The Cardiff Giant: A Mini-Essay

     In the autumn of 1869, individuals throughout the state of New York and beyond flocked to the small town of Cardiff to witness firsthand the peculiar giant described in local newspapers. After paying their fifty-cent admission fee, each person shuffled into the staid silence of a dim tent and peered down into the shallow grave holding the curiosity.[1] Found by a team of workers while digging a well on the property of William Newell, the ten-foot creation sparked instant interest among the population and drew such prominent figures as Andrew White, the president of Cornell University, and P.T. Barnum, who vainly attempted to purchase the oddity from Newell.[2] As the attraction grew, so did academic efforts to identify the object. Four physicians from neighboring counties examined the form and determined it was a petrified corpse while a prominent doctor from Syracuse contended that it was a stone statue possibly produced by Jesuit priests who had once occupied the area.[3] Despite its questionable nature, the crowds continued to build and a group of businessmen purchased the giant for $30,000 and had it exhumed and transported to Syracuse for a more prominent exhibit.[4] Refusing to be outdone, the irked Barnum had a replica produced and began displaying it as the original Cardiff Giant.[5] Around this same time, as public interest reached a fevered pitch, details began to emerge from Newell’s neighbors. Locals from Cardiff expressed that they remembered a massive ironbound box being delivered to the farm a year before the figure’s discovery and two sculptors confessed that George Hull, Newell’s relative, had hired them to carve a brobdingnagian body out of a huge block of gypsum.[6] Indeed, the artists’ claims were supported by Othniel Marsh, a professor of paleontology at Yale University, who confirmed that the giant was nothing more than a gypsum sculpture that had been artificially aged with a sulphuric acid bath.[7] With that, the crowds suddenly stopped and the Cardiff Giant slipped into obscurity, passing from owner to owner until it found its way to the New York State Historical Association in 1948.

Works Referenced

White, John. American Vignettes: A Collection of Footnotes to History. Convent Station, NJ: Travel Vision, 1976.
____________________
[1] White, 81-82.
[2] White, 82.
[3] White, 82.
[4] White, 82-83.
[5] White, 83.
[6] White, 82-83.
[7] White, 83.

Stigmata Bust

$25 - $30 (based on 2017 prices)

Makes one bust

This prop was featured on the altar in 2017’s haunted house, where the opening room was decorated like an old Spanish church. To add eerie touches and enhance the atmosphere, I emphasized certain elements of Catholicism. In the case of this bust, I replaced the blood traditionally seen on stigmata with blackened goo. Consider purchasing the statue at a second-hand store or on clearance to cut the project’s cost.

• One polyresin bust (roughly twelve inches tall)
• One 10 oz. cans of interior/exterior, fast-drying spray paint in metallic copper
• One 2 oz. bottle of acrylic paint in flat black*
• 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*
• One 0.44 oz. bottle of clear nail polish*
  

1. On a newspaper-lined surface in a well-ventilated area, give the bust an even coat of copper spray paint. Although I only used one, you are free to apply additional coats based on your desired coverage. 

2. Mix grasshopper and hunter green paint together to achieve and aged patina and pat it onto the bust. You could use a brush with splayed bristles, a stippling sponge, or crumpled paper towels for the application. As you do so, focus on areas where oxidization would naturally occur: across the surface of the face, along the curves of the hair, and throughout the top of the head.

3. To add further age and additional depth, dab olive paint onto the statue. As with step two, focus on places where continued exposure to the elements would weather the copper. Be modest with your application during this process. You do not want to overpower the other colors with this darker tone.

4. Complete the aging process by flecking the bust with black paint. You can do this by either quickly flicking a paintbrush or using an old toothbrush and strumming your finger across the bristles. Since this process flings paint everywhere, it’s best to perform it outside. If you want a grimier appearance, brush brown paint along the statue’s surface to simulate dirt.

5. Use black paint to darken the eyes and create a dripping effect. You want the final version to look like blackened evil is pouring from the bust’s eyes. Try to simulate running mascara by exaggerating the streams and bringing them down toward the jaw line.

6. Use clear nail polish to give the paint a glossy appearance. I used two coats; however, you are free to apply as many coats as you feel necessary.

7. If you plan to display the prop on a surface you do not want to damage, consider applying squares of felt to its bottom, especially if your statue was designed for outdoor decoration.

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

“The Spider and the Ghost of the Fly" (A Poem)

Published in 1915, Vachel Lindsay’s poem “The Spider and the Ghost of the Fly” possesses a strangely erotic tone. Although the seduction and destruction of the fly can be read literally, many critics, including Franz Link, take a more figurative stance, viewing the process as a metaphor for such themes as the pangs of love and humanity’s devastation of nature.[1]

Once I loved a spider
When I was born a fly,
A velvet-footed spider
With a gown of rainbow-dye.
She ate my wings and gloated.
She bound me with a hair.
She drove me to her parlor
Above her winding stair.
To educate young spiders
She took me all apart.
My ghost came back to haunt her.
I saw her eat my heart.[2]

Works Referenced

Lindsay, Vachel. “The Spider and the Ghost of the Fly.” The Congo and Other Poems. New York: The Macmillan Company, 1915. 99-100. 

Link, Franz. “The Spider and Its Web in American Literature.” Literaturwissenschaftliches Jahrbuch. Ed. Theodor Berchem. Berlin: Duncker and Humbolt, 1995. 289-314.
____________________ 
[1] Link, 296.
[2] Lindsay, 99-100.

Creepy Doll Wreath

$15 - $20 (based on 2017 prices)

Makes one wreath

To build on the haunted house’s La Llorona theme, I incorporated elements from La Isla de las Muñecas and filled the haunt with dolls. Back in 2015, I created three voodoo talismans and was thoroughly impressed with the results. I decided to replicate the props using a wreath rather than stars. Although not as striking as the originals, this version made a creepy addition to the random assortment of dolls.

• Two twelve-inch vinyl dolls
• One grapevine wreath
• 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 flesh tone*
• One 8 oz. bottle of wood glue*
• Two yards of light brown twine
• One 4 oz. bottle of all-purpose tacky glue*
• One ½ oz. bag of feathers
  

1. Dismember the dolls and remove their clothing. On a newspaper-lined surface, paint their limbs and heads black. Although I only used one coat, you may want more depending on your desired coverage. Keep in mind, though, that this is the base coat for the crackle paint and much of it will be covered up by the second layer. While I chose black, you can use a different color to tailor the props for your specific needs.

2. Once the paint has dried, use a thick brush to apply a smattering of wood glue to the props. Try not to over think your application (a random pattern produces the best results). Also, it may be easier to work with one limb at a time rather than attempting to glue and paint the entire lot at once. Let the glue sit for a minute to become tacky and then cover the limbs with the flesh-tone paint. Here, too, I only used one coat; however, you may want more. As the glue and paint dry, they will form cracks, making the base coat visible.

3. Once the glue and paint have fully dried, brush a light coat of brown paint onto the props to simulate dirt. During this process, try to focus on areas where dust and grime would normally accumulate: in the lines between fingers and toes, along the creases of elbows and knees, and inside the ears and mouths. If you want to give the props a creepier appearance, cut out the eyes and darken the holes with black paint.

4. String up the doll’s torso in the center of the wreath. Wrap twine around the body numerous times. This will not only provide additional support, but add extra detail to the prop. If both of your dolls have torsos (one of mine had a cloth body), consider repurposing the second one for another project or melding the two together to form a freakish hybrid to showcase in the wreath’s center.

5. Arrange the limbs onto the wreath and glue them in place. To give the prop further detail, alternate the items. Although I only used one doll’s head (I utilized the second for another prop), you are free to attached both.

6. Wrap twine around the limbs and grapevine to make it appear as though the dolls have been lashed to the wreath (the glue will hold them in place). Trim the excess and glue the knots to reinforce them.

7. Glue feathers under the head and inside the torso’s openings. For visual interest, vary their colors and sizes.

8. If the wreath did not come with hanging loops, you can create your own with the extra twine, knotting the ends and gluing them for reinforcement.

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

The Mystical Afterbirth: A Mini-Essay

     Due to its intimate connection to the mother and her infant, the placenta and umbilical cord have played a major role in birthing ceremonies among ancient civilizations and current indigenous tribes. For the Munduruça Indians of Brazil and the Balinese of Indonesia, these organs hold protective powers and new parents are instructed to bury them under the house to guard the family from evil entities.[1] The Chukchee Indians of Northeast Siberia hold a similar belief; however, they construct a miniature reliquary for the items and place it in the corner of their tents.[2] The Zulu tribe of Africa possesses the most interesting ritual. For these individuals, the placenta and umbilical cord’s personal connection to the infant can allow malicious spirits to take control of the child if these organs are not properly hidden. To accomplish this, the mother must wait seven days following her child’s birth. On this particular day, she nonchalantly wanders down to the river with the items hidden under her clothing and buries them as deeply as she can in the mud of the banks. She must then casually trek back to the village as though nothing has happened. All of this, in turn, is done to fool the evil spirits and prevent them from digging up the organs and using them to enact harm on the infant.[3]

Works Referenced

Sorel, Nancy. Ever Since Eve: Personal Reflections on Childbirth. Oxford: Oxford University Press, 1984.
____________________
[1] Sorel, 123.
[2] Sorel, 123.
[3] Sorel, 123.

Jeweled Crosses

$20 - $25 (based on 2017 prices)

Makes two crosses

The opening room of 2017’s haunted house depicted an elaborate funeral held in an old Spanish mission. To decorate the scene, I built two ornamental crosses. To enhance the Dia de los Muertos theme, I fashioned the props off of the jewel-encrusted artifacts once used in Catholic reliquaries and altars.

• One 1 ½” x 1 ½” x 12” square oak board
• One 1” x 4” x 16” rectangular oak board
• Six wood screws (roughly 1” in length)
• Two birch wood cross (roughly 8” wide and 11” tall)
• One 10 oz. cans of interior/exterior, fast-drying spray paint in metallic silver
• Three or more 14 oz. bags of multicolored glass gems (roughly forty gems per bag)
• One 4 oz. bottle of all-purpose tacky glue
• Two decorative brooches

1. Using either an electric or hand saw, cut the square board into two six-inch sections and the rectangular board into two eight-inch sections. Use sandpaper to round their corners and smooth their surfaces.

2. Create bases for the crosses by screwing the square boards to the center of the rectangular boards to form a T. Once this has been accomplished, attached the crosses to the square boards. For added reinforcement, use wood glue in addition to the screws.

3. On a newspaper-lined surface in a well-ventilated area, give the crosses and their bases an even coat of silver spray paint. I chose one, since the majority of the prop will be covered by glass gems. You, though, are free to apply extra coats.

4. Once the paint has dried, glue the gems to the crosses. Hot glue failed to hold the items in place, so I ended up using craft glue. For a sturdier hold, consider super glue. I decided to try two different techniques to give the props their own distinct character. For the first cross, I created a specific pattern and arranged the gems beforehand. For the second cross, I chose to create a random arrangement and glued the gems down as I worked.

5. For extra detail, I glued a decorative brooch to the center of each cross. Here, too, hot glue unsuccessful attached the items, so I used craft glue. I wanted something big and flashy, but you are free to use smaller pieces or ignore this step entirely.

6. If you plan to display the props on a surface you do not want to damage, consider applying squares of felt to the bottoms. You could also add further embellishments – such as small brooches or jewels – to the bases as well.

Bloody Popcorn Buckets

$10 - $15 (based on 2017 prices)

Makes two buckets

The company I work for has an unofficial decorating contest between offices. For 2017, we decided to pull out all the stops and decorate the entire building. One of the rooms was a twisted circus. Although I have never been fond of the killer clown theme, the concept did give me a chance to explore the circus idea without relying too heavily on clowns. Since the display went up in the middle of September and did not come down until slightly after the start of November, I did not want to use actual food. After toying with alternative ways to make popcorn (including a nightmarish experimentation with Great Stuff), I discovered that basic packing peanuts produced the best results. Also, to give the illusion that the baskets were fuller than my supplies permitted, I created fake bottoms.

• Two plastic popcorn buckets (roughly seven inches tall)
• One sheet of cardboard large enough to trace the outlines of the buckets’ openings
• One 10 oz. can of interior/exterior, fast-drying spray paint in flat black
• Three rubber worms
• About one cubic foot of white packing peanuts
• One 4 oz. bottle of all-purpose tacky glue*
• Two doll eyes
• One 2 oz. bottle of acrylic paint in flat yellow*
• One 2 oz. bottle of acrylic paint in cherry cobbler*

1. Trace the outlines of the buckets’ openings on a sheet of cardboard and cut them out. To give the illusion that the buckets are full, the cardboard will sit near the top and create a base for you to adhere the popcorn. You will need to gradually trim the squares until they sit as low within the buckets as you would like.

2. On a newspaper-line surface in a well-ventilated area, give the cardboard a few even coats of black spray paint. I used two; however, you may use more or less based on your preferences. Once the paint has dried, glue the squares in place. If you plan to display the prop outside, you may want to add weight to the bottom of the buckets before this process. This will prevent the props from being top-heavy and tipping over.

3. Cut rubber worms in half and glue them to the cardboard. You want to give the illusion that they are snaking through the popcorn, so keep them long enough to remain visible once these items are finally added.

4. Make fake popcorn with packing peanuts. To do this, crush each piece gently between your thumb and index finger. Do not completely smash the items. You want them to maintain some fluff. For believability, vary the sizes by using both whole and half peanuts.

5. Apply a coat of glue to the cardboard and then a coat of popcorn. I found that building up layers of glue and popcorn works well to guarantee that each peace is securely attached to the prop. Continue this process until you reach the height you desire.

6. For additional detail, glue doll eyes, plastic insects, severed fingers, aged bones, or severed ears to the popcorn.

7. Brush yellow paint across the popcorn’s surface to simulate butter. Try not to over think your application (a random pattern produces the best results).

8. Smear the buckets with cherry cobbler paint. You could use a brush to flick blood splatter, make gory handprints with your own hands, or just smother the containers in a haphazard covering. Granted, this step is entirely optional. If blood is not your thing, skip this portion.

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