The Evolution of Cemeteries, Part Two: A Mini-Essay

     Because of their popularity and the limited confines of the land, Ariès explains, churches needed to establish a burial system that perpetually supplanted older corpses with newer bodies. What emerged, the historian reveals, was an intricate arrangement of stacked stone sarcophagi and dirt graves which could be filled and emptied, with the remains of past parishioners relegated to either the garrets – land overgrown with grass whose pasturage was regularly disputed between the church and the community – and the charnels – the church’s galleries which, by the fourteenth century, became intricately decorated with bones and skulls.[1] While social standing influenced the final resting place of an individual’s remains (poorer parishioners, for instance, were often relegated to the garrets), it also determined the initial location of internments. The choir, the chapel, and before statues of the Virgin Mary were the most sought-after locations, but frequently reserved for the more financially generous of churchgoers; however, given the limited space of most cemeteries, even the most charitable of Christians were not guaranteed their chosen places of rest.[2] Due to this factor, members of the congregation made general requests (near the elm tree or somewhere between the church and the cross, for example), graves were not marked, and records of burial were kept haphazardly by clergy in ledgers whose entries were often as unspecific as the requests themselves.[3] This process existed uninterrupted in the majority of Europe until the seventeenth century when, at the end of the ancien régime, the upper classes abandoned the communal nature of the graveyard and, desiring to preserve familial unity, built chapels and family vaults to help contain lineages, both physically and metaphorically.[4]

Works Referenced

Ariès, Philippe. The Hour of Our Death: The Classic History of Western Attitudes Toward Death Over the Last One Thousand Years. 1977. Trans. Helen Weaver. New York: Barnes and Noble Books, 2000.

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[1] Ariès, 56-61.
[2] Ariès, 78-82.
[3] Ariès, 78-82.
[4] Ariès, 288-293.

Organ Harvesting Device

$50 - $60 (based on 2020 prices)

Makes one device

 

2020’s mad scientist haunt was a massive undertaking, with the laboratory needing several large pieces of equipment to truly sell the theme. To create a unified set, I decided to use similar elements in all of the pieces: copper and silver pipes and joints, lights fashioned out of Christmas ornaments, and steel-colored bases. For this version, I repurposed an old light-up stack of skulls which had been a decorative element in the haunts for years.

• One 12” x 24” board of foam insulation
• 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 metallic copper
• One 10 oz. can of interior/exterior, fast-drying spray paint in metallic silver
• A random assortment of bolts, caps, rollers, and screws
• One 4 oz. bottle of clear, all-purpose tacky glue gel*
• One 2” x 6’ PVC pipe
• Four two-inch PVC elbow joints
• Two two-inch PVC angled joints
• Two two-inch PVC cross joints
• One two-inch PVC coupling joint
• One one-inch PVC coupling joint
• One light-up skull tower (roughly seventeen inches tall)
• One 8 oz. can of oil-based interior wood stain in red chestnut*
• One 8 oz. can of oil-based interior wood stain in Jacobean*
• One 2 oz. bottle of acrylic paint in flat black*
• One twelve-inch glass candle votive with removable base
• One ten-inch wooden dowel
• Two severed eyeballs (learn how to make them here)
• One 0.3 fluid ounce bottle of red food coloring*
• One 4 oz. bottle of clear, all-purpose tacky glue gel*
• Four feet of 3/4” clear plastic tubing
• Six clear plastic Christmas ornaments (two inches in diameter)
• One foot of red steel wire
• One foot of black steel wire
• One hot glue stick

1. On a newspaper-lined surface in a well-ventilated area, build up layers of black and metallic silver spray paint to give the foam board the look of steel. I found it works best to apply a base coat of black to the entire prop and then add the sliver, working in quick bursts to allow parts of the black to remain visible. You can also touch up portions with additional blasts of black if the silver becomes too heavy.

2. Detail the board with the assortment of bolts and screws, applying a small dab of glue to the bottoms of their heads and pushing them into the foam. Your arrangement is entirely based on your chosen aesthetic, so you can apply as many or as little as you like.

3. Measure, mark, and cut the PVC pipe into one fourteen-inch section, one eight-inch section, four seven-inch sections, one five-inch section, three four-inch sections, and one three-inch section.

4. On a newspaper-lined surface in a well-ventilated area, give the pipe sections two even coats of copper spray paint and the joints two coats of silver. You can always vary the colors to cater the prop to your haunt’s distinct color scheme.

5. Since the insides of the angled and coupling joints will remain visible with the finished prop, paint them black to darken their interiors.

6. Assemble the joints and pipes as shown in the picture to create the frame for the harvesting device and then, using hot glue, attach it to the foam board. You may need to use a collection of sturdy objects to help support the framework while the glue fully dries.

7. On a newspaper-lined surface in a well-ventilated area, stain the skull tower. You want the color to build up in the cracks and fissures. You can use whatever color you desire. I chose red chestnut because it gives the bones a meaty appearance. Once you have achieved your intended look, allow the tower to completely dry and then paint the insides of the eyes and noses black.

8. Accent the skulls with a variety of bolts, caps, rollers, and screws. To ensure they remain in place, use an industrial-strength glue and, for the bolts and screws, drill holes into the bones (be careful not to nick the electrical wiring) and glue the items in place.

9. Position the tower near the two protruding pipes with the angled joints and glue it in place. You want to leave enough room between the skulls and the joints to accommodate the tubing, so do not place them too close.

10. On a newspaper-lined surface in a well ventilated area, paint the candle votive with the Jacobean wood stain. I discovered that applying a thin coat and patting it with paper towels produces a hazed appearance. Then, dab the surfaces with the red chestnut wood stain to create spots of dried blood.

11. Cut the wooden dowel into one six-inch section and one four-inch section, give them two even coats of silver paint, and then glue them to the base of the votive. As with step eight, an industrial-strength glue will ensure a sturdier hold.

12. Position the eyes on the ends of the dowels and glue them in place. You want the yarn to dangle downward to wrap around the dowels in step fifteen.

13. Place the base on the board, situate it near the one-inch coupling, and glue it down. As with step nine, you want to allow enough space between the votive and the coupling to accommodate the piping.

14. In a plastic container (because the food coloring will stain, use something disposable or that you won’t mind dying), pour in your desired amount of clear glue gel and slowly add red food coloring to the solution until it achieves the sanguine hue you desire. To give the blood further density, add blue food coloring and mix well.

15. Saturate the yarn dangling from the eyeballs in the blood glue and wrap the strands around the dowels to make it look like the optic nerves have clung to the stand. After this, pool blood on the base around the dowels.

16. Cut the tubing into three sections (one nine-inch piece, one fifteen-inch piece, and one nineteen-inch piece), fill the tubing with the blood glue, and allow it to dry. Based on the space between the skull tower and the piping and the votive and the coupling, you may need to adjust the measurements of the sections.

17. Use a 3/4” bit to drill two holes into the skulls (be careful not to nick the electrical wiring) and feed the tubing from the angled joints into the openings. You may need to trim the tubing if it is too long to prevent the excess from bunching up inside the prop.

18. Reattached the glass sleeve no the votive, glue it in place, and run the tubing from the one-inch coupling into the votive. As with step seventeen, you might need to trim the tubing if it is too long.

19. Use the remaining blood glue to detail the prop, dribbling the liquid around the junctures where the tubing enters the joints and skulls, pouring it down the sides of the votive’s glass, and creating puddles at the base of the skull tower.

20. Remove the hanging loop from the Christmas ornament, cut a jagged opening into the ball, and dust the interior with a blast of black spray paint to give the illusion the light bulb has burst.

21. Fashion a filament to rest inside the ornament with strands of black and red steel wire and two pieces of a hot glue stick.

22. Insert the filament into the bulb and glue it to the two-inch coupling resting at the top of the frame to give the illusion the bulb has burst during the experiment.

23. The prop can be enhanced further with additional details to cater it toward your haunt’s needs, like swarms of maggots crawling across the skulls and eyes for additional creepiness. Also, the red food coloring can be substituted for green to make slime rather than blood. 

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

Dr. Frankenstein’s Degree

$5 - $10 (based on 2020 prices)

Makes one degree

 

Although they can be overlooked by most guests, little details can have a big impact on a haunt, setting the tone. Because of this factor, I always make smaller props to reinforce the narrative. For 2020’s mad scientist theme, I wanted simpler items like journals and this medical degree to help solidify the story.

• One 8” x 11.5” picture frame
• One 10 oz. can of interior/exterior, fast-drying spray paint in flat black
• One 2 oz. bottle of acrylic paint in flat brown*
• One 2 oz. bottle of acrylic paint in flat khaki*
• One 2 oz. bottle of acrylic paint in flat red*
• One 2 oz. bottle of acrylic paint in flat tan*
• One piece of 8” x 11.5” copy paper with a degree certificate printed on it
• Four tablespoons of black tea (e.g. Darjeeling, Earl Gary, English Breakfast)
• One pan large enough to soak the copy paper
• One 4 oz. bottle of all-purpose tacky glue*
• One round gold sticker

1. Remove the backing and glass and, on a newspaper-lined surface in a well-ventilated area, give the frame an even coat of black spray paint. Although I only used one, 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 up by lighter colors. Also, if you plan to make excessive holes in the degree during step four, consider painting the backing black during this stage.

2. Use varying hues of brown to achieve an aged wood patina. I found that working from light to dark provided the deep tones I wanted to contrast with the lightness of the tea-stained paper; however, if you need brighter shades, work from dark to light.

3. Boil enough water to completely submerge the copy paper 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 paper 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 of the paper to add spots. Remove the paper from the water and allow it to dry.

4. Glue the stained paper to the cardboard backing. To make it appear even more decrepit, crinkle the paper and create holes. You can also use olive or vegetable oil to add additional stains (rub the oil onto the tips of your fingers and gently pat them on random spots across the paper’s surface).

5. Give the sticker a rusted patina by starting with dabs of brown paint and, once that has dried, dabs of red. During this process you want to ensure each layer does not overpower the last, since you want equal parts of the brown, gold, and red to show. If you cannot find a gold sticker, you can paint a circular disk of cardstock gold and then apply the rusted patina.

6. Attach the sticker to the lower-left corner of the degree. For added age, you can run a light coat of glue along the backside of the edges to make it appear the emblem is beginning to peel off the certificate.

7. Attach the frame to the backing. If you plan to display the prop in windy conditions, glue the backing in place. For safety concerns, I discarded the glass; however, you can incorporate it into the prop and even give it a light brushing of Jacobean wood stain for a grimy appearance.

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

Anonymous Poem

While works like Thomas Hoods’ “The Death-Bed,” Percy Russell’s “Premature Burial,” and Seba Smith’s “The Life-Preserving Coffin” all addressed the Victorian fear of hasty internment with a staid sobriety, other works, including an anonymous limerick in the first issue of Burial Reformer and this anonymous poem from the British Medical Journal printed below, tackle the subject with a levity Hood, Russell, Smith, and their peers would have found vulgar.

 
In our graveyards with winter winds blowing
There’s a great deal of to-ing and fro-ing
But can it be said
That the buried are dead
When their nails and their hair are still growing?[1]

Works Referenced

 

 "Anonymous Poem." British Medical Journal, 13 November 1982.
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[1] "Anonymous Poem."

Mum Fall Wreaths

$15 - $20 (based on 2017 prices)

Makes two wreaths

 

The Dia de Los Muertos portion of 2017’s haunted house required dozens of wreaths and flowers for an intricate funeral scene. To prevent myself from using the same design for each prop, I did variations. For this version, I chose to utilize the oranges, yellows, and reds of autumn to fashion a fall-themed rendition which could be repurposed after the haunting season.

• Two twelve-inch grapevine wreaths
• An assortment of artificial flowers is multiple colors and sizes (e.g. dahlias, mums, sunflowers)
• Hot glue gun and glue sticks
• Four yards of burlap ribbon (at least two inches in width)
• Two small decorative sunflower medallions

1. Separate the flowers and leaves from their stems. Although you could do this while you glue them to the wreaths, I found that performing this step beforehand made the following process much easier. Plus, it gives you a clear idea of exactly how many of each item you have.

2. Evenly divide the flowers and hot glue them to the wreaths. For visual interest, build up layers and vary the color patterns so that blooms with the same hues and shapes are not concentrated in one area. You may want to play with the arrangements first before gluing them in place.

3. Repeat the methods in step two with the leaves, gluing them around the outer circumference of the wreaths and, to enhance their appearance, ensuring you create contrast by using different hues and sizes in various positions.

4. To create the bows which will adorn the wreaths, begin by cutting the burlap into four eighteen-inch sections, two fifteen-inch sections, and two four-inch sections. This will create two bows that are nine inches long and have nine-inch tails. For smaller or larger versions, you can always adjust the measurements. To prevent the burlap from unraveling, spread a light layer of glue along the edges and allow it to fully dry before moving on to step five.

5. Fold two of the eighteen-inch sections and the two fifteen-inch sections so their ends touch and form a loop. Then, fold the second pair of eighteen-inch sections in half, letting the ends dangle. Nest all three on top of each other and use the four-inch sections to bind them together in the center. This will create two bows with a seven-inch loop resting atop a nine-inch loop. Once the bows are assembled, glue the sunflower medallions to their centers for additional embellishments.

6. Adhere the bows to the wreaths. I elected to place them on the left for visual interest; however, their final placement can be altered to cater the prop to your desired aesthetic.

7. If the wreaths did not come with hanging loops, you can create some by either using leftover portions of the burlap ribbon or fabricating sturdier versions with steel wire.