Witching Pop Up Pop up experiences have become a popular trend in recent years, catering to people's desire for immersive and interactive activities. One such unique pop up experience is the witching pop up, which combines elements of witchcraft, fantasy, and magic. The main idea behind the witching pop up is to transport visitors into a whimsical world of witches and wizards. Upon entering the pop up, guests are greeted with enchanting decor, mysterious lighting, and a sense of anticipation. The highlight of the witching pop up is the interactive activities that allow visitors to experience magic firsthand. From potion-making workshops to spell-casting lessons, participants can immerse themselves in the world of witchcraft and learn about the mystical arts.
The rest of the house featured textiles, furniture and information on life in the 17th century. Everything from how people ate without utensils to how children would drink beer as it was safer than water.
With the planned widening of North Street, a main thoroughfare in and out of Salem, the house was threatened, and its survival along with that of the adjacent Bowditch House became the rallying cry for the formation of Historic Salem, Incorporated and its subsequent restoration under the direction of Boston architect Gordon Robb who had worked on Colonial Williamsburg as well as another famous Salem seventeenth-century structure, the Pickering House. The home eventually became the parsonage of the First Church of Danvers and remained as such until about 1970, when the home was acquired as a private home.
From potion-making workshops to spell-casting lessons, participants can immerse themselves in the world of witchcraft and learn about the mystical arts. In addition to the interactive activities, the witching pop up often includes a variety of themed installations and displays. These may include a witch's library filled with ancient spellbooks, a mystical forest filled with talking animals, or a magical potion laboratory.
Which Witch House?
One reason that I’ve been an ardent preservationist for most of my life is my belief that buildings hold extraordinary power–even more power, I think, than unbuilt spaces, no matter how beautiful. I can’t imagine a better example than Salem’s “Witch House” (more formally and accurately known as the Jonathan Corwin House), a structure that represents both the most tangible connection to the Witch Trials of 1692 as well as a symbol (and vessel) of Salem’s modern transformation into the “Witch City”. The Witch House seems to reflect the evolving aspirations and perceptions of the city that surrounds it: for much of the nineteenth century, it was referred to as the “Roger Williams House”, a designation that tied it to the seventeenth-century minister who left intolerant Salem for free Rhode Island rather than the witch-trial Judge Corwin from a generation later. Freedom of conscience versus irrational jurisprudence.
The Witch House today and in an 1886 card by Edwin Whitefield, author/illustrator of Homes of our Forefathers. Whitefield’s images seems to be based on that of Samuel Bartoll’s 1819 painting, in the collection of the Peabody Essex Museum.
The early architectural history of the Witch House is a bit mysterious (a study has been commissioned by the city, but I haven’t seen the results yet), but most experts believe that it dates from much later in the seventeenth century than Roger Williams’ time in Salem. All of the above images, those from the nineteenth century and just yesterday, might be idealized images of this fabled house. We do know that Jonathan Corwin acquired a structure in this location in 1675, and that he served on the Court of Oyer and Terminer which tried the accused “witches” of 1692. That fact alone seems sufficient for the house’s transformation into the “Witch House” much later, after it left the possession of the Corwin family in the mid-nineteenth century. More than anyone, the person responsible for this identification was George Farrington, an entrepreneurial Salem apothecary who definitely emphasized the witchcraft (rather than Williams) associations of his new place of business: Farrington grafted a box-like shop onto the house and sold medicines in bottles with a flying witch insignia, anticipating the marketing strategies of Daniel Low decades later and many Salem businesses today. He also published images of the “old witch house”, effectively establishing that identity.
The Witch House in the mid-nineteenth century: very influential photographs by Frank Cousins of the front and rear of the house just prior to Farrington’s purchase in 1856 (the house had acquired a gambrel roof in the mid-eighteenth century), a Deloss Barnum photograph from the 1860s, after Farrington’s pharmacy had been attached to the house, an “Old Witch House” stereoview published by Farrington, and a Farrington medicine bottle from the 1880s as pictured in a recent ebay auction. All photographs from the Robert Dennis Collection, New York Public Library.
For nearly a century, the Witch House was configured as a strange (maybe not for Salem) combination of business and tourist attraction and thousands (maybe more) of postcards were issued, fixing and broadcasting its identity. In the decades before and after World War I, when Daniel Low was marketing its witch spoon and other witch wares nationally, there seems to have been a marked increase in the number and variety of Witch House cards. There are also some interesting private photographs of the house from this era, confirming its conspicuous place in Salem’s urban streetscape.
Two photographs of the Witch House in the 1890s from the Schlesinger Library at Harvard, and postcards from 1900, 1901, 1906, 1908, 1911 & 1922. Just a random sampling of many on the market!
The 1940s was a decade of transformation for the Witch House, when it came to represent preservation–but also profits: change and continuity. With the planned widening of North Street, a main thoroughfare in and out of Salem, the house was threatened, and its survival (along with that of the adjacent Bowditch House) became the rallying cry for the formation of Historic Salem, Incorporated and its subsequent restoration under the direction of Boston architect Gordon Robb (who had worked on Colonial Williamsburg as well as another famous Salem seventeenth-century structure, the Pickering House). Moved to a more secure northwestern position on its lot, its shop detached and gables rebuilt, the Witch House was opened to the public in 1948 by the City of Salem, and it has been doing steady business ever since.
The Witch House in 1940 (HABS photograph by Frank Branzetti, Library of Congress), 1945 & 1948.
For more on the evolving perception, and structural history of the Witch House, see Salem’s Witch House: a Touchstone to Antiquity (The History Press, 2012) by Salem architectural historian John Goff.
The witching pop-up is not just for children. Many adults are drawn to the nostalgia and sense of wonder that the witching pop up provides. It offers a chance for adults to tap into their imagination and embrace their inner child. Furthermore, the witching pop up is often accompanied by an array of themed merchandise. From handmade wands to spell kits, visitors have the opportunity to take a piece of the magical experience home with them. Overall, the witching pop up offers a unique and immersive experience for those who are interested in the world of witches and wizards. It provides a space for people to explore their imagination, learn about the mystical arts, and embrace the magic within. Whether you are a child or an adult, the witching pop up is sure to transport you to a world of enchantment and wonder..
Reviews for "Witching Pop Up Collectibles: The Must-Have Items for Every Occult Enthusiast"
- John - ★☆☆☆☆ - I was really disappointed with "Witching pop up". The concept seemed interesting, but the execution was terrible. The writing was mediocre at best, with predictable plot twists and shallow characters. The pacing was also off, making it hard for me to stay engaged. Overall, it felt like a waste of time and money.
- Sarah - ★★☆☆☆ - I had high hopes for "Witching pop up", but unfortunately, it fell short for me. The story had potential, but it lacked depth and substance. The characters were one-dimensional and it was difficult to connect with any of them. The dialogue felt unnatural and forced, which made it hard to believe in the story. Despite the intriguing premise, I found myself losing interest halfway through and struggling to finish it.
- Jessica - ★★☆☆☆ - "Witching pop up" was a letdown for me. The plot felt disjointed and confusing, jumping from one random event to another without any clear direction. The writing style was also inconsistent, ranging from overly descriptive to vague and confusing. It seemed like the author couldn't decide on a tone or theme, making it hard for me to fully immerse myself in the story. Overall, I found it to be a frustrating and unsatisfying read.
- Michael - ★☆☆☆☆ - I had high expectations for "Witching pop up", but it turned out to be a complete disappointment. The story lacked originality and felt like a generic rehash of other supernatural novels. The characters were uninteresting and lacked depth, making it hard to care about their fates. The writing was also subpar, filled with cliches and predictable plot twists. Overall, it was a forgettable and uninspired read.