowd who may possibly follow me to the burial place—on which condition I bequeath her £20. And I also desire, that at least two bushels of said snuff may be distributed at the door of my house in Boyle street.

Source: Euterpeiad, or, Musical Intelligencer & Ladies' Gazette - June 28, 1821

The practical, non-ritual, reason given for horse's skulls concealed in buildings is that they are placed under floors to create an echo. This has been suggested both in the British Isles and in Southern Scandinavia... Ceramic pots have also been concealed in buildings for acoustic reasons. The acoustic skulls were placed in churches, in houses and in Scandinavia especially in threshing barns.

In churches the acoustics were very important, of course. And in houses were people danced and music was played, but why in threshing barns? It was considered important that the sound of threshing carried far. Could this have some magic purpose? It is well known that in many cultures loud noises are considered to expel evil forces. So this "practical" custom of acoustic skulls may not be contradictory to magical and symbolic acts at all. One question to consider is also why horses' skulls were preferred. One would presume that the skulls of cattle would be available more often than those of horses, and possibly just as suitable for acoustics.

Our Forest Home Cemetery & Arboretum apiary has produced delicious honey made from our tree pollen. It's got a light, nutty flavor and comes raw and unfiltered.