The Hellhounds of England: A Mini-Essay

     

     From Cerberus, the three-headed guardian of the underworld, to the hounds of Count Arnau (the pack of devil dogs the nefarious Spanish aristocrat is doomed to ride for eternity as punishment for his cruelties), folklores throughout the world have some form of the hellhound, a supernatural canine - sometimes the possession of the Devil - who is sicced on the living, often as recompense for their transgressions.[1] As Richard Jones reveals, the mythologies of England are no stranger to this legend and various versions of it have emerged in different regions throughout the nation. 

     The west of England is steeped in histories and legends that date as far back as 3,000 B.C.E. and the formidable woods of Dartmoor, with their mires and windswept terrains, possesses the most well-known rendition of the hellhound: the Wisht hounds. Made famous by Sir Arthur Conan Doyle’s 1902 novel The Hound of the Baskerville, the spectral dogs have been a longstanding mythos in the region, where, at the behest of the Devil, they search for the souls of unbaptized babies and stalk hapless trekkers.[2] 

     Over three-hundred miles north of Dartmoor’s foreboding wilderness is the Trollers Gill ravine in Appletreewick, whose lofty rock walls and dark caves are rumored to be the homes of flesh-eating trolls and a black-haired demon dog with flaming eyes the locals have christened Barguest.[3] An allusive hellhound that attacks those who wander into the gully, the animal is rumored to have mauled to death a nineteenth-century young man intent on capturing the blood-thirsty beast.[4] 

     About fifty miles west of Appletreewick, the quite village of Beetham’s Fairy Steps, a small flight of tiny stone stairs nestled between two lofty rocks, are believed to be the long-lost product of elfin craftsmen and local lore maintains that, if you make a wish before descending their steep steps and manage to reach the bottom without touching the flanking rocks, your request will be granted; however, misfortune is also a factor in the idyllic setting, with Cappel, a demonic canine who prowls the staircase at night, bringing bad luck to whomever sees his passing shadow and death to those unfortunate enough to gaze into his fiery eyes.[5]

Works Referenced  

Brown, Nathan Robert. The Mythology of Supernatural: The Signs and Symbols Behind the Popular TV Show. New York: Berkley Boulevard Books, 2011.

Jones, Richard. Haunted Britain and Ireland. New York: Barnes and Noble, 2002.

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[1] Brown, 80-82.
[2] Jones, 20-21.
[3] Jones, 135.
[4] Jone, 135.
[5] Jones, 137-138.

Mummy Hand

$20 - $30 (based on 2019 prices)

Makes one hand

Part of 2020’s twisted carnival theme involved Dr. Victor’s Oddity Museum, a collection of bizarre artifacts meant to resemble the curiosity exhibits customary in turn-of-the-century travelling shows. To achieve this, I crafted a bevy of familiar oddities, from mummified mermaids to shrunken heads. For this particular prop, I wanted to create a sideshow staple: a mummy hand. Despite its lengthy process, the prop was surprisingly easy to produce and, if the ambition is there, would make create place cards for an Egyptian-themed dinner, with each hand holding a placard with the guests’ names.

• One 4” x 6” frame
• One 10 oz. can of interior/exterior, fast-drying spray paint in flat black
• One 10 oz. can of interior/exterior, fast-drying spray paint in nutmeg
• One 2 oz. bottle of acrylic paint in green*
• One 2 oz. bottle of acrylic paint in blue*
• One 2 oz. bottle of acrylic paint in metallic gold*
• One 2 oz. bottle of acrylic paint in metallic silver*
• One 2 oz. bottle of acrylic paint in orange*
• One 2 oz. bottle of acrylic paint in red*
• One 2 oz. bottle of acrylic paint in turquoise*
• One 3/16” wooden dowel
• Three to four feet of steel wire
• One latex skeleton glove
• Two yards of white fabric
• At least four tablespoons of dark roasted coffee grounds
• One pan large enough to soak the fabric
• One 4 oz. bottle of all-purpose tacky glue*
• Four jeweled spider rings
• One piece of 8” x 11.5” cardstock with specimen labels printed on it
• At least four tablespoons of black tea (e.g. Darjeeling, Earl Gary, English Breakfast, etc.)
• One pan large enough to soak the cardstock
• One foot of brown twine

1. Remove the backing and any glass from the frame and, on a newspaper-lined surface in a well-ventilated area, apply an even coat of black spray paint. Although I used one coat, you may want more depending on your desired coverage. Keep in mind, though, that this is the base coat and much of the black will be covered by the other paints.

2. Detail the frame with an Egyptian-themed motif, including hieroglyphs written in red paint. You could mimic deigns found in historical artifacts or create your own patterns.

3. Form an armature for the hand with the dowel and steel wire, using the dowel as the forearm and the wire to fabricate fingers. This will give the hand a sturdy frame and allow you to bend the fingers into various poses. It might prove beneficial to trace the outline of the glove onto cardboard or paper and use this template to properly size the armature.

4. Give the arm bulk by building up layers of fabric around the fingers, palm, and forearm. You can achieve this by crunching up small squares of cloth and wrapping larger strands around them or utilizing quilt batting. As with step three, an outline of the glove on cardboard or paper can help guide this process.

5. Cut one side of the glove in half, running the slit from the base to the top of the palm and insert the armature into the opening. You may need to apply a little force to guide the padded structure into the glove. Do not exert too much force, though, as it may tear the latex. If you need, trim parts of the padding to allow for a smoother insertion.

6. Glue the seams together, center the hand onto the backing, and paste it in place. For a sturdier hold, consider using superglue. You can also fashion a stand by cutting a hole in the backing large enough for the dowel to fit in and gluing it into position.

7. Boil enough water to completely submerge the fabric and pour it into the pan. Add the coffee. The longer you allow the coffee to brew, the darker the stain will become. Likewise, greater amounts of coffee will produce a richer stain. Submerge the cloth in the coffee mixture and soak it until it reaches the color you desire. I soaked mine for four days and scattered the coffee grounds over the top of the fabric to add spots. Remove the fabric from the water and allow it to dry.

8. Tear the fabric into strips and wrap the hand and backing. You do not want the props to look pristine, so do not overthink your application and try not to aim for even strips and uniform coverage. Likewise, for visual interest, leave one or two strands free to dangle down the sides.

9. To enhance the aging process, dust the hand with a light coat of nutmeg spray paint. To give the illusion of dirt, hold the can over twelve inches away from the prop and make quick flicking motions. You can also apply a flecking of black paint and smears of brown.

10. Carefully slip the hand through the opening of the frame and reattach the item to the backing. For display purposes, glue the frame in place and, if you want, cut a 4” x 6” square of black craft foam and adhere it to the bottom of the prop to protect surfaces.

11. Shorten the legs on a jeweled spider ring, paint it gold, and glue it to the pinky of the hand to decorate the prop.

12. Repeat the process in step eleven with three additional jeweled spider rings, shortening their legs, cutting off their bands so they sit level, and painting them gold and silver to decorate the base and frame.

13. Boil enough water to completely submerge the cardstock and pour it into the pan. Add the tea. The longer you allow the tea to brew, the darker the stain will become. Likewise, greater amounts of tea will produce a richer stain. I found that a combination of English and Irish Breakfast brewed for over ten minutes produces a nice, deep brown. Submerge the cardstock into the tea mixture and soak it until it reaches the color you desire. I soaked mine for eight hours and scattered the loose-leaf tea over the top to add spots. Remove the cardstock from the water and allow it to dry. I elected to stain the cardstock with tea rather than coffee to give the label a hue which contrasted with the coffee-stained fabric. You, of course, are free to just stain the cardstock and cloth with either tea or coffee to save time. After the paper dries, cut out the label, leaving a small boarder around its edges, and roughen its surface with sandpaper.

14. Once you have achieved your desired level of distress, punch a hole into the top of the label and use a strand of twine to attach it to the prop.

15. The wire armature can be used to position the hand into whatever pose you desire. For example, you can create a paper scroll using the aging techniques in step thirteen and have the hand hold it in a firm death grip.

*You will not use the entire bottle’s content for this project.

"Annot of Benallay" (A Poem)

Death was no stranger to Robert Stephen Hawker. A vicar of Morwenstow, the priest became known for giving Christian burials to the shipwrecked sailors who washed ashore Stanbury Mouth near the parish.[1] He also attained recognition for his poetry, which garnered the attention of Charles Dickens and often, as his poem “Annot of Benallay” showcases, dealt with a theme common in his life: the deceased.[2]

At lone midnight the death-bell tolled,
To summon Annot’s clay:
For common eyes must not behold
The griefs of Benallay.

Meek daughter of a haughty line,
Was Lady Annot born:
That light which was not long to shine,
The sun that set at morn.

They shrouded her in maiden white,
They buried her in pall;
And the ring he gave her faith to plight
Shines on her finger small.

The Curate reads the dead man’s prayer
The silent Leech stands by:
The sob of voiceless love is there, 15
And sorrow’s vacant eye.

’T is over. Two and two they tread
The churchyard’s homeward way:
Farewell! farewell! thou lovely dead:
Thou Flower of Benallay.

The sexton stalks with tottering limb,
Along the chancel floor:
He waits, that old man gray and grim,
To close the narrow door.

“Shame! shame! these rings of stones and gold!”
The ghastly caitiff said;
“Better that living hands should hold,
Than glisten on the dead.”

The evil wish wrought evil deed,
The pall is rent away:
And lo! beneath the shattered lid,
The Flower of Benallay.

But life gleams from those opening eyes,
Blood thrills that lifted hand:
And awful words are in her cries,
Which none may understand.

Joy! ’tis the miracle of gore,
Of the city called Nain: —
Lo! glad feet throng the sculptured floor,
To hail their dead again.

Joy in the hall of Benallay,
A stately feast is spread:
Lord Harold is the bridegroom gay,
The bride th’ arisen dead.[3]

Works Referenced

Baring-Gould, Sabine. The Vicar of Morewenstow: Being a Life of Robert Stephen Hawker. London: Methuen and Company, 1899.

Hawker, Robert Stephen. “Annot of Benallay.” The Cornish Ballads and Other Poems. Oxford: James Parker and Company, 1869. 23-25.
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[1] Baring-Gould, 105-106. 

[2] Baring-Gould, 46. 

[3] Hawker, 23-25.

Garden Dolls

$10 - $15 (based on 2017 prices)

Makes two dolls

2017’s haunt explored the legend of La Llorona. To expand upon the element of prolicide prevalent in the folklore, I drew inspiration from La Isla de las Muñecas and filled the haunt with dolls to represent the specter’s drowned children. Although the process of transforming dozens of dolls into macabre monsters eventually became rather tiring, the final results were well worth the time and effort.

• Two vinyl dolls roughly twelve inches in height
• One 2 oz. bottle of acrylic paint in flat beige*
• One 2 oz. bottle of acrylic paint in flat black*
• One 2 oz. bottle of acrylic paint in flat brown*
• One 2 oz. bottle of acrylic paint in grasshopper*
• One 2 oz. bottle of acrylic paint in hunter green*
• One 2 oz. bottle of acrylic paint in olive*
• Two or three four-foot garlands of artificial leaves (roughly thirty leaves per garland)
• One to two 0.4 oz. packages of rubber worms (roughly six worms per package)
  

1. Disrobe the dolls and use a sharp knife to mangle their bodies, cutting holes in their chests, removing limbs, and opening up portions of their heads. Where you place the cavities and their size all depend on your chosen aesthetic. For visual interest, create jagged edges. To make this process easier, purchase dolls made from thin vinyl or cheap plastic. If it helps, trace the outline of your cuts with a marker first.

2. On a newspaper-lined surface in a well-ventilated area, give the dolls’ bodies three even coats of beige paint and the recesses of the openings three even coats of black paint. The number of coats, of course, is based on your desired coverage, so you may apply more or less.

3. You want to create the illusion of moss creeping across the surfaces of the dolls. Use a brush with splayed bristles to create a stippling effect around the joints, along the contours of facial features, and the edges of the holes to achieve this. I found that working from dark to light (i.e. hunter green to grasshopper) produces the best results. To further the patina, apply a light stippling of black and brown.

4. Separate the leaves from their garlands. Although you could do this while you glue them to the dolls, I found that performing this step beforehand made the process much easier. Plus, it gives you a clear idea of exactly how many leaves you have. Use hot glue to adhere the leaves into the openings. For visual interest, build up layers and vary the color patterns so that leaves with the same hues and shapes are not concentrated in one area.

5. Adhere rubber worms along the the bodies and cut some in half to glue in the foliage, giving the illusion they are snaking through the leaves. You can even make a few crawl out of eyes and mouths for a creepier effect. NOTE: the particular insects I used were made of a slick rubber which did not stick to hot glue. As a result, I used superglue gel to affix them.

6. To cater the props to your haunt’s theme, you can embellish them with alternate details like swarms of cockroaches or spiders. Likewise, you can substitute the fresh greenery with fall foliage for a more autumnal look. 

*You will not use the entire bottle’s content for this project.