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GG-2026-059

Croglin Grange Vampire

  • Phenomenon Folklore & Cultural Encounters
  • Documentation
    Rating C
    • A — Strong dossier: several independent sources plus primary evidence (original media, records, measurements) a researcher could use without interviewing anyone.
    • B — Well documented: multiple independent witnesses with at least some contemporary primary material, or one witness with substantial primary corroboration (photos, recordings, contemporaneous notes, documents).
    • C — Multi-source but soft: several witnesses or a long run of reports, but mostly testimony and after-the-fact secondary sources (newspapers, folklore collections, later interviews). Little or no primary physical evidence. Regional legend clusters such as the Bridgewater Triangle land here.
    • D — Thin: single witness (or one household), little or no support beyond the account. Normal for a sincere personal experience.
    • E — Incomplete or not yet assessed. Every new submission starts here until staff have read it.
  • Evidence & media 1 item
  • Status Historic
  • Location Cumbria, England

Summary

The Croglin Grange Vampire is a famous British lore account detailing an alleged 19th-century vampire attack in Cumberland, England. A young woman was reportedly attacked in her bedroom by a withered creature with burning eyes. After a second assault months later, her brothers pursued, shot, and subsequently exhumed the creature from a local vault, burning its desiccated corpse.

Background

The story is in Augustus Hare’s journal for 24 June 1874, printed in volume 4 of The Story of My Life (George Allen, 1900). He says Captain Fisher told it to him. Fisher said the name might sound ordinary, but that his family was old and had long held a one-storey house in Cumberland called Croglin Grange, with a terrace and grounds running down toward a church in the hollow. When the family no longer needed it, he said, they did not build upward. They moved south to Thorncombe, near Guildford, and let the house.

The tenants, in his telling, were two brothers and a sister. He does not name them. They spent a winter there. On a very hot day the next summer they sat out until the moon was up, then went to rooms that were all on the ground floor. The sister left the shutters open. She watched two lights come out of the trees between the lawn and the churchyard, set in something dark that grew as it crossed the grass. It seemed to turn aside. She got up to unlock the door and heard scratching at the window. A brown face with flaming eyes was there. The scratching became a pecking. A diamond of glass fell in. A long bony finger reached through and turned the handle. The figure crossed the room, twisted its fingers into her hair, pulled her head over the side of the bed, and bit her throat. She screamed. The door was locked on the inside. The brothers broke it with a poker. She was unconscious and bleeding. One brother chased the figure across the lawn until it seemed to go over the wall into the churchyard.

A doctor was sent for. The wound was a real one, in Fisher’s account, and it healed, but the doctor wanted her taken away. The brothers took her to Switzerland. She was the one who wanted to go back. They had taken the house for seven years and had used one. Lunatics, she said, do not escape every day. They returned. She kept the same room and shut the shutters, which in that house still left one top pane bare. The brothers moved into a room opposite hers and kept pistols loaded.

The winter was quiet. The following March she woke to the same scratching. The same brown, shrivelled face was at the top pane. She screamed. The brothers ran out with the pistols. One shot the figure in the leg. It went on, over the wall, and seemed to drop into a vault belonging to a family long extinct. Next day the brothers called the tenants, and the vault was opened in front of them. Coffins were broken and the bodies inside torn about, except one coffin, its lid loose. In it was the same brown, withered figure, whole, with a fresh pistol wound in the leg. They burned it. Hare ends on Fisher’s line that burning is the only thing that lays a vampire.

That is the whole contemporary record: a story told to Hare in 1874, with both attacks and the burning already in it. The sister is not called Amelia. The brothers are not named. The family is not called Cranswell. Those names, and the years 1875 and 1876, are Valentine Dyall’s, in Fate for April 1954. Dyall has the vault opened in March 1876. Hare had already written the finished story, burning included, on 24 June 1874.

Croglin Low Hall, in the parish of Kirkoswald, is the house the name points at. It is listed, and the old name Croglin Grange is one of the names on the record. The list describes a tower reduced at one time to a single storey and later built up again, to about two and a half storeys, with a chapel belonging to the house that was pulled down in the nineteenth century. Fisher’s line that the house had never been more than one storey high does not match the building that stands. F. Clive-Ross, writing in 1963, was told by a Mrs Parkin that the deeds of Croglin Low Hall still used the name Croglin Grange until about 1720, and that she put the tale in about 1680 to 1690. She also said a Fisher born in the middle of the 1860s had heard it all his life, from his grandparents. That is what she told Clive-Ross. It is not a date in Hare, and it is not a register of a body taken out of a vault and burned.

Witness statement

No statement on file.

Evidence & media

St_Johns_Croglin
St. John’s church of Croglin built in 1878 near the site of an old church of Norman times.

Sources

Further reading

Investigation timeline

  • 2026-09-26 — Historical file submitted.
  • 2026-09-26 — Historical file accepted and published.

Research notes

Historical research: Folkloric Construction, Literary Invention, and Anachronism Analysis

In academic folklore and literary history, the Croglin Grange case is evaluated as an invention of Victorian gothic literature rather than a documented historical occurrence.

Historians such as F. Clive-Ross and Charles Harper investigated the regional records of Cumberland and discovered significant historical discrepancies. Most notably, there was no building known as "Croglin Grange" during the period described; the local residences were Croglin Low Hall and Croglin High Hall, neither of which match the architectural configuration (a single-story dwelling with ground-floor bedroom windows) essential to Hare's narrative. Furthermore, local parish registries contain no record of a Fisher family residing at the property during the late 17th or 19th centuries, nor are there churchyard records detailing an official coffin exhumation or burning. Scholars conclude that Augustus Hare was likely recounting a stylized urban legend or romanticized folk tale passed down through oral tradition, heavily influenced by 19th-century vampire fiction such as Varney the Vampire (1845–1847).

Propose evidence & media, a source citation, further reading, a research note, a related case, or a series link. Staff review before anything is added.

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