WALKTHROUGH

While working towards completing this exhibition, we came to realise that the belief in otherworldly spirits was commonplace, but mostly spoken about in hushed tones. Many collaborators were sought with the intention of fundraising for organizations and historical locations that are well-known for their unique hauntings. However, despite the admittance of very active spirits, the potential collaborators made the decision to decline a partnership out of respect for their guests and customers.

We understand the decision of respecting the departed and their families and aim to make this exhibition as fun and educational as possible, rather than terrifying and campy. Maybe a little campy.

It seems that people feel more comfortable with remaining ignorant to the bumps and hums they hear from their darkened hallways and cosy corners, which is perfectly reasonable. Those who have run-ins with one of the local spirits prefer to see it as a quirk of their location and would rather not acknowledge the numerous happenings.

"Mother Redcap"

 The World's End and Underworld Club in Camden are built on a very old foundation that is rumored to have been where the cottage of Mother Red Cap stood. Jinny Bingham (1600-1680) developed a nasty reputation due to her refusal to adhere to societal norms. She had complicated, tempestuous relationships, she was said to have a foul temper, and spent most of her life as a recluse.

 Jinny became known as Mother Red Cap, likely due to the hats worn by brewers and landlords which would distinguish them from the rest of the crowd. Jinny brewed medicines and tinctures that were said to heal but, despite having frequent clients, people still feared her. Her appearance didn't help, either: Jinny is said to have been entirely bald with bushy, black eyebrows, and a ratty outfit with a shawl covered in patches resembling bats. Despite this, Jinny supposedly had many suitors, so she must have been uniquely charming.

 Today Jinny is said to make herself known with blood curdling shrieks and by rushing up to those who happen to catch sight of her. Loud bangs and stomping can be heard by guests and staff during the quieter hours of the work day.

"Fae"

  Fairy sightings have caused a stir in the UK for centuries, with the most sensational being the beautifully doctored photo of the Cottingley Fairies in 1917. However, witnesses continue to report seeing fairies, not just in remote areas, but in Central London.

  The Centre for Unseen Research aims to prove the existence of fairies through empirical evidence relying heavily on photographs and witness accounts. All evidence is neatly compiled and shared on their website, theunseen.space, which has a map of all reported fairy sightings.

  The fairies found in London are not quite so neat as the Cottingley variety. Many are reported to be aged, shriveled, and rather ugly. The female-presenting fairies are often soft and fluffy, either growing or decorating themselves with fuzz and little feathers. Regardless, most fairies seem to have striking lashes of color across their face with comparisons being made to David Bowie and Ronald McDonald. Whether these designs are makeup or natural markings is unclear.

  The Theatre Royal has been through many incarnations, having first opened its doors in 1663. Over the years, the theatre has had enough supernatural occurrences that The Guardian bestowed it the title of "World's Most Haunted Theatre." One character that has repeatedly made his presence known throughout the years is the famed pantomimist, Joseph Grimaldi.

  Grimaldi was extremely devoted to his craft, a huge supporter of the arts, and quite a fan of the ladies. During his life, he spent the height of his career in the Theatre Royal, so it appears he chose to stay.

  Prior to his death, Grimaldi requested that his head should be severed from his body before burial. This macabre detail is a possible explanation for the sightings of a floating head, covered in white greasepaint, at the theatre.    However, Grimaldi's appearances are not limited to quiet inspection. During a run of the broadway musical 'Oklahoma!,' a young comedienne was struggling to deliver her lines. She was growing more nervous with each misstep and was unable to inspire a response from the audience. At this moment, she felt someone firmly grab her by the shoulders, guiding her across the stage, and adjusting her arms and head as she delivered her lines. The audience then roared with laughter, as was intended.

  Grimaldi continues to intervene where he feels it necessary, and has become an oddly comforting presence to the performers that pass through the Theatre Royal.  

"Joseph Grimaldi"

  The Theatre Royal has been through many incarnations, having first opened its doors in 1663. Over the years, the theatre has had enough supernatural occurrences that The Guardian bestowed it the title of "World's Most Haunted Theatre." One character that has repeatedly made his presence known throughout the years is the famed pantomimist, Joseph Grimaldi.

  Grimaldi was extremely devoted to his craft, a huge supporter of the arts, and quite a fan of the ladies. During his life, he spent the height of his career in the Theatre Royal, so it appears he chose to stay.

  Prior to his death, Grimaldi requested that his head should be severed from his body before burial. This macabre detail is a possible explanation for the sightings of a floating head, covered in white greasepaint, at the theatre.    However, Grimaldi's appearances are not limited to quiet inspection. During a run of the broadway musical 'Oklahoma!,' a young comedienne was struggling to deliver her lines. She was growing more nervous with each misstep and was unable to inspire a response from the audience. At this moment, she felt someone firmly grab her by the shoulders, guiding her across the stage, and adjusting her arms and head as she delivered her lines. The audience then roared with laughter, as was intended.

  Grimaldi continues to intervene where he feels it necessary, and has become an oddly comforting presence to the performers that pass through the Theatre Royal.  

"Resurrectionist I"

  As medicine made advances in the 18th century, new medical schools were opened and the knowledge of anatomy was a major requirement in the training of doctors. Unfortunately, the only way to learn about human anatomy was through observing a real body.

  Anatomists began employing body snatchers or "resurrectionists" to keep an eye out for freshly buried dead, so the cadaver could be dug back up once the sun set.

  No laws were in place to protect buried bodies, as they were not considered property, so the resurrectionists acted within this grey area in order to make a living.

"Resurrectionist II"

  Body snatching was so widespread, that the only way to ensure a loved one's remains were not desecrated, was to pay a significant amount in order to protect them in the afterlife. London's parish burial grounds had become overcrowded during the Victorian era, which led to the creation of private cemeteries known as 'the Magnificent Seven.' Kensal Green, Highgate, Abney Park, West Norwood, Brompton, Tower Hamelts, and Nunhead cemeteries were built in the suburbs of London to alleviate the pressure of overpopulation and protect the deceased.

  The Anatomy Act of 1832 brought about the legal recognition of the rights of a corpse. With this law, a clause was added, which allowed a living person to sign their body for "anatomical examination" post- mortem.

"Lizzie Siddal"

  Elizabeth Siddal, an artist, poet, and model, was best known as the face of the Pre- Raphaelites: A group of popular English artists that religiously employed Siddal as their model. Although her work was initially dismissed, Siddal grew to be a formidable artist and figure in her own right. Unfortunately, as with many Victorians, she liked heroin a little too much. Coupled with mental health issues, a stillbirth, and illness, Siddal overdosed and was found by her husband, Dante Gabriel Rossetti.

  Siddal was buried in the Rossetti family plot at Highgate Cemetery, along with a book of her husband's poems placed by her head. A few years after her death, Siddal's husband wanted her to be secretly disinterred so he could retrieve the book.

  In the middle of the night, Charles Howell quietly crept through Highgate Cemetery to disinter Siddal from the Rossetti resting place. When the coffin was opened, Howell claimed that the once-model was perfectly preserved, beautiful as in life, and her hair had grown to fill the coffin.