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Scent Name:  Countess Dolingen of Gratz

Manufacturer:  Black Phoenix Alchemy Lab – Halloweenie: The Literary Vampire: 8/5/09-11/5/09

Scent Description and Notes: COUNTESS DOLINGEN OF GRATZ
(Dracula’s Guest, the omitted introduction to Bram Stoker’s Dracula)

Now and again, through the black mass of drifting cloud, came a straggling ray of moonlight, which lit up the expanse, and showed me that I was at the edge of a dense mass of cypress and yew trees. As the snow had ceased to fall, I walked out from the shelter and began to investigate more closely. It appeared to me that, amongst so many old foundations as I had passed, there might be still standing a house in which, though in ruins, I could find some sort of shelter for a while. As I skirted the edge of the copse, I found that a low wall encircled it, and following this I presently found an opening. Here the cypresses formed an alley leading up to a square mass of some kind of building. Just as I caught sight of this, however, the drifting clouds obscured the moon, and I passed up the path in darkness. The wind must have grown colder, for I felt myself shiver as I walked; but there was hope of shelter, and I groped my way blindly on.

I stopped, for there was a sudden stillness. The storm had passed; and, perhaps in sympathy with nature’s silence, my heart seemed to cease to beat. But this was only momentarily; for suddenly the moonlight broke through the clouds, showing me that I was in a graveyard, and that the square object before me was a great massive tomb of marble, as white as the snow that lay on and all around it. With the moonlight there came a fierce sigh of the storm, which appeared to resume its course with a long, low howl, as of many dogs or wolves. I was awed and shocked, and felt the cold perceptibly grow upon me till it seemed to grip me by the heart. Then while the flood of moonlight still fell on the marble tomb, the storm gave further evidence of renewing, as though it was returning on its track. Impelled by some sort of fascination, I approached the sepulchre to see what it was, and why such a thing stood alone in such a place. I walked around it, and read, over the Doric door, in German:


On the top of the tomb, seemingly driven through the solid marble-for the structure was composed of a few vast blocks of stone-was a great iron spike or stake. On going to the back I saw, graven in great Russian letters:

‘The dead travel fast.’

There was something so weird and uncanny about the whole thing that it gave me a turn and made me feel quite faint. I began to wish, for the first time, that I had taken Johann’s advice. Here a thought struck me, which came under almost mysterious circumstances and with a terrible shock. This was Walpurgis Night!

Walpurgis Night, when, according to the belief of millions of people, the devil was abroad-when the graves were opened and the dead came forth and walked. When all evil things of earth and air and water held revel. This very place the driver had specially shunned. This was the depopulated village of centuries ago. This was where the suicide lay; and this was the place where I was alone-unmanned, shivering with cold in a shroud of snow with a wild storm gathering again upon me! It took all my philosophy, all the religion I had been taught, all my courage, not to collapse in a paroxysm of fright.

And now a perfect tornado burst upon me. The ground shook as though thousands of horses thundered across it; and this time the storm bore on its icy wings, not snow, but great hailstones which drove with such violence that they might have come from the thongs of Balearic slingers-hailstones that beat down leaf and branch and made the shelter of the cypresses of no more avail than though their stems were standing-corn. At the first I had rushed to the nearest tree; but I was soon fain to leave it and seek the only spot that seemed to afford refuge, the deep Doric doorway of the marble tomb. There, crouching against the massive bronze door, I gained a certain amount of protection from the beating of the hailstones, for now they only drove against me as they ricocheted from the ground and the side of the marble.

As I leaned against the door, it moved slightly and opened inwards. The shelter of even a tomb was welcome in that pitiless tempest, and I was about to enter it when there came a flash of forked-lightning that lit up the whole expanse of the heavens. In the instant, as I am a living man, I saw, as my eyes were turned into the darkness of the tomb, a beautiful woman, with rounded cheeks and red lips, seemingly sleeping on a bier. As the thunder broke overhead, I was grasped as by the hand of a giant and hurled out into the storm. The whole thing was so sudden that, before I could realise the shock, moral as well as physical, I found the hailstones beating me down. At the same time I had a strange, dominating feeling that I was not alone. I looked towards the tomb. Just then there came another blinding flash, which seemed to strike the iron stake that surmounted the tomb and to pour through to the earth, blasting and crumbling the marble, as in a burst of flame. The dead woman rose for a moment of agony, while she was lapped in the flame, and her bitter scream of pain was drowned in the thundercrash. The last thing I heard was this mingling of dreadful sound, as again I was seized in the giant-grasp and dragged away, while the hailstones beat on me, and the air around seemed reverberant with the howling of wolves. The last sight that I remembered was a vague, white, moving mass, as if all the graves around me had sent out the phantoms of their sheeted-dead, and that they were closing in on me through the white cloudiness of the driving hail.

Hailstone-pounded cypress boughs, olibanum, and an ozone blast of lightning. – BPAL

Oil Color:  A light, bright yellow.

Bottle Design and Artwork:  This is a standard vial / imp size (1/32 oz).  Decanted by ralenth, the label features the name of the scent, collection, year, notes, and decanting information on the back. The front features an image of a woman’s face in pale blueish tones.


  • In the Imp (ITI):  I get olibanum and ozone with a delicate floral, but for some reason, I get tones of acetone.
  • Wet:  The ozone is really strong here, but I can detect the cypress and some of the olibanum as secondary notes.  It ends up reading a little aquatic, though.
  • Dry:  It’s much more floral when dried.  While I still get cypress and olibanum clearly, the ozone has mellowed out and lent a floral aspect to the scent.
Other Impressions: “Apples, faint peach, and carnation.” -Tony