On this date in 1715, the legendary outlaw Filip Mengstein was broken on the wheel in Dresden’s marketplace, along with four henchmen.
With the wiseguy nickname “Lips Tullian”, our cutthroat’s gangland derring-do cuts a truly timeless profile. But it happens that Lips did his cutting in the environs of Saxony and Bohemia, exploiting for many years lax domestic security in the Holy Roman Empire occasioned by the preoccupations of the Great Northern War. Legend has it that he was a former dragoon forced to take to the road around 1702 when he slew a comrade in a duel.
From wilderness haunts — there’s still a “Lips Tullian Hill” in Saxony’s Tharandt Forest — Tullian’s “Black Guard” gang sallied into towns to raid prosperous homes and churches. When caught, he had a knack for the dramatic breakout, returning again and again to his gang.
Alas, it was an unsuccessful escape attempt in 1713 that finally caused his captors of the day to realize who they had and put him to torture and, eventually, the brutal breaking-wheel execution.
Immortalized in subsequent folklore, especially in Bohemia, Lips Tullian is best noted recently as the subject of a popular 1970s Czech comic published (until Communist authorities suppressed it) by Mlady Svet. The illustrator Kaja Saudek based his Lips Tullian on the romantic 19th century interpretation of Kvidon de Felses — presenting him as a gold-hearted rogue with an impressively chiseled physique.
Four hundred years ago today, on Jan. 7 1611, three servants of the legendary “Countess of Blood” Elizabeth Bathory (Báthory Erzsébet, in the Hungarian) were tried, convicted, and immediately put to death for the noblewoman’s stupendous career of homicide.
This date’s entry is occasioned by the deaths of three subalterns — manservant Janos Ujvary, beheaded; and female attendants Ilona Jo and Dorottya Szentes, fingers ripped off and burned — but the headline attraction is their employer, who was never tried or condemned.
On one occasion, a lady’s-maid saw something wrong in [Elizabeth Bathory’s] head-dress, and as a recompence for observing it, received such a severe box on the ears that the blood gushed from her nose, and spirted on to her mistress’s face. When the blood drops were washed off her face, her skin appeared much more beautiful — whiter and more transparent on the spots where the blood had been.
Elizabeth formed the resolution to bathe her face and her whole body in human blood so as to enhance her beauty.
These scrub-ups are what the Countess of Blood is best remembered for, but however striking the visual, it’s an atrocity that actually doesn’t turn up in the trial records.
But she could hardly complain of the embroidery, having given her interlocutors so much material.
Elizabeth Bathory is supposed to be responsible for over six hundred deaths, starting while her husband was away on campaign, and then carrying on into a wholesale operation after he died. When she and her servants were finally busted at Csejte Castle the end of 1610, their captors found a dead girl, a dying girl, and several others imprisoned and awaiting that fate.
Elizabeth Bathory, a sexually charged 1893 painting by Hungarian impressionist Istvan Csok depicting one of the countess’s victims being drenched in icy water for death by exposure.
So although the confessions the servants made this date to seal their own fates were undoubtedly torture-adduced, the documentary record turns out to be amazingly strong for such a fantastical spree. Hungarian King Matthias II convened a tribunal that examined 200 to 300 witnesses.
One can postulate that the woman ran afoul of a patriarchal culture affronted by her exercise of power or that she became a parable for the “unnatural” lust of a middle-aged woman … but so far as we are left to understand, Erzsebet Bathory really did lure young girls to her castle, and then inflict (pdf) a Nazi doctors’ litany of sadism on them … like jabbing them with needles to drain out their blood. She even kept a log of the victims in her own hand.
So, locals disappearing into the creepy castle, never to be seen again, or possibly to turn up pallid and dead. (Disposing of all those corpses became a logistical problem for the creepy castle.) No surprise to find it associated with the vampire legend.*
And no surprise that the tale became magnified, twisted, and reconfigured by popular culture.
In 1817, as accounts of the testimonies about the alleged murders and sadistic tortures were published for the first time, national and international headlines sensationalized the already misconceived story. From that on [sic], the literary countess took on a life of her own: the Grimm brothers wrote a short story about her, the romantic German writer, Johann Ludwig Tieck (1774 – 1853), cast her as a Gothic femme fatale, Swanhilda, in his short story Wake Not the Dead. It is alleged that Sheridan le Fanu shaped his female vampire Carmilla on Elizabeth Bathory. If we can believe some etymological explanation the compound English word blood-bath is of mid-nineteenth century origin possibly connected to the bloody countess’ rising popularity in England.
-László Kürti, “The Symbolic Construction of the Monstrous — The Elizabeth Bathory Story,” Croatian Journal Of Ethnology and Folklore Research, Jan. 2009
A few books about Erzsebet Bathory
To say nothing of the death porn (link not safe for work).
The noblewoman never faced an executioner herself, owing to her rank; she was shut up in the castle.