1 50 42 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/b517a181d3c546e643a9382c03b6f4c0.gif dacc28ad7e96b7482cb0fe983e65cbe7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exécution d'Anne du Bourg Description An account of the resource Execution by hanging of the French magistrate Anne du Bourg on 23 December 1559 in Paris. Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1650 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/3bf0da82da0bba2e16a808c01969ab46.JPG b8fd1cae7eeb9593920a8a752ba0fa52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Execution of Cartouche Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 18th Century Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/aa6abea87c43820b2b3e0f97036b9ab5.jpg e9577373aab04326bb19595cdf7e14fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching print on paper Physical Dimensions The actual physical size of the original image Height: 250 millimetres Width: 338 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hell Broke Loose, or, The Murder of Louis Description An account of the resource Satire on the execution of Louis XVI; the king kneeling under the guillotine operated by two winged devils; Abbé Edgeworth kneeling in front of him, with crucifix and prayer's book; angel playing trumpet among clouds surrounded by devils flying above; army of sans-culottes holding bayonets in the foreground. <a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1489650&partId=1" target="_blank">British Museum.</a> Creator An entity primarily responsible for making the resource Print made by: William Dent Published by: James Aitken Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/176fa0e8668bce119cd5bf11615f607c.jpg 275ecb752ac5bdfbb23cb248d1ea8505 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Robert Francois Damiens (1715-57) before the judges at the Chatelet, Paris, 2nd March 1757 Creator An entity primarily responsible for making the resource Unknown artist from the French School, (18th Century) Date A point or period of time associated with an event in the lifecycle of the resource C18th Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/848b6e2c68a51960842291eb68b7e2ed.jpg 5b7206fd650c0d60d5900b15183588cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Roue (The Wheel), plate 14 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series. Description An account of the resource Callot has always been regarded as one of the exceptional artists of his time, although he never made any paintings; he worked exclusively as a printmaker and produced more than 1400 plates, almost all of which he designed and which earned him enduring fame across Europe. Callot hailed from Nancy, capital of the Duchy of Lorraine, were he grew up in elevated court circles and was apprenticed by his father to the court goldsmith. He departed for Rome at a young age, training there as a printmaker and forming his recognisable style. By 1614 he was living in Florence and working for the Grand Dukes of Tuscany, recording theatrical productions and court pageants. He returned to Nancy in 1621 and two years later was appointed artist to the Lorraine court under the patronage of Duke Henri II, but most of his activity involved commissions from religious orders and prints made independently for sale to the public. To this last category belongs Callot’s masterpiece, the series of 18 small etchings known in English as The miseries and misfortunes of war, arguably the best-known set of prints produced in France during the 17th century. The prints were marketed in Paris in 1633 by Callot’s friend, the publisher Israel Henriet, and the set was sold as a booklet, stitched together at the left side. Each plate (excluding the title page) contains a verse commentary in the bottom margin attributed to the voracious print collector, the abbé Michel de Marolles. Marolles famously sold his collection to Louis XIV in 1667, and it eventually became the foundation of the present-day print collection at the Bibliothèque nationale in Paris. Callot only made etchings but he handled the technique in a very particular way: he used a specially designed tool called an échoppe which allowed him to create elegant, swelling lines mimicking those produced by the engraver’s burin. Thus Callot was able to imitate the effects of the nobler art of engraving while sustaining the speed of execution peculiar to the process of etching. Working on a miniaturist’s scale, his animated vignettes are replete with detail; indeed, part of their fascination is due to the vast spaces and hopelessly innumerable crowds Callot managed to capture in such a reduced format. The miseries and misfortunes of war abounds with scenes of barbarity and carnage, and although it was not intended to be read as a sequence of documentary-like observations of real events, there is no denying the aspect of lived experience which runs through the plates. The socio- political context in which Callot made the prints was the Thirty Years’ War, a succession of conflicts that devastated central Europe between 1618 and 1648. What was initially a string of religious disputations between Protestants and Catholics erupted into a larger conflict between the Habsburgs of the Holy Roman Empire and the French kings, the Bourbons, for dominance in Europe. Lorraine sided with the Habsburgs; in 1633 the French army invaded Lorraine and in the following years the territory was ravaged by marauding troops, many of them mercenaries with no allegiance to their side, wreaking havoc on the lives of ordinary people and making violence part of the background of daily life. Callot’s series is less an indictment of war than a moral tale about the unhappy consequences that befall the undisciplined soldier. The descent into lawlessness is typified by the plate depicting troops looting a farmhouse and torturing the inhabitants. Other prints focus on the radical corrections administered by the military to corrupt soldiers: one such plate depicts the body of a criminal soldier being broken on a wheel, while in another, executed men hang from the boughs of a tree, the shocking spectacle belied by Callot’s refined touch and the measured elegance of the composition at large. The verse in the lower margin reads: 'The ever watchful eye of divine Justice completely banishes mourning from a region when, holding the sword and scales in her hands, she judges and punishes the inhuman thief who lies in wait for peasants, murders them and toys with them, then becomes himself the plaything of the wheel.’ Peter Raissis, Prints & drawings Europe 1500–1900, 2014 https://www.artgallery.nsw.gov.au/collection/works/DO10.1963.14/ Creator An entity primarily responsible for making the resource Jacques Callot (French, 1592 - 24 Mar 1635) Date A point or period of time associated with an event in the lifecycle of the resource 1633 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/523f80dd43f7aebe0ac9604a67df00ea.gif 76b0c19852dfe20d92abfc776102b7d9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Le Bûcher (The Stake), plate 13 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series. Description An account of the resource Callot has always been regarded as one of the exceptional artists of his time, although he never made any paintings; he worked exclusively as a printmaker and produced more than 1400 plates, almost all of which he designed and which earned him enduring fame across Europe. Callot hailed from Nancy, capital of the Duchy of Lorraine, were he grew up in elevated court circles and was apprenticed by his father to the court goldsmith. He departed for Rome at a young age, training there as a printmaker and forming his recognisable style. By 1614 he was living in Florence and working for the Grand Dukes of Tuscany, recording theatrical productions and court pageants. He returned to Nancy in 1621 and two years later was appointed artist to the Lorraine court under the patronage of Duke Henri II, but most of his activity involved commissions from religious orders and prints made independently for sale to the public. To this last category belongs Callot’s masterpiece, the series of 18 small etchings known in English as The miseries and misfortunes of war, arguably the best-known set of prints produced in France during the 17th century. The prints were marketed in Paris in 1633 by Callot’s friend, the publisher Israel Henriet, and the set was sold as a booklet, stitched together at the left side. Each plate (excluding the title page) contains a verse commentary in the bottom margin attributed to the voracious print collector, the abbé Michel de Marolles. Marolles famously sold his collection to Louis XIV in 1667, and it eventually became the foundation of the present-day print collection at the Bibliothèque nationale in Paris. Callot only made etchings but he handled the technique in a very particular way: he used a specially designed tool called an échoppe which allowed him to create elegant, swelling lines mimicking those produced by the engraver’s burin. Thus Callot was able to imitate the effects of the nobler art of engraving while sustaining the speed of execution peculiar to the process of etching. Working on a miniaturist’s scale, his animated vignettes are replete with detail; indeed, part of their fascination is due to the vast spaces and hopelessly innumerable crowds Callot managed to capture in such a reduced format. The miseries and misfortunes of war abounds with scenes of barbarity and carnage, and although it was not intended to be read as a sequence of documentary-like observations of real events, there is no denying the aspect of lived experience which runs through the plates. The socio- political context in which Callot made the prints was the Thirty Years’ War, a succession of conflicts that devastated central Europe between 1618 and 1648. What was initially a string of religious disputations between Protestants and Catholics erupted into a larger conflict between the Habsburgs of the Holy Roman Empire and the French kings, the Bourbons, for dominance in Europe. Lorraine sided with the Habsburgs; in 1633 the French army invaded Lorraine and in the following years the territory was ravaged by marauding troops, many of them mercenaries with no allegiance to their side, wreaking havoc on the lives of ordinary people and making violence part of the background of daily life. Callot’s series is less an indictment of war than a moral tale about the unhappy consequences that befall the undisciplined soldier. The descent into lawlessness is typified by the plate depicting troops looting a farmhouse and torturing the inhabitants. Other prints focus on the radical corrections administered by the military to corrupt soldiers: one such plate depicts the body of a criminal soldier being broken on a wheel, while in another, executed men hang from the boughs of a tree, the shocking spectacle belied by Callot’s refined touch and the measured elegance of the composition at large. The verse in the lower margin reads: ‘Those enemies of heaven, who a thousand times sin against the holy decrees and divine laws, glory in spitefully pillaging and destroying the temples of the true God with idolatrous hand, but as punishment for having burned them, are themselves finally sacrificed to the flames.’ Peter Raissis, Prints & drawings Europe 1500–1900, 2014 https://www.artgallery.nsw.gov.au/collection/works/DO10.1963.13/ Creator An entity primarily responsible for making the resource Jaques Callot (French, 1592 - 24 Mar 1635) Date A point or period of time associated with an event in the lifecycle of the resource 1633 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c7154d2b2ddaf45d4cbca90e4649b6d5.gif a575c4500bd729d77575ea1fe8b37fad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource La Pendaison (The hanging), plate 11 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series. Description An account of the resource Callot has always been regarded as one of the exceptional artists of his time, although he never made any paintings; he worked exclusively as a printmaker and produced more than 1400 plates, almost all of which he designed and which earned him enduring fame across Europe. Callot hailed from Nancy, capital of the Duchy of Lorraine, were he grew up in elevated court circles and was apprenticed by his father to the court goldsmith. He departed for Rome at a young age, training there as a printmaker and forming his recognisable style. By 1614 he was living in Florence and working for the Grand Dukes of Tuscany, recording theatrical productions and court pageants. He returned to Nancy in 1621 and two years later was appointed artist to the Lorraine court under the patronage of Duke Henri II, but most of his activity involved commissions from religious orders and prints made independently for sale to the public. To this last category belongs Callot’s masterpiece, the series of 18 small etchings known in English as The miseries and misfortunes of war, arguably the best-known set of prints produced in France during the 17th century. The prints were marketed in Paris in 1633 by Callot’s friend, the publisher Israel Henriet, and the set was sold as a booklet, stitched together at the left side. Each plate (excluding the title page) contains a verse commentary in the bottom margin attributed to the voracious print collector, the abbé Michel de Marolles. Marolles famously sold his collection to Louis XIV in 1667, and it eventually became the foundation of the present-day print collection at the Bibliothèque nationale in Paris. Callot only made etchings but he handled the technique in a very particular way: he used a specially designed tool called an échoppe which allowed him to create elegant, swelling lines mimicking those produced by the engraver’s burin. Thus Callot was able to imitate the effects of the nobler art of engraving while sustaining the speed of execution peculiar to the process of etching. Working on a miniaturist’s scale, his animated vignettes are replete with detail; indeed, part of their fascination is due to the vast spaces and hopelessly innumerable crowds Callot managed to capture in such a reduced format. The miseries and misfortunes of war abounds with scenes of barbarity and carnage, and although it was not intended to be read as a sequence of documentary-like observations of real events, there is no denying the aspect of lived experience which runs through the plates. The socio- political context in which Callot made the prints was the Thirty Years’ War, a succession of conflicts that devastated central Europe between 1618 and 1648. What was initially a string of religious disputations between Protestants and Catholics erupted into a larger conflict between the Habsburgs of the Holy Roman Empire and the French kings, the Bourbons, for dominance in Europe. Lorraine sided with the Habsburgs; in 1633 the French army invaded Lorraine and in the following years the territory was ravaged by marauding troops, many of them mercenaries with no allegiance to their side, wreaking havoc on the lives of ordinary people and making violence part of the background of daily life. Callot’s series is less an indictment of war than a moral tale about the unhappy consequences that befall the undisciplined soldier. The descent into lawlessness is typified by the plate depicting troops looting a farmhouse and torturing the inhabitants. Other prints focus on the radical corrections administered by the military to corrupt soldiers: one such plate depicts the body of a criminal soldier being broken on a wheel, while in another, executed men hang from the boughs of a tree, the shocking spectacle belied by Callot’s refined touch and the measured elegance of the composition at large. The verse in the lower margin reads: : ‘Finally these infamous and abandoned thieves, hanging from this tree like wretched fruit, show that crime (horrible and black species) is itself the instrument of shame and vengeance, and that it is the fate of corrupt men to experience the justice of heaven sooner or later.’ Peter Raissis, Prints & drawings Europe 1500–1900, 2014 https://www.ngv.vic.gov.au/explore/collection/work/41047/ Creator An entity primarily responsible for making the resource Jaques Callot (French, 1592 - 24 Mar 1635) Date A point or period of time associated with an event in the lifecycle of the resource 1633 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/ee12eee76685c22b43b6dadbbd7861db.gif 2b4e6f43374f783e6215f54e1c8685dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L’Arquebusade (The firing squad), plate 12 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series. Description An account of the resource Callot has always been regarded as one of the exceptional artists of his time, although he never made any paintings; he worked exclusively as a printmaker and produced more than 1400 plates, almost all of which he designed and which earned him enduring fame across Europe. Callot hailed from Nancy, capital of the Duchy of Lorraine, were he grew up in elevated court circles and was apprenticed by his father to the court goldsmith. He departed for Rome at a young age, training there as a printmaker and forming his recognisable style. By 1614 he was living in Florence and working for the Grand Dukes of Tuscany, recording theatrical productions and court pageants. He returned to Nancy in 1621 and two years later was appointed artist to the Lorraine court under the patronage of Duke Henri II, but most of his activity involved commissions from religious orders and prints made independently for sale to the public. To this last category belongs Callot’s masterpiece, the series of 18 small etchings known in English as The miseries and misfortunes of war, arguably the best-known set of prints produced in France during the 17th century. The prints were marketed in Paris in 1633 by Callot’s friend, the publisher Israel Henriet, and the set was sold as a booklet, stitched together at the left side. Each plate (excluding the title page) contains a verse commentary in the bottom margin attributed to the voracious print collector, the abbé Michel de Marolles. Marolles famously sold his collection to Louis XIV in 1667, and it eventually became the foundation of the present-day print collection at the Bibliothèque nationale in Paris. Callot only made etchings but he handled the technique in a very particular way: he used a specially designed tool called an échoppe which allowed him to create elegant, swelling lines mimicking those produced by the engraver’s burin. Thus Callot was able to imitate the effects of the nobler art of engraving while sustaining the speed of execution peculiar to the process of etching. Working on a miniaturist’s scale, his animated vignettes are replete with detail; indeed, part of their fascination is due to the vast spaces and hopelessly innumerable crowds Callot managed to capture in such a reduced format. The miseries and misfortunes of war abounds with scenes of barbarity and carnage, and although it was not intended to be read as a sequence of documentary-like observations of real events, there is no denying the aspect of lived experience which runs through the plates. The socio- political context in which Callot made the prints was the Thirty Years’ War, a succession of conflicts that devastated central Europe between 1618 and 1648. What was initially a string of religious disputations between Protestants and Catholics erupted into a larger conflict between the Habsburgs of the Holy Roman Empire and the French kings, the Bourbons, for dominance in Europe. Lorraine sided with the Habsburgs; in 1633 the French army invaded Lorraine and in the following years the territory was ravaged by marauding troops, many of them mercenaries with no allegiance to their side, wreaking havoc on the lives of ordinary people and making violence part of the background of daily life. Callot’s series is less an indictment of war than a moral tale about the unhappy consequences that befall the undisciplined soldier. The descent into lawlessness is typified by the plate depicting troops looting a farmhouse and torturing the inhabitants. Other prints focus on the radical corrections administered by the military to corrupt soldiers: one such plate depicts the body of a criminal soldier being broken on a wheel, while in another, executed men hang from the boughs of a tree, the shocking spectacle belied by Callot’s refined touch and the measured elegance of the composition at large. The verse in the lower margin reads: ‘Those who, in obedience to their evil genius, fail in their duty, use tyranny, take pleasure only in evil and violate reason, and whose treason-filled actions produce a thousand bloody uproars in the camp, are thus chastised and shot.’ Peter Raissis, Prints & drawings Europe 1500–1900, 2014 https://www.artgallery.nsw.gov.au/collection/works/DO10.1963.12/ Creator An entity primarily responsible for making the resource Jacques Callot (French, 1592 - 24 Mar 1635) Date A point or period of time associated with an event in the lifecycle of the resource 1633 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c3135a7d75c3cd0653b549c34bc2ca49.gif 938c69561f1a286cf63442f67a26f505 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L’Estrapade (The Strappado), plate 10 from the suite Les Misères et les malheurs de la guerre (The miseries and misfortunes of war). Description An account of the resource Callot has always been regarded as one of the exceptional artists of his time, although he never made any paintings; he worked exclusively as a printmaker and produced more than 1400 plates, almost all of which he designed and which earned him enduring fame across Europe. Callot hailed from Nancy, capital of the Duchy of Lorraine, were he grew up in elevated court circles and was apprenticed by his father to the court goldsmith. He departed for Rome at a young age, training there as a printmaker and forming his recognisable style. By 1614 he was living in Florence and working for the Grand Dukes of Tuscany, recording theatrical productions and court pageants. He returned to Nancy in 1621 and two years later was appointed artist to the Lorraine court under the patronage of Duke Henri II, but most of his activity involved commissions from religious orders and prints made independently for sale to the public. To this last category belongs Callot’s masterpiece, the series of 18 small etchings known in English as The miseries and misfortunes of war, arguably the best-known set of prints produced in France during the 17th century. The prints were marketed in Paris in 1633 by Callot’s friend, the publisher Israel Henriet, and the set was sold as a booklet, stitched together at the left side. Each plate (excluding the title page) contains a verse commentary in the bottom margin attributed to the voracious print collector, the abbé Michel de Marolles. Marolles famously sold his collection to Louis XIV in 1667, and it eventually became the foundation of the present-day print collection at the Bibliothèque nationale in Paris. Callot only made etchings but he handled the technique in a very particular way: he used a specially designed tool called an échoppe which allowed him to create elegant, swelling lines mimicking those produced by the engraver’s burin. Thus Callot was able to imitate the effects of the nobler art of engraving while sustaining the speed of execution peculiar to the process of etching. Working on a miniaturist’s scale, his animated vignettes are replete with detail; indeed, part of their fascination is due to the vast spaces and hopelessly innumerable crowds Callot managed to capture in such a reduced format. The miseries and misfortunes of war abounds with scenes of barbarity and carnage, and although it was not intended to be read as a sequence of documentary-like observations of real events, there is no denying the aspect of lived experience which runs through the plates. The socio- political context in which Callot made the prints was the Thirty Years’ War, a succession of conflicts that devastated central Europe between 1618 and 1648. What was initially a string of religious disputations between Protestants and Catholics erupted into a larger conflict between the Habsburgs of the Holy Roman Empire and the French kings, the Bourbons, for dominance in Europe. Lorraine sided with the Habsburgs; in 1633 the French army invaded Lorraine and in the following years the territory was ravaged by marauding troops, many of them mercenaries with no allegiance to their side, wreaking havoc on the lives of ordinary people and making violence part of the background of daily life. Callot’s series is less an indictment of war than a moral tale about the unhappy consequences that befall the undisciplined soldier. The descent into lawlessness is typified by the plate depicting troops looting a farmhouse and torturing the inhabitants. Other prints focus on the radical corrections administered by the military to corrupt soldiers: one such plate depicts the body of a criminal soldier being broken on a wheel, while in another, executed men hang from the boughs of a tree, the shocking spectacle belied by Callot’s refined touch and the measured elegance of the composition at large. The verse in the lower margin reads: ‘It is not without cause that great captains have well-advisedly invented these punishments for idlers, blasphemers, traitors to duty, quarrellers and liars, whose actions, blinded by vice, make those of others lax and lawless.’ https://www.artgallery.nsw.gov.au/collection/works/DO10.1963.10/? Creator An entity primarily responsible for making the resource Jacques Callot (French, 1592 - 24 Mar 1635) Date A point or period of time associated with an event in the lifecycle of the resource 1633 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/44b3c932cddd9247251f71ebcc458bae.jpg e61540746756765066980b68987e0805 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Woodcut print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hinrichtung Peter Stump (Execution of Peter Stump) Description An account of the resource This woodcut shows the 'breaking wheel' as it was used in Germany in the Middle Ages. The exact date is unknown, as is the creator, but it depicts the execution of Peter Stumpf in Cologne in 1589. This form of punishment was most common during the middle ages and early modern age. Though in many regions of Germany, the breaking wheel was used even in the 19th century. The last known execution occurred in Prussia in 1841. The woodcut relates the crime and the punishment of Peter Stumpf and includes a depiction of the punishment of his daughter and mistress. Stumpf was accused of being a werewolf and in the top left hand corner of the woodcut we see a large wolf attacking a child. Above this scene a man with a sword is seen fighting off the wolf and in doing so, lops off the wolf’s left forepaw. In the centre left of the illustration we are shown the first punishment of Stumpf, namely the tearing of his flesh with red hot pincers while he is bound to a wheel. In the middle we see the executioner using the blunt side of an axe to break Stump’s arm and leg bones. On the righthand side of the illustration the executioner beheads Stump. In each of these three depictions we can see that Stump’s left hand is missing, presumably pointing to the fact that the werewolf had its left forepaw cut off. After his beheading, Stump’s body is dragged away to be burnt. In the top right hand corner of the wood cut we see the fire where Stumpf’s daughter and mistress, each tied to a stake, are burnt alive with Stumpf’s headless body tied to a stake between them. Also shown is a wheel, mounted on a pole, which carries Stumpf’s severed head together with a figure of a wolf. Creator An entity primarily responsible for making the resource Unknown artist. Print by Lukas Mayer Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/21f4818a071bf2a126987edd381a2a92.png 8b56427fb7f2953557cd35278497d1b0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched print on paper Physical Dimensions The actual physical size of the original image 26.5 x 19cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Die Bänkelsänger Creator An entity primarily responsible for making the resource Christian Wilhelm Ernst Dietrich (1712-1774) Date A point or period of time associated with an event in the lifecycle of the resource circa 1740 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/f23ebfdc99bd2a1bf41330baffc12732.jpg 4878c42b5545b8be34e15621a7f857f8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ink on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Murder of William of Orange Description An account of the resource Prince William of Orange was assassinated by a Jesuit named Balthasar Gérard (1557-1584). Creator An entity primarily responsible for making the resource Unknwon Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/e8889c0884563a7e8d843212db941508.jpg a6822f9b95aa798b94df527d20ba2642 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil paint on wood Physical Dimensions The actual physical size of the original image 36 x 47 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Moritatenerzahler Creator An entity primarily responsible for making the resource Dutch painter (17th/18th century) Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/2b34faec27f26fb1db4f18baf9eccc26.jpg 5b8ac8df43b770d33466efc15650149c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Watercolours and ink on paper Physical Dimensions The actual physical size of the original image 22 x 29 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Der Moritatensänger Creator An entity primarily responsible for making the resource Hieronymous Hess (1799-1850) Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/4f7b82dcb0fff571c808eb5d53b64532.jpg 39fd06630ee4168c81698b19e44c5f85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Baenkelsaenger Description An account of the resource Bänkelsänger in Basel, in front of the "Wirtshaus zur Henne" on the Nadelberg. The sung pictures show the earthquake of Basel 1356 and the floods in Hölstein 1830. Creator An entity primarily responsible for making the resource Hieronymus Hess (1799–1850) Date A point or period of time associated with an event in the lifecycle of the resource between 1830 and 1850 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/66d02e7a1f8ebe55c624d7af4b8f969f.jpg 7f14800d9f14479baba362918cbd902a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Hinterglasbild - reverse glass painting Physical Dimensions The actual physical size of the original image 25.5 cm x 19 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bänkelsänger vor ländlichem Publikum (Bänkelsänger in front of a rural audience) Creator An entity primarily responsible for making the resource Cornelius Suter d. J., Beromünster Date A point or period of time associated with an event in the lifecycle of the resource c.1790-1800 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/b53d7077d8176cb069b8411cc8e5df13.png 6d3122cdac15ea1b15927bddbe287335 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Engraving print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Le Barbarie del mondo Description An account of the resource Le barbarie del mondo, by Hieronymous Porro (fl 1574-1604), depicts Italian street people collected under the unkind general heading of "barbarism of the world". I misread the description of the actions of the people in the print (found at the University of Texas website below) as “Making a living doing unnecessary tasks of nothing”—a harsh appraisal of the efforts of people who have nothing trying to make a little bit of change for bread, though it does describe the general sentiment of the print, wrong or not. Though the written descriptions are slightly kinder than this, the depictions of the social unfortunates was certainly not. The people described in this image--the collection of unfortunates,a veritable museum of social "outcasts"--include fools, street laborers, merchants, the disabled, prostitutes, destitute women (with children), musicians, street performers, flagellants, religious zealots, and general beggars, not to mention what must've been alley dwellers, street-sleepers and the homeless. Not too much different from today. What makes this image remarkable to me is that it makes these generally invisible people visible, gathered together in one image. Generally these people would be used occasionally as found objects, tertiary depictions in larger, grander artworks showing grand structures or town views, the people used to show scale, and the artist taking some small liberty by employing street people as the scale units rather than landed strollers. (See <a href="http://longstreet.typepad.com/thesciencebookstore/2008/09/jf-ptak-scien-5.html">here</a> for an example.) Holbein, de Hooghe, Bruegel--masters of the large gathering and crowds, did not attempt a solitary image to the underclasses' underclass. [Source: <a href="http://www.lib.utexas.edu/taro/uthrc/00484/hrc-00484p1.html">Harry Ransom</a> Humanities Research Center, University of Texas, Austin.] Creator An entity primarily responsible for making the resource Girolamo (Hieronymous) Porro 1574 - 1604 Source A related resource from which the described resource is derived From the collection of Cassiano dal Pozzo (1588-22 October 1657); inherited by his brother, Carlo Antonio dal Pozzo (1606-1689); sold by Carlo Antonio's grandson to Clement XI, 1703; acquired by Cardinal Alessandro Albani by 1714, from whom purchased by George III in 1762 Date A point or period of time associated with an event in the lifecycle of the resource c.1567-1599 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/61e643c694b76a96d51cf6e981e1ceec.jpg 844fe0382ed98f89b1f02c0a099e07ee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data oil on copper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Execution of Louis XVI, 21st January 1793 Creator An entity primarily responsible for making the resource Danish School Date A point or period of time associated with an event in the lifecycle of the resource Late 18th Century Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/418e4982b1cd45245a4a431d9621e35c.jpg 98f3b40ca8efadc7385730ef06fdc777 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Black and white photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Jean-Baptiste Troppmann Description An account of the resource Photographic portrait of the French murderer Jean-Baptiste Troppmann Creator An entity primarily responsible for making the resource Photographer: Gustave Macé Date A point or period of time associated with an event in the lifecycle of the resource 1869 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c91e2c2e602bfe95033e7e3a6d8064a7.jpg 550106c4534d820904f89dba879d764f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil painting on canvas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exécution de Marie Antoinette le 16 octobre 1793 Description An account of the resource Marie Antoinette's execution in 1793 at the Place de la Révolution Creator An entity primarily responsible for making the resource Unknown Danish artist Date A point or period of time associated with an event in the lifecycle of the resource c. 1793 Rights Information about rights held in and over the resource Public domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c78bc78266df28f20fad1ef5d5d99cea.jpg 171c3c66a0d8efe03dc7d09b3860878e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched print on paper - book illustration Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Elegy Description An account of the resource Plate XIV 'New Elegy' - Illustration from 'The Cries of London' 1839 Creator An entity primarily responsible for making the resource John Thomas Smith Date A point or period of time associated with an event in the lifecycle of the resource 1819 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/a8c8548fb3e535000422a2d06bca2f99.jpg cd215b7513eebb57d7c3bd0380974ae9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cast iron plaque Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tyburn Tree - Pavement Plaque Description An account of the resource A plaque on the traffic island at Marble Arch indicates the spot where the infamous Tyburn Tree, a three-legged gallows, once stood. An estimated 50,000 people were executed here between 1571 and 1783, many having been dragged from the Tower of London. Date A point or period of time associated with an event in the lifecycle of the resource Erection date: 29/9/1964 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/3a969620f40213def339cb568ea432c3.jpg 69ee8e82dc4f7aae8c80472d7956553a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching with engraving on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The execution of James Graham, first Marquess of Montrose Description An account of the resource The execution of James Graham, first Marquess of Montrose; Montrose with the hangman upon a ladder leaning against the gallows; various figures in attendance; on the right, a figure being beheaded with an axe; Edinburgh in the background. Illustration to Jacob van Oort's "Ontlokene roose, bloeyende distel-bloem, en hersnaerde harp" Creator An entity primarily responsible for making the resource Abraham Andriesz Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1661 (c.) Rights Information about rights held in and over the resource The image is released under a Creative Commons <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/">Attribution-NonCommercial-ShareAlike 4.0 International</a> (CC BY-NC-SA 4.0) license. You can read more about the British Museum and Creative Commons <a href="http://www.britishmuseum.org/about_this_site/terms_of_use/copyright_and_permissions.aspx">here</a>. <div> </div> https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/39fab19bb2736ba1addf25d540807aa4.jpg 47f38f0bd230aeb386d78a53f49020fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Great News! Creator An entity primarily responsible for making the resource Thomas Rowlandson Date A point or period of time associated with an event in the lifecycle of the resource 1819 / 1820 Description An account of the resource Two men handing out news notices in the street. One blowing a small wind instrument. Rights Information about rights held in and over the resource This file is made available under the <a class="extiw" title="w:en:Creative Commons" href="https://en.wikipedia.org/wiki/en:Creative_Commons">Creative Commons</a> <a class="external text" href="https://creativecommons.org/publicdomain/zero/1.0/deed.en">CC0 1.0 Universal Public Domain Dedication</a> https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/42b08ae9d5b4769a0c2e164eba797e4a.jpg 55261b3a63b56a0ccd0760dc89e6a285 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Watercolour print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Last Dying Speech Description An account of the resource This watercolour depicts a streetseller vending a batch of criminal broadsheets. In the background, crowds are watching an execution taking place outside Newgate Prison. Creator An entity primarily responsible for making the resource Thomas Rowlandson Date A point or period of time associated with an event in the lifecycle of the resource 1819 - 1821 Rights Information about rights held in and over the resource This file is made available under the <a class="extiw" title="w:en:Creative Commons" href="https://en.wikipedia.org/wiki/en:Creative_Commons">Creative Commons</a> <a class="external text" href="https://creativecommons.org/publicdomain/zero/1.0/deed.en">CC0 1.0 Universal Public Domain Dedication</a> https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/db07144bdd8c0e2a235cb911f7097792.jpg 1f8de6275c88be9d0d83473f43e0116f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Engraving - print on paper playing card Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coleman drawn to his execution Description An account of the resource "Coleman drawn to his execution"; card number 7 of a set of playing cards depicting the Popish Plot . Creator An entity primarily responsible for making the resource Francis Barlow? Date A point or period of time associated with an event in the lifecycle of the resource 1679 or 1849 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/bc3aa5799730e326563cc450cf12ece3.jpg f00b2b2f2dec78ba60983a4a06badaee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print - book illustration Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pillory, Charing Cross Description An account of the resource Plate 62: view of Cockspur Street, Charing Cross, with two men in the pillory in the centre surrounded by an enthusiastic crowd, on the right the equestrian statue of Charles I stands watching over the scene; illustration to the book 'Microcosm of London'. Creator An entity primarily responsible for making the resource Published by: Rudolf Ackermann Print made by: John Bluck After: Augustus Charles Pugin After: Thomas Rowlandson Date A point or period of time associated with an event in the lifecycle of the resource 1809 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/e581487eb2ca5320485f90a74182f74f.jpg 98f5a7e03c406a185421811dc9acdf56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paul's Walk Description An account of the resource John Franklin's illustration of Paul's Walk for William Harrison Ainsworth's novel, Old St. Paul's, published London : Chapman & Hall, 1841. Creator An entity primarily responsible for making the resource John Franklin Date A point or period of time associated with an event in the lifecycle of the resource 1841 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/4e875551b39aed2553d564801e53942f.JPG 3c21da13671c221fe809c4bf82f7b6d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Pen and ink on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ballad Singer Creator An entity primarily responsible for making the resource Inigo Jones (1573-1652) Source A related resource from which the described resource is derived Inigo Jones and Ben Jonson: Being the Life of Inigo Jones by Peter Cunningham (1853) Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/907ac2ad0d84fef5c5fcb7758766fb4b.jpg 551739a61e6ec35193a31f10b746345f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 271 millimetres Width: 404 millimetres Height: 318 millimetres (sheet) Width: 483 millimetres (sheet) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Idle 'Prentice Executed at Tyburn Series: Industry and Idleness, Plate 11 Description An account of the resource Plate 11: the place of execution with, in the middle ground, Idle seated in a cart with his coffin and John Wesley exhorting him to repent, the Newgate chaplain in a carriage, the triple gallows, and a wooden gallery crowded with onlookers; in the foreground an unruly mob including a ragged woman selling a copy of "The last dying Speech & confession of Tho. Idle" and Tiddy Doll, the gingerbread seller. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Date A point or period of time associated with an event in the lifecycle of the resource 1747 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/ff9eba2fdb7dd248859a71fe31dcbabf.jpg 3a9717ab012fa8c59fa3f64aa52b2e4e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil painting on canvas. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The March of the Guards to Finchley Description An account of the resource The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. This painting depicts London during the Jacobite Rebellion in 1746. Toward the end of 1745 concerns were raised that the capital would be undefended in the event of a Jacobite attack. William Augustus, the Duke of Cumberland, Commander of the British Army, decided to garrison troops to the north of the city as a precaution. In the foreground soldiers can be seen assembling at the Tottenham Court Road turnpike. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697-1764) Date A point or period of time associated with an event in the lifecycle of the resource 1750 Rights Information about rights held in and over the resource The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/0f83db7d995946bcd33263bad511a843.jpg 271482b1493c1c4e896e4ef3c2b5a38e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 387 millimetres Width: 321 millimetres (plate) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gin Lane Description An account of the resource A scene of urban desolation with gin-crazed Londoners, notably a woman who lets her child fall to its death and an emaciated ballad-seller; in the background is the tower of St George's Bloomsbury; in this state, the child's face has been changed so that the face is wizened and the eyes sunken. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1751 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/02d93e8ad38805bd2d493d2c9d8c5c03.jpg 4331d6345e92db368054855f38d0b95f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 353 millimetres Width: 407 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Enraged Musician Description An account of the resource A scene in London, possibly near St Martin's-in-the-Fields, with a musician at an open window holding his ears against the noise of the street; a ballad-seller chants while her baby cries, a milkmaid and other street-traders cry their wares, one small boy plays a drum while another urinates under the startled gaze of a small girl who holds a rattle, an itinerant oboist plays, a knife-grinder sharpens a cleaver, and so on. In this state the horse on the extreme right is black (white in the earlier state), the boy's slate trailing on the ground was only half shaded in the earlier state, but is now darkened. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1741 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/89b04d5e1b9b55faf3a787a4783dc763.jpg 837b85ca05c3996636cbea37abae65ca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 353 millimetres Width: 405 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Rake's Progress, Plate 3 Description An account of the resource A room at the Rose Tavern, Drury Lane (after the painting at Sir John Soane's Museum); to l., Tom, surrounded by prostitutes and clearly drunk, sprawls on a chair with his foot on the table; one young woman embraces him and steals his watch, another spits a stream of gin across the table to the amusement of a young black woman standing in the background, another woman drinks from the punchbowl, another is removing her clothes in order to perform "postures"; to right., a harpist and a door through which enter a man holding a large dish and a candle, and a pregnant ballad singer holding a sheet lettered "Black Joke"; on the walls hang a map of the world to which a young woman holds a candle and framed prints of Roman emperors, all (except that of Nero) damaged. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1735 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/fc567887dcaad2f79288a6faaef59f0e.jpg e311e5175007c80076faaeb7982302cd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Captain Kidd hanging in chains Description An account of the resource Kidd was tried at the Old Bailey, London, in May 1701. He was found guilty of murder and piracy and was hanged at Execution Dock. Kidd's body was then suspended on a gibbet at Tilbury Point on the lower reaches of the Thames. Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource This media file is in the public domain in the United States. This applies to U.S. works where the copyright has expired, often because its first publication occurred prior to January 1, 1923. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/b6fdaa3e12340426783f68e607f8a002.jpg 4d5208c1ee12857815164debbb315646 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print on paper Physical Dimensions The actual physical size of the original image Height: 420 millimetres Width: 320 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "A New Love Song, Only Ha' Pence A Piece" Series: Cries of London Description An account of the resource Plate 11, a ballad seller with strip ballads, selling to two men, around them are two women with a child, and a small boy feeding a dog. Creator An entity primarily responsible for making the resource Francis Wheatley Print made by: Anthony Cardon Published by: Colnaghi Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1796 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/1799be58c80f2a695181950268eefbd4.jpg 8ffe38094ed94405562440ab8377aeef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Execution of Thomas Armstrong Description An account of the resource Engraving depicting the execution of Sir Thomas Armstrong in Tyburn, on 20 June 1684. Creator An entity primarily responsible for making the resource Jan Luyken (1649-1712) - Dutch engraver, poet, painter and writer & Jan Claesz ten Hoorn (printer). Source A related resource from which the described resource is derived Figure 11, Page 121 of A Traitor's Death? Date A point or period of time associated with an event in the lifecycle of the resource 1698 (etching) Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/226f7900e68cddfdbe91aff3cea5a320.jpg 98a30086c07efeb006d28f66d5bac59f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Physical Dimensions The actual physical size of the original image Height: 630 millimetres Width: 820 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Claude Duval Subject The topic of the resource Representation of Claude Duval Description An account of the resource A coach stopped by highwaymen, one bowing to the women inside, who plead or faint, others going through the luggage, one playing a pipe on the left, the gentleman sitting bound near him, watching glumly as the chief highwayman, Duval, sweeps a flourishing bow to one of the young women, who stands in front of the coach, curtseying; after Frith; scratched-letter proof. 1863 Creator An entity primarily responsible for making the resource Published by: Art Union of London After: William Powell Frith Print made by: Lumb Stocks Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1863 Rights Information about rights held in and over the resource This is a faithful photographic reproduction of a two-dimensional, public domain work of art. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/6bd1a107ec5b2ee9c704a8890b46deed.jpg a9261e7e30adb465be5e47bd10c5a746 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bartholomew Fair Subject The topic of the resource Bartholomew Fair as illustrated in 1808. Held in West Smithfield (1133–1855) on St. Bartholomew’s Day. Creator An entity primarily responsible for making the resource Thomas Rowlandson (1756–1827) and Augustus Charles Pugin (1762–1832) (after) John Bluck (fl. 1791–1819), Joseph Constantine Stadler (fl. 1780–1812), Thomas Sutherland (1785–1838), J. Hill, and Harraden (aquatint engravers) Source A related resource from which the described resource is derived Pyne, William Henry; Combe, William (1904) [1808] "Bartholomew Fair" in The Microcosm of London or London in Miniature, Volume I, London: Methuen and Company, pp. Plate 8 Retrieved on 13 July 2011. Date A point or period of time associated with an event in the lifecycle of the resource 1808 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/852f7c0a7879b9d07cf556c65fdccec9.jpg 6d149840ab466e19f1e57917ef302be8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Watercolour Physical Dimensions The actual physical size of the original image Height: 15.75 in, Width: 11 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of John Fawcett Description An account of the resource Watercolour portrait depicting John Fawcett, the actor and dramatist, in the role of Autolycus in Shakespeare's 'A Winter's Tale'. Signed and dated T. C. Wageman 1828. Creator An entity primarily responsible for making the resource Thomas Charles Wageman, 1787 - 1863 Source A related resource from which the described resource is derived Victoria and Albert Museum, London Date A point or period of time associated with an event in the lifecycle of the resource 1828 (made) Rights Information about rights held in and over the resource This is a faithful photographic reproduction of a two-dimensional, public domain work of art. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/bb0abb61f6c342e004b5be92b06ab6e7.jpg 4514536aa4ddaacc26a36093ca20e3e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil painting on canvas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Autolycus Subject The topic of the resource Oil painting by Charles Robert Leslie depicting Autolycus from Shakespeare's 'A Winter's Tale' (Act IV, Scene 4). Great Britain, 1836. Description An account of the resource Autolycus was a thief disguised as a pedlar who appears in Shakespeare's play A Winter's Tale. He is shown here selling cheap goods and sensational printed ballads to gullible country folk. Leslie based the background sky and the ash tree at the right on studies supplied by his friend, the landscape painter John Constable. Source: http://collections.vam.ac.uk/item/O80881/autolycus-oil-painting-leslie-charles-robert/ Creator An entity primarily responsible for making the resource Leslie, Charles Robert, 1794 - 1859 Publisher An entity responsible for making the resource available Catalogue of British Oil Paintings 1820-1860, Ronald Parkinson, Victoria and Albert Museum, London: HMSO, 1990, pp. 164-65 Date A point or period of time associated with an event in the lifecycle of the resource ca. 1836 (painted) Rights Information about rights held in and over the resource This is a faithful photographic reproduction of a two-dimensional, public domain work of art. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/7dea5e1133e46c72c284822a1cc811c1.jpg cf23f3698434913cd48815e64cebbc02 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Artwork on paper - colourised engraved woodblock print. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ballad Seller