7 50 458 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/595ecb895693901572e2944eef92a9ad.jpg ce0530257fa835e67ccce3ec4ecee0ca 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 English Execution Ballads Execution Ballad Language Language ballad is printed in English Date Date of ballad 1849 Method of Punishment Method of punishment described in the ballad. hanging Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Horsemonger Lane Gaol, London Printing Location Location the ballad pamphlet was printed. Hodges (from Pitt's) Wholesale Marble Warehouse, 31 Dudley St, 7 Dials Transcription Transcription of ballad lyrics See the scaffold it is mounted, And the doomed ones do appear? Seemingly borne wan with sorrow, Grief and anguish, care and pain. They cried the moments [sic] is approaching, When we together must leave this life, And no one has the least compassion, On Frederick Manning and his wife. Maria Manning came from Sweden, Brought up respectable we hear, And Frederick Manning came from Taunton In the county of Somersetshire. Maria lived with noble ladies, In ease, and splendour, and delight. But on one sad and fatal morning, She was made Frederick Mannings wife. She firtt [sic] was courted by O'Connor, Who was a lover most sincere, He was possessed of wealth and riches, And loved Maria Roux most dear. But she preferred her present husband, As it appeared, and with delight, Slighted sore Patrick O'Connor, And was made Frederick Manning's wife. And when O'Connor knew the story, Down his cheeks rolled floods of tears, He beat his breast, and wept in sorrow, Wrung his hands and tore his hair, Marie dear how could you leave me, Wretched you have made my life, Tell me why you did deceive me, For to be Frederick Manning's wife. At length they all were reconciled, And met together night and day, Maria by O'Connor's riches, Dressed in splendour fine and gay. Though married yet she corresponded With O'Connor all was right, And oft he went to see Maria Frederick Manning's lawful wife. At length they plann'd their friend to murder And for his company did crave, The dreadful weapons they prepared, And in the kitchen dug his grave. And as they fondly did caress him, They slew him - what a dreadful sight. First they mangled, after robbed him, Frederick Manning and his wife. They absconded, but was apqrehended [sic], And for the cruel deed was tried, When placed at the bar of Newgate, They both the crime strongly denied, At length the jury them convicted, And doomed them for to leave this life, The judge pronounced the awful sentence, On Frederick Manning and his wife. Return he said to whence they brought you From thence unto the fatal tree, Fnd [sic] there together be suspended, Where multitudes your fate may see. Your hours recollect is numbered, You betrayed a friend and took his life. For such there's not one spark of pity, As Frederick Manning and his wife. See what numbers are approaching, To Horsemonger's fatal tree, Full of bloom in health and vigour, What a dreadful sight to see. Old and young pray take a warning, Females lead a virtuous life, Think upon that fatal morning, Frederick Manning and his wife. Set to tune of... Melody to which ballad is set. <a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1186">Just Before the Battle Mother?</a> [no indicated tune] Notes Additional information related to the ballad pamphlet or related events Lots of printing errors in this pamphlet. Appears that printer did not have enough correct type. Synopsis Account of events that are the subject of the ballad Marie Manning (1821–13 November 1849) was a Swiss domestic servant who was hanged outside Horsemonger Lane Gaol, London, England, on 13 November 1849, after she and her husband Frederick were convicted of the murder of her lover, Patrick O'Connor, in the case that became known as the "Bermondsey Horror." It was the first time a husband and wife had been executed together in England since 1700. Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/595ecb895693901572e2944eef92a9ad.jpg" frameborder="0" scrolling="yes" width="600" height="600"></iframe> Image / Audio Credit Harvard Law School Library Special Collections, Harvard University; Rare (Trials Broadside 286), <a href="https://curiosity.lib.harvard.edu/crime-broadsides/catalog/46-990095439080203941" target="_blank">Record ID: 990095439080203941</a> Gender Gender of the person being executed. Multiple 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 Life of the Mannings executed at Horsemonger Lane Go[...] on Tuesday 13th Nov 1849 English Female hanging Male murder https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/80bce6908bc15eaa9c96cb353765681e.jpg 11e10128d621b75e257dfec932a3331b https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/e49cf9141f360d93192cf7070688bac3.jpg 8124449739c66fd441513f806357c512 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/929a32fecd54f15f100bf2780c89770d.jpg 7c5f89eb365b8e33ae3d182b32d44f2e 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics Pray tell me, Mary, how it is that you can look so gay. When, evening after evening, your husband is away? I never see you sulk about, nor say an angry word, But still you've plenty cause for tears, if all be true I've heard. It is because, my sister dear, a husband you ne'er wed; To see your children gathering round asking you for bread. You ne'er can tell how it becomes a woman's lot through life, To be, e'en to a drunkard's life, a faithful, loving wife. But still I can recall the time when bitter tears I shed, . And when my husband staggered home, what angry words I said. I never thought I could be so cheerful as now I seem, Yet this happy change was brought about by a simple little dream. One eve as I sat waiting at our humble little cottage door. And listening for my husband's steps, as oft I've done before. Some wicked thoughts came in my head, and bitterly I said- I never wished to see him more, I would that he were dead. They say the wretched cannot rest, but sure it is not si, For very soon I fell asleep 'midst cares of grief and woe; I dreamt I had my wish fulfilled, my husband was no more, I fell upon his lifeless corpse, and kissed him o'er and o'er. Dearest darling, speak to me, I meant not what I said, O speak once more unto you" wife, say, say you are not dead. O sure I am not, Mary dear. I woke up with a scream, And found my husband standing by-his death was but a dream. Ever since that time, when I feel disposed to be unkind, The warning of that fearful dream comes fresh into my mind; Although it cost me many a pang to know the life he leads, I strive to greet him with a smile when oft my poor heart bleeds. I'll humbly put my trust in God, and ask for strength to bear The trials he has sent on earth for all of us to share; And if, by patience, I should change my husband's wandering life, He'll bless the hour that dream was sent to his neglected wife. Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/929a32fecd54f15f100bf2780c89770d.jpg" frameborder="0" scrolling="yes" width="600" height="800"></iframe> About: American old-time song. Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1137">A new song on the Mannings</a></li> </ul> 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 Wife's Dream 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/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/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/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/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/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/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. 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics Es ist nit lang, dass es geschach, dass man den lindenschmid reiten sach auf einem hohen rosse, Er reit den Rheinstrom auf und ab hat sein gar wol genossen, ja genossen. * »Frisch her, ir lieben gsellen mein! es muss sich nur gewaget sein, wagen das tut gewinnen! Wir wöllen reiten tag und nacht, bis wir ein beut gewinnen.« Dem marggrafen von Baden kamen neue mär, wie man im ins gleit gefallen wär, * das tet in ser verdrießen; Wie bald er junker Caspar schreib: er solt im ein reislein dienen. * Junker Caspar zog dem beurlein ein kappen an, * er schickt in allzeit vorne dran, wol auf die freie straßen: Ob er den edlen Lindenschmid fünd, denselben solt er verraten. Das beurlein schiffet über Rein, er keret zu Frankfurt ins wirtshaus ein: »wirt! haben wir nichts zu essen? Es kommen drei wägen, seind wol beladen, von Frankfurt aus der messen.« Der wirt der sprach dem beurlein zu: »ja wein und brot hab ich genug, im stall da sten drei rosse, Die seind dem edlen Lindenschmid, er nert sich auf freier straßen.« * Das beurlein dacht in seinem mut: die sache wird noch werden gut, die feind hab ich vernommen; Wie bald er junker Caspar schreib, dass er solt eilends kommen! Der Lindenschmid der het einen son, der solt den rossen das futter tun, den habern tet er schwingen: »Stet uf, herzliebster vatter mein! ich hör die harnisch klingen.« Der Lindenschmid lag hinterm tisch und schlief, sein son der tat so manchen rief, der schlaf hat in bezwungen. »Ste auf, herzliebster vatter mein, dein verräter ist schon kommen.« Junker Caspar zu der stuben eintrat, der Lindenschmid von herzen ser erschrack. »Lindenschmid gib dich gefangen! Zu Baden an dem galgen hoch, daran so soltu hangen.« Der Lindenschmid war ein freier reutersmann, wie bald er zu der klingen sprang: »wir wöllen erst ritterlich fechten!« Es waren der bluthund also vil, die schlugen in zu der erden. »Kan und mag es dann nit anders gesein, so bitt ich umb den liebsten sone mein, auch um meinen reutersjungen. Und haben sie jemands leid getan, darzu hab ich sie gezwungen.« Junker Caspar der sprach nein darzu: »das kalb muss entgelten der ku, es sol dir nicht gelingen, Zu Baden in der werden statt * muss im sein haupt abspringen.« Sie wurden alle drei gen Baden gebracht, sie saßen nit lenger denn eine nacht; wol zu derselben stunde. Da ward der Lindenschmid gericht, sein son und der reutersjunge, ja junge. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data 6/8: | d | d C | C d | D | C | d | a | a d | d | C | d | 4/4: | a | d G |6/8:|G C | d About: German traditional 6/8: | d | d C | C d | D | C | d | a | a d | d | C | d | 4/4: | a | d G |6/8:|G C | d Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1044">Ein hibsch new Lied von einer Fischerin, wie sy hat gestiftet vier mord. </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1061">Zwey sch_ne Lieder.</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1065">Zwo Warhafftige Newe Zeitung, Die erst, Von einem Mörder, der sein Ehelich Weib </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1266">Zwey schöne Lieder...</a></li> </ul> Links Der Lindenschmid, <a href="https://angerweit.tikon.ch/lieder/lied.php?src=hraban-fremd/lindenschmid" target="_blank">Liederliste</a> 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 Lindenschmid 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/79a7bbd9a44a9b0c284233d444c6ce1c.png 71a69f4cdfbc70dc84bad144396d4d1e 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 English Execution Ballads Execution Ballad Language Language ballad is printed in English Date Date of ballad 1540 Method of Punishment Method of punishment described in the ballad. burning Transcription Transcription of ballad lyrics The Gospell. NOwe it is true, that I harde tell Whiche to me is no great meruell Barnes the bolde / the vicar of hell In learnynge som sayde, he dyd excell Yet he expoundeth, wronge the gospell Wrestyng and wrythyng it lyke a false fryer. Which hath brought hym to a fayre fyer. Of prechynge Many he hath / to the trade brought By his teachynge and preachyng, in pulpyt al ofte Sayenge (we haue founde) that no ma[n] hath sought Our wyttes, our lernynge, the spryte in vs wrought Deceyuyng the people / tyl his workes came to nought Suche was the study, of the false fryer Who is now brent, in a fayre fyer. Of fastyng and praying. His carnall belly-ioye, whiche neuer wolde faste carnall] carnanall 1540 Gullynge and drynkynge, as he wolde braste Despysyng al prayers / sayeng our wynd we dyde waste And all holy sayntes, he dyde out_caste To turne mens hertes, tyl nowe at the laste He is prouyd an herytyke, and a false lyer And brent to poudre, in a fayre fyre. Of Dissimulacion. Many thynges / he wolde, haue brought to passe. [Through dissymulacion / ................................] leaf bisected, with loss of text here and in the next line To blynde the people [styll, warne and .................] But what he thought (the Sacrament was) I wyll not iudge, but we maye synge, and say (alas) That euer was borne, this Antechrist fryer Which by true iudgement, was brent in the fyer. Of Holy-breade and Holy-water. God blessed the erth, and the fyrst creature That euer was made of, mans nature Moche more blessed is he, that is our sauyour Receyuyng his baptysme / blessed the water In thy name Iesus, the worlde to endure This name ones spoken, with hartty desyre Shall halowe / both bread, water and fyer. Of lawe, Yf his great-graund-father /longe had ben suffered Both gods lawe, and mans lawe, wold haue ben subuertid Lyke bestyall beastes, we shulde then haue raygned Wtout lawe or good ordre, he had so Imagynyd After the luteryan fasshyoned, but god be thanked To put in our Kynges hed: further to enquyre Of the false heretyke, and braynles fryer. Of Prestes to haue wyues. ¶All thynges in commune, is the luteryans lyfe A preest / a fryer, must nedes haue a wyfe Who wolde blame Barnes then, to begyn the stryfe Betwene the spyrytuall, and temporall, it was ryfe It grudged, good mens conscyence, this great myschefe And the conuycyous wordes of the false fryer Whiche for his heresyes, is burnt in a fayre fyer. Of Repentaunce. O howe [lyk]e / a Christen man he dyed hole torn in leaf, with loss of text here and in the next line Styffly hol[dy]nge / his handes by his syde Sayeng, yf euer were any saynt / that dyed I wyll be one / that must nedes be tryed Without repentaunce, the deuyll was his gwyde All this he sayd / lyke a false lyer Yet all coulde not saue hym, from the fayre fyer. Of Presumpcion. To se the pryde / and great presumpcyon Of the false heretyke, that wolde become A saynt in the deuyls name, throughe dissimulacyon Without gods mercy / it is his confusyon I praye god there be no mo (I saye but mom) Awaye with hym, away with hym, quod barnes the fryer Somtyme in the pulpyt, and nowe in the fyer Of Reliquis. Hys stampynge, his starynge, is [.......]ne. leaf torn away, with loss of text here and in the two following lines Thankes be to god, and our kyng a[l]one And that I myght haue, of hym a stynky[nge] bone To make it a relyke / for he sayd, there is none That he coulde fynde, in Mathewe or in Iohnn Whether he sayd true / or spake lyke a lyer Let other trye the trueth / for he was / an heretyke fryer Of a Marter. [O] holy Barnes / of all Heretykes the father leaf damaged [Y]e be a saynte / yet ye [be no confessour] leaf bisected, with loss of text here and in the next line [..........................................] [Sm]ylynge and iestynge / when ye lyste clatter leaf damaged with loss of text here and in the following three lines [Bu]t I thynke surely, ye be a stynkynge marter [W]ho that thynketh contrary, thynketh lyke a lyer L[e]t hym that so thynketh / beware of the fyer Of his Newe lernynge. Take hede and beware / of his false doctryne And to bele[u]e Christes churche, let vs inclyneletter illegible Our hertes to god, and to our kynge, both thyne and myne To serue them truely / with hart diuyne Then mayst thou saye, thou drawest the tr[ewe] lyne leaf damaged with loss of text here and in the following two lines Le[t] of his newe lernyng, I the requyre An[d] gyue [n]o credence, to the heretyke fryer [A]nd nowe louyngly, let vs all [with o]ne voyce pray. leaf damaged with loss of text here and in the next line For the preseruacyon, of Henry, our m[ost no]ble kynge And katherine / our Quene, that they togyther may Prosperously contynue, to theyr hertes desyrynge, And Edwarde our Prynce that most angelyke thyng That they all-togyther, may long lyue and reste And after with hym to raygne / Qui in celis est Amen. God saue the Kynge. Imprynted at London in Pater_noster_rowe by Iohnn_Redman, for Richard_bankes, Cum priuilegio Regali. et Ad imprime[n]dumimprimendum] imprimemdum 1540 solum Synopsis Account of events that are the subject of the ballad Robert Barnes (c. 1495 – 30 July 1540) was an English reformer and martyr, burned for heresy under Henry VIII. Crime(s) Crime or crimes for which the person in the ballad is convicted. heresy Execution Location Location the condemned was executed. Smithfield, London Printing Location Location the ballad pamphlet was printed. London: John Redman for Richard Bankes, 1540 URL <a href="https://www.otago.ac.nz/english-linguistics/tudor/Barnes1473-5.html" target="_blank">'The Study and Fruits of Barnes Burned in West Smithfield'</a>, Textbase of Early Tudor English Website, The University of Otago More information on Robert Barnes' execution in <a href="https://books.google.com.au/books?id=DTTVBAAAQBAJ&pg=PA285&lpg=PA285&dq=ballad++heretic&source=bl&ots=8ifn1g7H3C&sig=rITSXuLuJ5nIWs5rxB-2dvEWyIQ&hl=en&sa=X&ved=0ahUKEwjz6rvgjb7bAhXEnJQKHeRwCbsQ6AEIUDAG#v=onepage&q=ballad%20%20heretic&f=false" target="_blank">The Cambridge History of Early Modern English Literature</a>, edited by David Loewenstein and Janel Mueller. Gender Gender of the person being executed. Male Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/79a7bbd9a44a9b0c284233d444c6ce1c.jpg" frameborder="0" scrolling="yes" width="600" height="600"></iframe> Image / Audio Credit Foxe's Book of Martyrs Plate IV - Barnes and his Fellow-Prisoners Seeking Forgiveness, by Joseph Martin Kronhein (<a href="https://commons.wikimedia.org/wiki/File:Joseph_Martin_Kronheim_-_Foxe%27s_Book_of_Martyrs_Plate_IV_-_Barnes_and_his_Fellow-Prisoners_Seeking_Forgiveness.png" target="_blank">Wikimedia Commons</a>). This work is in the <a class="extiw" title="en:public domain" href="https://en.wikipedia.org/wiki/public_domain">public domain</a> in its country of origin and other countries and areas where the <a class="extiw" title="w:List of countries' copyright length" href="https://en.wikipedia.org/wiki/List_of_countries%27_copyright_length">copyright term</a> is the author's life plus 100 years or less. Subtitle borned in west smythfelde in London the .xxx. daye of Iuly in the .xxxii. yeare of the raygn of our Soueraygne Lorde Kynge Henry the viij. Newely compyled, and nowe newely Imprynted. 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 This lytle treatyse declareth the study and frutes of Barnes burning English heresy Male 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/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/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/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/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/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/3a2ddc86299d6465a8a1d6913e5fe420.jpg db1accb8600ceabad775a22240f90444 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/83b07217b0afe836f54d2ce5de034c0f.jpg 3ba3d2b16d46dcf31dedcf827308a7a3 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 English Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. <a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1170">Russell's Farewell</a> Language Language ballad is printed in English Date Date of ballad 1693 Synopsis Account of events that are the subject of the ballad James Whitney, a famous highwayman, is finally caught and executed for his many crimes. He is offered a reprieve if he names his accomplices, which he does, but the reprieve is never granted. Account of Whitney's sentencing from the <a href="https://www.oldbaileyonline.org/browse.jsp?id=OA16930201n2-1&div=OA16930201#highlight" target="_blank">Old Bailey Online</a>: James Whitney , otherwise called Captain Whitney, Butcher , the great Highway-man, was a second time Indicted, together with Benjamin Kallow , Gent , for Robbing one John Smith at South-Mims-wash on the 10th of November last, of 100 yards of Lace, value 50 l. Neither of them made any Exceptions against the Jury; only Mr. Whitney desired none might be sworn amongst them, that were of the Hundred where the Robbery was done, which was granted by the Court; then the Witnesses were call'd and sworn for the King; The first was Mr. Smith, who said he was Robbed by seven Men, but he did not know them: The next Witness swore flatly against Mr. Whitney, that he Robbed him first, and afterward he went to Mr. Smith and Robbed him, and that he stob'd several Carriers Horses at the same time; but there was no Evidence could charge Kallow, so he was acquitted of this Indictment. Whitney being ask'd what he had to say for himself; answered in short, That he knew nothing of the Matter, and that the Man was hard-mouth'd. But was answer'd, That his mouth was soft enough to do his business. And could not prove where he was at that time, so he was found guilty of the Robbery. Old Bailey Proceedings Online (www.oldbaileyonline.org, version 8.0, 15 January 2019), Ordinary of Newgate's Account, February 1693 (OA16930201). Method of Punishment Method of punishment described in the ballad. hanging Crime(s) Crime or crimes for which the person in the ballad is convicted. highway robbery Execution Location Location the condemned was executed. Porter's block, near Cow Crosse, Smithfield, London Printing Location Location the ballad pamphlet was printed. London: Printed for P. Brooksby, J. Deacon, J. Blare, and J. Back Transcription Transcription of ballad lyrics T He fatal day is come at last, of sorrow, grief, and shame, Which will the fading glory blast, of Whitney now by name. My wicked life has been the cause of this sad destiny; For since I broke the Nation's laws, 'tis just that I should die. Here to the world I freely leave these lines, my last farewel; And though I do not seem to grieve, yet conscience, like a hell, Does wrack and fill my soul with dread, and does against me cry; The wicked life which I have led, makes me afraid to die. The dreadful oaths which I have swore, comes fresh into my mind, When the Great God I come before, shall I a pardon find? Who did for sad damnation call, when in my villany; I under his displeasure fall, which makes me fear to die. 'Tis true, a chearful countenance I seeminly do bear, But now my most unhappy chance, drives me unto dispair; Were conscience clear, what would I give, all that I have, for why? The thoughts of how I here did live, makes me afraid to die. I robb'd the roads both night and day, young harlots to maintain, From honest men I took away, and gave it gills again; Whom I lov'd better than a wife, I cannot this deny; Yet this perfidious wretched life, makes me afraid to die. With loaded pistol in my hand, myself among the rest, Would force the travellers to stand, with pistols at their breast, Their purses to give up with speed, or soon the shot should flie; To think of which my heart doth bleed, I am afraid to die. What though I suffer on a tree, it is not that I fear; But oh! what will become of me, if God should be severe? To me who all my days have spent with thieves continually, And ne'er did in the least repent, therefore I fear to die. My brother Holland , and the rest are gone five days before, While I in sorrow am opprest, my heart is grieved sore; This seems a second death to be, and I in sorrow cry, And hope you all will pitty me, who now at last must die. I sigh at my sad destiny, my very heart does bleed: Alas! why did they flatter me, with hopes of being freed? Why did they bring me a reprieve? O tell me, tell me why? Yet I at last the world must leave, and be compell'd to die. Farewel thou world, I must imbrace the bitter pangs of death, And here in shame and sad disgrace, surrender up my breath; For which this day I hither came, so sad's my destiny; And tho' I startle at the same, 'tis just that I should die. Notes Additional information related to the ballad pamphlet or related events From <a href="http://www.executedtoday.com/2014/12/19/1694-james-whitney-highwayman/" target="_blank">executedtoday.com</a>: Dapper highwayman James Whitney was hanged at Smithfield on December 19th 1694. A monument to the allures and the perils of a midlife career change, Whitney threw over a tiresome life as the proprietor of an inn in Cheshunt, Hertfordshire,* purchased with his liquidation the accoutrements of the gentleman thief, and took to the road. “Captain” Whitney — he had no right to the rank he appropriated for himself — was one of those stickup men who greatly esteemed the pose of honor associated with his new calling. On one occasion, he relieved a gentleman traveler of a large sack of silver on Newmarket Heath, but when his victim pleaded the length of his journey Whitney opened the bag to its former owner with an invitation to take what he would need. The man plunged his hands in and hauled out as much as they would carry, leading Whitney to remark with a smile, “I thought you would have had more conscience, sir.” In another fine caper (there are more of them assembled here) Whitney told a man to stand and deliver, only to have the traveler reply that he was about to say the same back to him. The two robbers laughed at their encounter and went their separate ways, but Whitney later chanced to turn up at the same inn as his so-called brother plunderer and overhear him regaling his fellows with the tale of having outwitted a highwayman by pretending to be one of the same profession. Whitney stalked the man and a companion out of the hostel the next morning and this time robbed them successfully: “You should have kept your secret a little longer, and not have boasted so soon of having outwitted a thief. There is now nothing for you but to deliver or die!” Nobody likes your stories anyway, you blowhard. True, James Whitney ended his adventure at the gallows: death is the fate of us all. From his day to ours, folk toiling away the ceaseless lonesome days between ashes and ashes have understood the soul’s stirring to exalt their scant mortal hours with deeds of valor and romance and derring-do. And as Whitney himself is said to have remarked to a miser whose lucre he was seizing, “Is it not more generous to take a man’s money from him bravely, than to grind him to death by exacting eight or ten per cent, under cover of serving him?”** Nobody knows any of James Whitney’s peers in the publican guild, but as Captain Whitney he joined England’s most legendary gentleman outlaw in verse: When Claude du Val was in Newgate thrown, He carved his name on the dungeon stone; Quoth a dubsman, who gazed on the shattered wall, “You have carved your epitaph, Claude du Val, Du Val was hanged, and the next who came On the selfsame stone inscribed his name; “Aha!” quoth the dubsman, with devilish glee, “Tom Waters, your doom is the triple tree!” Within that dungeon lay Captain Bew, Rumbold and Whitney — a jolly crew! All carved their names on the stone, and all Share the fate of the brave Du Val! Full twenty highwaymen blithe and bold, Rattled their chains in that dungeon old: Of all that number there ‘scaped not one Who carved his name on the Newgate Stone. * The George Inn. A map search does yield a The George in Cheshunt; whether this is actually the same facility where our famous highwayman once earned a lawful keep, I have not been able to establish. URL <a href="https://www.oldbaileyonline.org/browse.jsp?id=OA16930201n2-1&div=OA16930201#highlight">'Ordinary of Newgate's Account, 1st February 1693'</a>, The Proceedings of the Old Bailey - London's Central Criminal Court, 1674 to 1913 <a href="https://books.google.com.au/books?id=vWyoAwAAQBAJ&pg=PT100&lpg=PT100&dq=captain+whitney+executed+1693&source=bl&ots=KMoM9KipU1&sig=Acq-3V95udQBifQoFtZmQ2GnRbg&hl=en&sa=X&ved=0ahUKEwjQgKC938zbAhVGKZQKHWuoDBIQ6AEIQTAK#v=onepage&q=captain%20whitney%20executed%201693&f=false">'January 6, 1693'</a> in Tyburn: The Story of London's Gallows, by Robert Bard <a href="http://www.pascalbonenfant.com/18c/newgatecalendar/james_whitney.html">'James Whitney'</a>, Website of Pascal Bonenfant, by Stephan Hart <a href="https://books.google.com.au/books?id=9coiAAAAMAAJ&pg=PA134&redir_esc=y#v=onepage&q&f=false" target="_blank">'Whitney' </a> in Lives and Exploits of the Most Noted Highwaymen, Robbers and Murderers of All Nations, Drawn from the Most Authentic Sources and Brought Down to the Present Time, by Charles Whitehead Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/3a2ddc86299d6465a8a1d6913e5fe420.jpg" frameborder="0" scrolling="yes" width="800" height="480"></iframe> Image / Audio Credit Magdalene College, Cambridge - Pepys Library, Pepys Ballads 2.186; <a href="https://ebba.english.ucsb.edu/ballad/20801/image" target="_blank">EBBA 20801</a> Gender Gender of the person being executed. Male 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 Capt. WHITNEY's Confession: OR, HIS Penitent Lamentation, Under a Sence of a Guilty Conscience, on the Day of his Execution at the Porter's Block, near Smithfield-Bars, which was on the First of February, 1693. English hanging highway robbery Male https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/ccacc44147ac16ed0b4237095d55558f.jpg f89f1b763776c94f4c191296aad1aac5 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 English Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. no tune indicated Language Language ballad is printed in English Date Date of ballad 1866 Synopsis Account of events that are the subject of the ballad Article from The Times, 10 January 1866, page 12, Column E: "EXECUTION AT STAFFORD.—Charles Christopher Robinson was executed on Tuesday morning in front of the county gaol at Stafford, in presence of 4,000 spectators. Before his death he acknowledged the justice of his sentence. On the scaffold he exclaimed, “Lord Jesus, receive my spirit.” His death was not instantaneous. He made a statement to the chaplain, but wished it to be kept from the public. Robinson would have been 19 next May. His victim was somewhat older, but she would have been only in her 19th year. They had for a long time been affianced, and lived together in the house in which the murder was committed. The facts of the murder may be briefly told. On the afternoon of Saturday, the 26th of August, Mr. and Mrs. Fisher went out for a drive into the country, leaving Robinson and Harriet Seager alone in the house, with a young man named Wilson, a companion of Robinson, in the garden. During the afternoon the girl was seen by a servant girl of Mr. Fisher’s brother, who had gone to the house on an errand, crying as she stood cleaning knives in the brewhouse. Robinson at the time stood leaning against the door. Shortly afterwards a nephew of Mr. Fisher, a little boy, saw Robinson strike Seagar (sic) with his open hand in her face because she would not allow him to kiss her. The young man alluded to left about 4 o’clock, and Robinson, who had been shooting sparrows with him in the garden with a small gun, went into the house. About a quarter-past 4 the neighbours were alarmed by a cry that Robinson had shot Harriet, and upon entering the brewhouse the poor girl was found lying dead on the floor in a pool of blood, with her throat cut. At the time the neighbours entered the house Robinson was observed coming down stairs, with an open razor in his hand. He was then in his shirt sleeves, for he had not washed or dressed himself during the day. He went into the scullery where his victim lay dead on the floor, and, standing in front of a looking-glass that was hanging upon the wall, he deliberately cut his throat three times with the razor. At this juncture he was secured, a surgeon was sent for, and his self-inflicted wounds were sewn up after some resistance on his part. The defence upon the trial, however, was, first, that Seager had committed suicide, and that the prisoner in grief attempted his own life; and next, that he was insane when he committed the murder, insanity being hereditary in his family, as was shown by the fact of his half-sister being then in a lunatic asylum. It could not, however, be shown that he was insane either before or after the murder. The executioner was a man named Smith, of Dudley, who has for some years performed the duties of hangman at Stafford." Method of Punishment Method of punishment described in the ballad. hanging Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Stafford Printing Location Location the ballad pamphlet was printed. no details Transcription Transcription of ballad lyrics Come all you feeling Christians, Give ear unto my tale, It's for a cruel murder I was hung at Stafford Gaol. The horrid crime that I have done Is shocking for to hear, I murdered one I once did love, Harriet Segar dear. Charles Robinson it is my name, With sorrow was oppressed, The very thought of what I've done Deprived me of my rest: Within the walls of Stafford Gaol, In bitter grief did cry, And every moment seemed to say "Poor soul prepare to die!" I well deserve my wretched fate, No one can pity me, To think that I in my cold blood, Could take her life away, She no harm to me had done, How could I serve her so? No one my feelings now can tell, My heart was full of woe. O while within my dungeon dar, Sad thoughts came on apace, The cruel deed that I had done Appeared before my face, While lying in my prison cell Those horrid visions rise, The gentle form of her I killed Appeared before my eyes. O Satan, Thou Demon strong, Why didst thou on me bind? O why did I allow they chains To enwrap my feeble mind? Before my eyes she did appear All others to excell, And it was through jealousy, I poor Harriet Segar killed. May my end a warning be Unto all mankind, Think on my unhappy fate And bear me in your mind. Whether you be rich or poor Your friends and sweethearts love, And God will crown your fleeting days, With blessings from above. Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/ccacc44147ac16ed0b4237095d55558f.jpg" frameborder="0" scrolling="yes" width="600" height="600"></iframe> Gender Gender of the person being executed. Male Image / Audio Credit Image credits required 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 Copy of Verses on the Awful Execution of Charles Christopher Robinson, For the Murder of his Sweetheart, Harriet Segar, of Ablow Street, Wolverhampton, August 26th. English hanging Male murder https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/d90ab425860da18afe1d672bfa70a997.pdf f9d60465240d3fa8998f277a58dcb361 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics Écoutez, peuples de France, Du royaume de Chili, Peuples de Russie aussi, Du cap de Bonne Espérance, Le mémorable accident D'un crime très conséquent. Capitale du Rouergue, Vieille ville de Rhodez, Tu vis de sanglants forfaits À quatre pas de L'Ambergue, Faits par des cœurs aussi durs Comme tes antiques murs. De très honnête lignée Vincent Bastide et Jausion, Pour la malédiction De cette ville indignée ; Car de Rodez les habitants Ont presque tous des sentiments. Bastide le gigantesque, Moins deux pouces ayant six pieds, Fut un scélérat fieffé Et même sans politesse, Et Jausion l'insidieux Sanguinaire, avaricieux. Ils méditent la ruine D'un magistral très prudent, Leur ami, leur confident ; Mais ne pensant pas le crime, II ne se méfiait pas Qu'on complotait son trépas. ... Listen, people of France, Of the kingdom of Chili People of Russia also, Of the Cape of Good Hope, To the memorable accident of a very important crime. Capital of Rouergue Old town of Rhodez You see the bloody crimes Four paces from the Ambergue Committed by hearts as hard As your ancient walls Bastide the giant Less than two inches under six feet Was an incorrigible villain Without even courtesy And the insidious Jausion Bloody, greedy. “Since without any good reason You are killing me, my friends, To die mercifully, Is for me impossible. Oh! Let me in this place Make my peace with God.” That terrifying giant Answered him roughly: “In a minute you can Make your peace with the Devil,” Then with a great blow He sliced him across the neck. ... Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1018">Complainte sur les crimes commis par les chauffeurs.</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1016">COMPLAINTE Sur l'horrible assassinat commis dans la commune de Nancray, sur deux viellards et sur leur servante.</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1204">Complainte (crime de Sotteville)</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1021">Grande Complainte de l'horrible assassinat commis sur la famille Gayet.</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1182">Complainte sur l’exécution de Claude-Etienne Colin, Jean Marigault et Jean Buret dit Gaffault</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1203">Complainte</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1202">L'assassinat de Saint-Geniez</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/991">HORRIBLE ASSASSINAT</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/988">Double complainte du Sieur Edmond Couty de la Pommerais</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1024">L'Empoisonneuse Hélène JéGADO, Accusée d'avoir attenté à la vie de 37 personnes, dont 25 ont succombé.</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1022">Grande complainte sur le crime de Pantin</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1027">LA GRANDE ET VERIDIQUE COMPLAINTE De l'Epouvantable Crime de PANTIN</a></li> </ul> Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/d90ab425860da18afe1d672bfa70a997.jpg" frameborder="0" scrolling="no" width="600" height="800"></iframe> 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 Fualdès Creator An entity primarily responsible for making the resource Anonymous (traditional) 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. 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Terza Rima Description An account of the resource The literal translation of terza rima from Italian is 'third rhyme'. Terza rima is a three-line stanza using chain rhyme in the pattern a-b-a, b-c-b, c-d-c, d-e-d. There is no limit to the number of lines, but poems or sections of poems written in terza rima end with either a single line or couplet repeating the rhyme of the middle line of the final tercet. The two possible endings for the example above are d-e-d, e or d-e-d, e-e. There is no set rhythm for terza rima, but in English, iambic pentameter is generally preferred. The terza rima form was invented by Dante Alighieri for the Commedia (The Divine Comedy, ca. 1304–1321), using the hendecasyllabic (eleven-syllable) line common to Italian poetry. <a href="https://www.poets.org/poetsorg/text/terza-rima-poetic-term" target="_blank">© Academy of American Poets</a> Creator An entity primarily responsible for making the resource Dante Alighieri (Italian) Date A point or period of time associated with an event in the lifecycle of the resource Late 13th Century 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Ottava Rima Description An account of the resource Ottava rima is a rhyming stanza form of Italian origin. Originally used for long poems on heroic themes, of eight 11-syllable lines, with a rhyme scheme of ABABABCC. It originated in the late 13th and early 14th centuries and was developed by Tuscan poets for religious verse and drama and in troubadour songs. Its earliest known use is in the writings of Giovanni Boccaccio. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/0197bf717d2c9a91796a6ed03d9a42fc.jpg f7d5f89246b10d17aa643da17349717b 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics <div style="width:45%;padding:0 10px 0 0;float:left;">1 Warum betrübst du dich, mein Herz? Bekümmerst dich und trägest Schmerz Nur um das zeitliche Gut? Vertrau du deinem Herren Gott, Der alle Ding erschaffen hat. 2 Er kann und will dich lassen nicht, Er weiß gar wohl, was dir gebricht, Himmel und Erd ist sein! Dein Vater und dein Herre Gott, Der dir beisteht in aller Not. 3 Weil du mein Gott und Vater bist, Dein Kind wirst du verlassen nicht, Du väterliches Herz! Ich bin ein armer Erdenkloß, Auf Erden weiß ich keinen Trost. 4 Der Reiche bauet auf sein Gut; Ich will vertrauen auf Gottes Hut. Ob mich die Welt veracht', So glaub ich doch mit Zuversicht, Wer Gott vertraut, dem mangelt's nicht. 5 Helia , wer ernähret dich Da es so lange regnet nicht In so schwer theurer Zeit? Ein Wittwe aus Sidonier Land Zu welcher du von Gott warst gesandt. 6 Da er lag untr dem Wachholdrbaum Der Engel Gotts vom Himmel kam Und bracht ihm Speis undTranck Er gieng gar einen weiten Gang Bis zu dem Berg Horeb genannt. 7 Des Daniels Gott nicht vergaß Da er unter den Löwen saß Sein Engel sandt er hin Er ließ ihm Speise bringen gut Durch seinen Diener Habacuc. 8 Joseph in Egyptn verkauffet ward Vom König Pharao gefangen hart Umb sein Gottfürchtigkeit Gott macht ihn zu einn grossen Herrn Daß er kont Vatr und Brüdr ernehrn. 9 Es ließ auch nicht der treue Gott |Die drey Männr im Feur-Ofen roth Seinn Engel sandt er hin Bewahrt sie für des Feuers Glut Und halff ihnen aus aller Noth. 10 Ach Gott, du bist so reich noch heut'; Ob je du warst von Ewigkeit, Mein Trauen steht zu dir; Sei du nur meiner Seele Hort, So hab' ich Gnüge hier und dort. 11 Zeitlicher Ehr, ich gern entbehr', Des Ewigen mich nur gewähr, Das du erworben hast Durch deinen herben, bittern Tod; Das bitt ich dich, mein Herr und Gott. 12 Alles was ist auf dieser Welt, Es sei Gold, Silber oder Geld, Reichtum und zeitlich Gut, Das währt nur eine kleine Zeit Und hilft doch nichts zur Seligkeit. 13 Ich danke dir, Herr Jesu Christ, Dass mir das Kund geworden ist Durch dein wahrhaftig's Wort; Verleih mir auch Beständigkeit Zu meiner Seelen Seligkeit! 14 Lob, Ehr und Preis sei dir gebracht Für alles wie du mich bedacht. In Demut bitt' ich dich: Lass mich von deinem Angesicht Ewig verstossen werden nicht ! </div> <div style="width:45%;padding:0 10px 0 0;float:right;">1 Why are you afflicted, my heart, why are you full of care and enduring sorrow only for temporal possessions? Place your trust in your Lord God who has created everything. 2 He cannot and will not abandon you, he knows well what you lack, heaven and earth are his! Your father and your God. who stands beside you in all distress. 3 Since you are my God and father you will not abandon your child, you fatherly heart! I am a wretched clod of earth, on earth I know no consolation. 4 The rich man builds on his goods; I shall trust in God’s care. Although the world scorns me, I believe with confidence, who trusts in God will lack nothing. 5 Elias,who feeds you when there is no rain for so long in time of such hard famine? A widow from Sidon to whom you were sent by God. 6 As he lay beneath a juniper tree God’s angel came from heaven and brought him food and drink. He went on a long jouirney to the mountain named Horeb. 7 God did not forget Daniel as he sat among the lions. He sent his angel down, he had good food brought to him by his servant Habakuk. 8 Joseph was sold into Egypt, imprisoned by Pharaoh the king For his reverence for God God made him a grerat lord so that he could feed his father ad brothers. 9 The faithful God also did not forsake the three men in the burning fiery furnace, he sent down his angel, protected them from the fire’s heat and helped them in all distress. 10 Ah God, you are as rich today as you were from eternity, my trust stands by you; be the only refuge of my soul, then I have enough here and hereafter. 11 Temporal glory I happily do without, only grant that I may share the eternal glory that you have gained by your harsh, bitter death; for this I ask you, my Lord and God. 12 Everything that in this world, whether it is gold, silver or money, wealth or temporal possessions, lasts only a short time and is of no help for blessedness. 13 I thank you , Lord Jesus Christ, for what has been revealed to me through your truthful word; bestow constancy also on me for the blessedness of my soul! 14 Praise, glory and honour be given to you for all your consideration for me. In humility I ask you: let me never from your face be driven away. </div> <div style="clear:both;"> </div> About: Johann Sebastian Bach composed the church cantata Warum betrübst du dich, mein Herz (Why do you trouble yourself, my heart), in Leipzig for the 15th Sunday after Trinity and first performed it on 5 September 1723. The original text by an unknown author includes three stanzas from the hymn of the same name (<a href="https://en.wikipedia.org/wiki/Warum_betr%C3%BCbst_du_dich,_mein_Herz,_BWV_138" target="_blank">Wikipedia</a>). Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1049">Ein warhafftige vnd vnerhoerte Geschicht von einem Mueller welcher sein Weib vnd Sechs Kinder </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1059">Warhafftige Zeitung / So niemals erhört </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1265">Drey warhafft und erschröckliche newe Zeitung...Von etlichen Jüden von Trient/ in Welschland... </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1035">Das Haslibacherlied</a></li> </ul> Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/0197bf717d2c9a91796a6ed03d9a42fc.jpg" frameborder="0" scrolling="yes" width="750" height="165"></iframe> 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 Warum betrübst du dich, mein Herz Creator An entity primarily responsible for making the resource Johann Sebastian Bach 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics 1 Es ist gewißlich an der Zeit, daß Gottes Sohn wird kommen in seiner großen Herrlichkeit, zu richten Bös und Frommen. Dann wird das Lachen werden theur, wenn Alles wird vergehn in Feur, wie Petrus davon schreibet. 2 Posaunen wird man hören gehn an aller Welt ihr Ende; darauf bald werden auferstehn all Todten gar behende. Die aber noch das Leben han, die wird der Herr von Stunden an verwandeln und verneuen. 3 Darnach wird man ablesen bald, ein Buch, darin geschrieben was alle Menschen, Jung und Alt. auf Erden hab'n getrieben. Da denn gewiß bald Jedermann wird hören, was er hat gethan in seinem ganzen Leben. 4 O weh demselben, welcher hat des Herren Wort verachtet und nur auf Erden früh und spat nach großem Gut getrachtet, Er wird führwahr gar kahl bestehn, und mit dem Satan müssen gehn von Christo in die Hölle. 5 O Jesu, hilf zu selben Zeit, von wegen deiner Wunden, daß ich im Buch der Seligkeit werd eingezeichnet funden. Daran ich denn auch zweifle nicht, denn du hast ja den Feind gericht't, und meine Schuld bezahlet. 6 Derhalben mein Fürsprecher sei, wenn du nun wirst erscheinen, und ließ mich aus dem Buche frei, darinnen stehn die Deinen, auf daß ich, sammt den Brüdern mein, mit dir geh in den Himmel ein, den du uns hast erworben. 7 O Jesu Christ, du machst es lang mit deinem jüngsten Tage, den Menschen wird auf Erden bang, von wegen vieler Plage; komm doch, komm doch, du Richter groß, und mach uns in Genaden los von allem Uebel. Amen! 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 Es ist gewißlich an der Zeit Creator An entity primarily responsible for making the resource Johann Sebastian Bach https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/2ff5d671c915ec7508a92946ef1258a5.jpg 28912d69363a0130da19c57b2e2fef0c 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 German Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. Nun will ich nicht mehr leben mit dir O Corydon etc Language Language ballad is printed in German Date Date of ballad 1685 Method of Punishment Method of punishment described in the ballad. breaking on the wheel Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Mecklenburg Transcription Transcription of ballad lyrics Merckt auf und trett zum Stande und hört ein Zeitung neu vom Mechelburger Lande was da geschehen sey mit Morden überaus daß es fast zu erzehlen ein ganze S[?]ell und Graus. Im Flecken Umna eben derselben Land-Rebter thät neulickst sich begeben und gieng warhafftig für ein solche Mord Geschicht noch kaum vor wenig Wochen wie euch hier wird bericht. Ein Wirth win loser Gaste Hans Rödel sonst genannt den bösen Vorschlag fasste daß er mit eigner Hand üm bälder reich zu seyn die Leute wolt ermorden so bey ihm fehrten ein. Schaut wie der Teuffel stellet und macht die Sünde leicht bis er die Menschen fället und sie mit List erschleicht er that was er gedacht wie ihn der Teuffel riethe das er viel Leut umbracht. Das Fleisch gab er zufressen den Gästen insgemein Köpff Füß und Händ indessen vergrub und schart er ein theils Beiner gleicher Weis das man es hit solt mercken diß thate er mit Fleiß. Es thät ihm wohl züschlagen fast ein gekaume Zeit er selbst thät es nich sagen und wusten nicht die Leut wie doch wol solches käm daß doch der Wirth an Gütern und Reichthum so zunehm. Da doch sonst (so zu reden) er nur ein Hecken Wirth wie fast auf der Einöden und doch so Wirthschafft führt viel bildeten sich en er müst ein Alrann haben es könnet nit anders seyn. Er hatt ein guten Bruder der böse lose Wirth der offt mit ihm in Luder ein übles Leben führt ein Schäfer thät er seyn den selben er heredet daß er mit ihm hielt ein. Er sprach mein Bruden Shäfer ermord die Leut mit mir und sey kein fauler Schläfer die Helffte geb ich dir so wirst du reich wie ich der Schäfer war zufrieden sprach was geheut es mich. Ich will es frisch drauf wagen under modern wacker mit wir werdens selbst nit sagen kein Mensch der sieht uns nit drauf gieng es ärger an und machtens immer stärcker so lang es gut gethan. Ein Bot und Kauffmanns Diener die knabten erstlich auf biß sie leßt wurden kühner und mördten weiter drauf es wuchs ihr Sünden Wust daß sie gar auf der Strassen offt kühlten ihre [?]ust. Ingleichen auch nach diesen ein Tuchknapp und B[...] die kamen von der Wiesen dem Wald hinein dort für kaum e[...] der versah da lag er schon gestrecket vom Schäfers Brügel [...] Deßgleichen der Barbirer must bleiben auf der Stät [...] ihne der Berführer allda erlegen thät der lose Mörders [...] O Sünd! O Laster-Leben! das diese zwey verführt. Sie hängten da beym Füssen den guten Kerles auf [...] verzappeln müssen es war ein Omeis-Hauff wol unter [...] Baum was diß für eine Marter ist zu beschreiben kaum. Indem die Omeis krochen und bissen unerhört d[...] Mensch ward zerstochen und hab darvon verzehrt dran sab[...]st ihr Lust daß es noch in der Marter der Schäfer rühmen mußt. Es hätt von allen Thaten ihn nichtes mehr erfreut al die ser schöne Braten und frische Omeis-Streit um deß Barrer? Haut schaut doch wie Gotts vergessen ihr lieben Christen haut Doch aber höret weiter wiewol nich unbetrübt was diese Vögel leider für Brand-Mord auch verübt ein alter Schultheis war nich weit von selber Gegend erkraucket ganz und gar. Der Türckner oder Schäfer der sonsten dort bekannt weil unlängst er ein Sträfer steckt an das Haus in Brand wie auch sein Camerad sie waren beyd beslissen in solcher Mörders That. Un allen vier des Ecken da thäten sie das haus mit schlauer List anstecken und schlichen sich hinaus nachdem sie bey der Racht den Schultheis Frau und Röchin ganz heimlich umgebracht. Die Mummling gieng von weiten wie diß zugangen hie? von diesen erbarn Leuten die Flamme löschten sie man faßt die Vögel ein da musten sie bekennen in unerhörter Pein. Sie wurden hingerichtet auf solche Art und Weis an seine Brust gezwicket der Wirth mit Zangen heiß zu drey verschiednen mal dann lebend gar verbrennet diß war ein grosse Dual. Den Schäfer noch zur Gnade den räderte man auch legt lebend ihn aufs Rade nach aller Mörder Brauch zum Beyspiel socher Gäst so gehts wann man den Teuffel sich so verführen läst. Hieraus ist nun zu fassen die gute Warnungs-Weis daf man fein auf der Strassen sich sehe für mit Fleiß und daß man sich nicht wend auf Straff-verbotne Mabrun sonst nimts ein Kahles End. Subtitle Zweyer boshafftig-verwegenen Gemüther/ nemlichen eines Wirths und Schäfers/ Welche in dem Mechlenburger Land ... unterschiedliche abscheuliche Mord-Thaten verübet ... dass sie erkannt/ gegriffen/ und zur wohlverdienten Straff/ andern zum Exempel/ mit Hinrichtung eines erbärmlichen Todes sind gezogen worden. Alles nach glaubhafften Verlauff/ verabfasset in einem Lied/ nach der Sing-Weise: Nun will ich nicht mehr leben/ mit dir/ O Corydon/ [et]c. Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/2ff5d671c915ec7508a92946ef1258a5.jpg" frameborder="0" scrolling="yes" width="500" height="800"></iframe> Image notice Full size images of all ballad sheets available at the bottom of this page. Image / Audio Credit <a href="http://www.gbv.de/vd/vd17/75:703238B" target="_blank">VDLied Digital.</a> VD17, 703238B. 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 Abscheuliches Mord-Erkuhnen und Billiches Straff-Verdienen: : breaking on the wheel German murder https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/e6c8549b1b0146595a5f6a8f0431c1df.mp3 f464114059782a9cfc2e177ecbd79eb5 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics 1. „Kommt her zu mir“, spricht Gottes Sohn, „All die ihr seid beschweret nun, Mit Sünden hart beladen, Ihr Jungen, Alten, Frau und Mann, Ich will euch geben, was ich han, Will heilen euren Schaden. 2. Mein Joch ist sanft, leicht meine Last, Und jeder, der sich willig faßt, Der wird der Höll entrinnen. Ich helf ihm tragen, was zu schwer; Mit meiner Hilf und Kraft wird er Das Himmelreich gewinnen.“ 3. Gern wollt die Welt auch selig sein, Wenn nur nicht wär die schwere Pein, Die alle Christen leiden. Nun aber kann's nicht anders sein; Darum ergeb sich nur darein, Wer ewig' Pein will meiden. 4. Heut ist der Mensch schön, jung und rank; Sieh, morgen ist er schwach und krank, Bald muß er auch gar sterben. Gleich wie die Blumen auf dem Feld, Also wird diese schöne Welt In allem Nu verderben. 5. Die Welt erzittert ob dem Tod; Liegt einer in der letzten Not, Dann will er gleich fromm werden. Einer schafft' dies, der andre das, Sein arme Seel er ganz vergaß, Dieweil er lebt' auf Erden. 6. Und wenn er nicht mehr leben kann, Hebt eine große Klag er an, Will sich nun Gott ergeben. Ich fürcht fürwahr, die göttlich Gnad, Die er allzeit verspottet hat, Wird schwerlich ob ihm scheben. 7. Dem Reichen hilft doch nicht sein Gut, Dem Jungen nicht ein stolzer Mut, Er muß aus diesem Maien; Wenn einer hätt die ganze Welt, Silber und Gold und alles Geld, Doch muß er an den Reihen*. 8. Dem G'lehrten hilft doch nicht sein Kunst; Die Weltlich Pracht ist gar umsonst: Wir müssen alle sterben. Wer sich in Christo nicht bereit', Weil er lebt in der Gnadenzeit, Ewig muß er verderben. 9. Höret und merkt, ihr lieben Kind, Die jetzo Gott ergeben sind: Laßt euch die Müh nicht reuen, Halt' fest am heilgen Gotteswort; Das ist eur Trost und höchster Hort, Gott wird euch schon erfreuen. 10. Und was der ewig gütig Gott In seinem Wort versprochen hat, Geschworn bei seinem Namen, Das hält und gibt er g'wiß fürwahr. Der helf uns zu der Engel Schar Durch Jesum Christum. Amen. Links Kommt her zu mir spricht Gottes Sohn, <a href="https://ingeb.org/spiritua/kommther.html" target="_blank">ingeb.org</a> Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1050">Eine warhafftige Newe zeyttung / so sich begeben hat zu Eschwein / wie allda ein M_rder ist eingebracht worden / welcher 55. </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1051">Eine Warhafftige und erschröckliche Newe Zeitung </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1055">Warhafftige Newe Zeitung / Welches geschehen ist den 22. </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1067">Eine erschröckliche Neue Zeitung/ Von einem Becken/ mit Nahmen Johann Schwab </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1268">Zwo Erschröckliche jedoch wahrhafftige Newe Zeitungen </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1269">Ein warhafftiges aber zugleich trauriges Zeitungs-Lied/ </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1062">Zwey warhafftige und erschröliche neue Zeitung </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1214">Zwo Warhafftige / vnd doch Männiglich zuvor bekante Newe Zeitungen. </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1065">Zwo Warhafftige Newe Zeitung, Die erst, Von einem Mörder, der sein Ehelich Weib </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1061">Zwey sch_ne Lieder.</a></li> </ul> 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 Kommt her zu mir spricht Gottes Sohn Description An account of the resource This melody is a contrafact of the secular song Es ist nicht lang, daß es geschah (“It’s not long ago that this happened”) also known or identified as the <a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1149">Lindenschmied-Weise</a> (either ‘Mr. Lindenschmied’s melody’ or ‘the tune sung by the blacksmith who has his shop next to the linden or lime tree’). This melody can be traced back to south Germany around 1490. The melody later appears in 1530 with the text by Georg Grünwald as a broadside entitled Ain schöns newes Christlichs Lyed (“A nice, new Christian song”) published within the circle of the Mennonites or Baptists. Creator An entity primarily responsible for making the resource Georg Grünwald 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. 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 Hilff Gott daß mir gelinge Creator An entity primarily responsible for making the resource Heinrich Müller 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics Christmas is my name, Far have I gone, Have I gone, (have I gone,) Have I gone without regard. Whereas great men, By flocks there be flown, There be flown, (there be flown,) There be flown to London-ward. There they in pomp and in pleasure do waste That which Old Christmas was wont for to feast, Welladay, Welladay, Welladay, where should I stay? Houses where music was wont for to ring, Nothing but bats and owlets do sing, Welladay, Welladay, Welladay, where should I stay? Christmas dinner is turned into stones, Into stones and silken rags. And Lady Money sleeps and makes moans, And makes moans in miser's bags. Houses where pleasures once did abound Nought but a dog and a shepherd is found. Places that Christmas revels did keep Now have become habitations for sheep. Pan, the shepherd's god doth deface, Doth deface Mother Nature's crown. And the tillage doth go to decay, To decay in every town. Landlords their rents so highly enhance, Ploughman and family barefoot may dance. Farmers that Christmas would still entertain Scarce have enough themselves to maintain. Briefly, for to end, Here I do find, I do find so great disdain. Christmas feasting and dancing must wait For their season to come again. Yet winter the holly and doth give, Carols and wassails in memory do live, Welladay, Welladay, Welladay, so here I'll stay. Thus, where the Boar's Head and Yule Log have been, Christmas again will surely be seen, Welladay, Welladay, Welladay, so here I'll stay. Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/890">Sir Walter Rauleigh his lamentation</a> </li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/847">A lamentable Ditty composed upon the death of Robert Lo[rd Devereux] late Earle of Essex</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/846">A Lamentable Ditty made on the Death of Roboert Deverux Earl of Essex</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/837">A ballad intituled, A newe well a daye</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1291">The true manner of the life and Death of Sir Thomas Wentworth</a></li> </ul> 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 Welladay https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/6dc0cdc578a137eae3639566b05f7bf2.png a2e5c8e33a0a6c3b3be4914f4b07da8c 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/894">The Mounful Murtherer </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/933">Francis Winter's last Farewel </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/940">The Murtherer's Lamentation </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/936">Summers his Frolick </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/941">The Penitent Highway-man </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/943">The Bloody-minded Husband </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/945">The Injured Children </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/871">Captain Johnson's Last Farewel</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1209">Capt. Johnsons last Farewel</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/947">The Midwife of Popar's Sorrowful Confession</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/950">Villany Rewarded</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1158">Capt. WHITNEY's Confession</a></li> </ul> Links <a href="http://ballads.bodleian.ox.ac.uk/search/tunes/Russell's%20farewell" target="_blank">Bodleian listings</a> <a href="https://ebba.english.ucsb.edu/search_combined/?tst=24" target="_blank">EBBA listings</a> 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 Russell's Farewell https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/f2a33bde78a042894868cae95c37563e.png 3b2c57271b59ec017df7e3c5381a227a https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/83c146e5c7507970d970d9ac8fc710df.jpg ca3be85df2eb3bf5b3b63d3da939ec0d https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/1ebf4761d624ab7b96dd303372541d26.jpg 83862c5ac36d144fe0cb1155a0206144 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 German Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. no tune indicated Language Language ballad is printed in German Method of Punishment Method of punishment described in the ballad. hanging in chains Crime(s) Crime or crimes for which the person in the ballad is convicted. treason Date Date of ballad 1738 Transcription Transcription of ballad lyrics Süß, der Mosen schlecht gelesen, Und doch auch kein Christ gewesen, Der die Geistlichkeit verlachet, Und das Volck so arm gemachet, Der das Jungfern-Volck geschändet, Ehe-Frauen hat verblendet, Hof und Land zugleich betrogen, Falsche Müntz ins Land gezogen, Die Gesetze nicht betrachtet, Alles Recht durchaus verachtet, Muß jetzt wie ein Hund crepieren, Und zum Lohn den Galgen zieren. Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/1ebf4761d624ab7b96dd303372541d26.jpg" frameborder="0" scrolling="yes" width="500" height="380"></iframe> Image notice Full size images of all ballad sheets available at the bottom of this page. Notes Additional information related to the ballad pamphlet or related events Joseph Süß Oppenheimer (1698? – February 4, 1738) was a German Jewish banker and court Jew for Duke Karl Alexander of Württemberg in Stuttgart. Throughout his career, Oppenheimer made scores of powerful enemies, some of whom conspired to bring about his arrest and execution after Karl Alexander's death. When his protector, Karl Alexander, suddenly died on March 12, 1737, Oppenheimer was arrested and accused of various crimes, including fraud, embezzlement, treason, lecherous relations with various women and accepting bribes. While some Jews tried to help him during the trial, others gave incriminatory testimonies against him. Most of the accusations could be refuted, and the charge of lechery was dropped in order to protect reputed women. After the heavily publicized trial, Oppenheimer was sentenced to death, without naming any specific crime. When his jailers asked that he convert to Christianity, he refused. Joseph Süß Oppenheimer was led to the gallows on February 4, 1738, and given a final chance to convert to Christianity, which he refused to do. He was throttled, with his last words reportedly being the Jewish credo "Hear, O Israel: the Lord is our God, the Lord is one". The case records were then declared secret, so until 1918 no one could realize the judicial murder done to him. His corpse was gibbeted in a cage that hung outside of Stuttgart in the Pragsattel district for six years until the inauguration of Karl Eugen, Duke of Württemberg, who as his very first act as ruler permitted the burial of his corpse below the gallows. <a href="https://jewishencyclopedia.com/articles/11740-oppenheimer-joseph-suss" target="_blank">OPPENHEIMER, JOSEPH SÜSS</a>, by Gotthard Deutsch and Theodor Kroner, Jewish Encyclopedia Image / Audio Credit United States Holocaust Memorial Museum Collection, Gift of the Katz Family, <a href="https://collections.ushmm.org/search/catalog/irn538870" target="_blank">2016.184.243</a>. 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 Eigentliche Abbildung der Hinausführung und Hinrichtung des Ertz-Betrügers / Jud Süss Oppenheimers German hanging in chains Jews treason 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/907">The Lady Isabella's Tragedy </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/930">A warning for all desperate Women </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/876">Damnable Practises of three Lincolne-shire Witches</a></li> </ul> 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 Ladies Fall 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/954">An Excellent Ballad of George Barnwel - I</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/868">An Excellent Ballad of George Barnwel - II</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/863">A Warning to all Priests and jesuites</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/897">The Arrainement condemnation and execution of the grand [cutpurse] Iohn Selman</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/895">The Unfaithful Servant and the Curel Husband</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/939">The Golden Farmer's Last Fareweel</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/966">Treason justly punished</a></li> </ul> 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 Rich Merchant Man 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Links <a href="http://ebba.english.ucsb.edu/search_combined/?ss=packington%27s+pound" target="_blank">EBBA listings</a> <a href="http://ebba.english.ucsb.edu/ballad/32548/recording" target="_blank">EBBA recording</a> About: Packington's Pound is an English Broadside Ballad that dates back, roughly, to the last quarter of the 17th century. It is most recognized by its tune, and, in fact, more tunes were set to "Packington's Pound" than ballads named "Packington's Pound." Claude Simpson in "The British Broadside Ballad and its Music" writes: "This [Packington's Pound] is the most popular single tune associated with ballads before 1700." <a href="https://en.wikipedia.org/wiki/Packington%27s_Pound" target="_blank">Wikipedia.</a> Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/889">Sir thomas Armstrong's Farevvel </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/919">The murtherer justly condemned </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/928">Treason rewarded at TIBURN </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/920">The plotter executed </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/965">The Brick-makers Lamentation</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/859">A Terror for TRAITORS</a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/872">Caveat for Cut-purses</a></li> </ul> 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 Packington's Pound 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. About: Bleeding Heart was often used for ballads related to children. It is linked to In Crete, which is ultimately derived from Come follow my love (Simpson 1966, pp. 365, 374). Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/899">The Bloody Butcher </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/937">The Chamberlain's Tragedy </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/870">Being a sad and true Relation of Apprehension, Tryal, confession, Condemnation, and Execution</a></li> </ul> Links See discussion of use of<a href="https://books.google.com.au/books?id=pfB9BgAAQBAJ&pg=PA84&lpg=PA84&dq=bleeding+heart+tune&source=bl&ots=GfUQ449L78&sig=ACfU3U20ylamAKZ7zF5YzWAzWhWIIhbGiA&hl=en&sa=X&ved=2ahUKEwjmkt3X7_jfAhWGeisKHbRHCyUQ6AEwEnoECAwQAQ#v=onepage&q=bleeding%20heart%20tune&f=false" target="_blank"> Bleeding Heart</a>, in The Traditional Tunes of the Child Ballads, Vol. 4: With Their Texts, by Bertrand Harris Bronson 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 Bleeding Heart 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 Events Execution Event An execution event that may have multiple ballads and ballad pamphlets, accounts and artworks associated. Execution Location Location the condemned was executed. Springfield Gaol Date Date of ballad 29th of March 1875 Crime(s) Crime or crimes for which the person in the ballad is convicted. Murder of a child. 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 the Purfleet Murderer https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/32b1c69605846add7cfa6dd9500e0816.JPG ac9d7b78b707ea69b5f22e84929a6211 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c018e0af835bce0655dd8e2b761537cb.JPG f5ea254e1466b464933d437e178406a7 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/b0938e849c4e5852fa2b46deb2d96b8a.JPG 20efc3adac1c4f7980ee954a971e87e6 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/a94a461344ca15cad004736e46688c92.JPG f2f6f1ad3c4e365009eaf45a5396f389 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/b76cc3b930897aaddee247e3efd3bd5e.JPG c2dedc2c428bf3920022e10cfad16124 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/cc4bdd5b015bb76e211fcaeb71695225.JPG 4ef796334a3c84abbd18aafdfdb48504 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/6ea34d9974dc2c88fe43fb94a58e48b2.JPG b226d1675c01315f36f8d42021b0c44b 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 Italian Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. ottava rima Language Language ballad is printed in Italian Date Date of ballad 1618 Synopsis Account of events that are the subject of the ballad A schoolmaster in Pesaro murders his pupil and cuts him into 8 pieces. One song in third person voice followed by song in first person voice of school master. Method of Punishment Method of punishment described in the ballad. breaking on the wheel? Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Pesaro Printing Location Location the ballad pamphlet was printed. Posto in luce per L. P. In Pesaro, & in Bologna, per Gio; Paolo Moscatelli, 1618. Transcription Transcription of ballad lyrics O’Sommo Iddio, quanto il nemico astuto Procaccia, d’ingannar l’humana gente, E’l ben che noi facciamo sia perduto, Investiga, e cerca l’astuto serpente, Io voglio un caso horrendo, c’hò veduto (A Dio piacendo) contar à la gente. Come per tutt’hormai la fama vola, D’un povero meschin Mastro da Scola. Costui haveno gran desio d’udire, Che la sua fama pervenisse à buoni, Pronto si pose e con un grand’ardire A’ far che quella por tutto risuoni; Ma tosto il cor voltò, state à sentire, Quello ch’avviene à chi dispregia i doni Del Sommo Iddio; poiche gl’entrò nel petto D’uccider di sua mano un gionanetto. Essendo il gentil figlio, hormai salito, Mediante sue virtuti à tant’altezza, Che’l Mastro superar si vide ardito, Mostrando chiaro sua natura avvezza Apprender tutto; ma da quel tradito Fù con gran crudelta, e scelleratezza: Onde nè segui poi, che di quell’empio Si fece à tutt’il popol chiato essempio. Vedendo quell’esperto giovanetto, Che’l Precettore suo no’l può vedere Lascia la Scola, e volta l’intelletto Verso cupido, e in cose più leggiare: Il Mastro, che d’invidia ha colmo il petto Anch’ei cosi vuol far fuor del dovere Con la propria sua amata, e lei gentile Quello discaccia come infame, e vile. Non sà più come far quel scelerato, E la gran rabbia tutto dentro il rode; Poiche ne la dottrina superato Si trova, & in amar dal giovin prode: Ma pensa, che quel figlio cestumato Uccider vuol, come si vede, & ode, E sempre và pensando ( ò caso strano) Come uccider lo possa l’inhumano. E gli sapeva, ch’era suo costume Dopo’l disnar di riposarsi un poco, E mentre’l figlio l’uno, e l’altro lume Hà chiuso il tradito a poco, a poco. A’ quel s’accosta, ch’à narrar’un fiume Di lagrime faria si crudo gioco Con una mano ne’ bei crin l’afferra, E l’altra co’l raso la gola i serra. Da l’estremo dolor, quel gentil figlio, Svegliato alza la testa, e la man pone Sopra del taglio già fatto vermiglio, E sol con cenni mosso à compassione Havria una Tigre, e pur bagnava il ciglio Quasi dicendo al suo Rabi Nerrone; Poiche nel cader suo si vide impresso La forma de la man nel sangue istesso. E visto c’hebbe il traditor disteso, L’innocente figliuolo, si ritira, E ne l’animo suo stava sospeso, Che far dovesse: pur ritorna, e mira Il corpo, e poi lo leva sù di peso, Pensando al caso rio, piange, e sospira, Ma si risolue, e pria chè da lui parti Spogliarlo, e pei quel far in otto quarti. Quarli portava poi sotto la veste Fuori della Citta de ad uno, ad uno In un loco desorto, over alpeste, Dove habitar non vede huomo alcuno Senza punto pensar, che manifeste Son l’opre nostre à Dio, ch’e Trino, & uno Nasconde il figlio in seno à la gran Madre, Acciò non vadi tal notitia al Padre. Quello non tarda à licentiar’il resto De’suoi Scolari con finta occasione Di far’un viaggio tutto afflitto, e mesto Fin’à Loreto sol per gran passione, Ch’ei sentiva nel cuor tanto molesto D’haver fatta si perfida uccisione, Di là si parte, e pensa esser sicuro; Ma fù preso (oh caso iniquo, e duro.) Essendo ito in altra terra à fare Pur l’essercitio del Mastro da Scola, Va giorno essendo andate à comperare Diversissime cose; ma una sola Trovò, che gli mancava per mangiare, Votendo in tutto satisfar la gola, Quella comoprando, arrivò quei Mercanti, Che per il morto figlio fer gran pianti. Fù da lor conosciuto prestamente; Ben che forma diversa havesse preso, Chiamata la Giustitia immantinente, Acciò da quella fusse ligato, e preso, Il Capitano arriva, e’l suo Tenente, Frà li quali fu molto vilipeso Gridando ad alta voce, mi fan torto, Non mi stringete più, hoime son morto. Gionto, che fù dinanzi al Tribunale Della Giustitia, gli danno il tormento Per chiarii si s’havea commesso il male, Ose’l gran querelato à tradimento; Ma non si tosto si senti far male, Che’l tutto confessò senz’ altro stento, E di nuovo tornerno à far l’essame, E poi fù condennato à morte infame. Si racoglie in se stesso, e si ritira, Pensando al crudo annuntio, che gli è dato, E’l grave fallo suo piange, e sospira; Poiche per quello à morte è condennato, Che sia lasciato di prigione; aspira, Tanto, che và in quel luoco abbandonato, Dove sottrè quei quarti del figliuolo, E scoprirli à sua man con grave duolo. Di nuovo ricondotto à la prigione Dimanda in cortesia carta, & inchiostro, Perche vuol far palese à le persone Quanto fragile sia il viver nostro; Cosi fece un lamento che Nerone Indolcito haveria, com’hor vi mostro, Poiche il pover meschin piangendo forte Vien dato in preda al Boia, e va à la morta. IL FINE. LAMENTO Del detto Mastro con i suoi Membri, e cominciò dal Cuore. O Crudo Cuore mio, perche pensasti Di commetter’ error tanto crudele? Perche voi occhi traditor mirasti, E cagioni tosti poi c’hor mi querele? Ditemi orecchie voi, perche ascoltasti? Voi bocca e naso non gustaste fele Più tosto che permettere c’habbia fatto Cosa che perir poi il fà in un tratto. O mani traditrici ò piedi ingrati Non fosti voi cagion del mio languire? Forte pur dianzi da me tanto amati, Et hora insieme ci convien perire; Voi gambe, che quegli altri membri ingrati Portasti alla Giustitia trasgredire Il corpo lamentar si può e la schena, Che condotti gli havete à tanta pena. In somma lamentare, e non à torto Mi posso con ragione giusta, e vera Di tutti voi ch’incambio di conforto Voi mi fate veder l’ultima sera, Se voi sete cagion ch io giaccia morto, Vostra allegrezza non sarà già vera: Poiche consentienti al trasgredire Pria fosti, sarete anco al gran martire. Pio havessi tempo di narrar mia vita Un’intiero volume vorret fare, Ma sento un discipline, che m’invita, Ch’io m’i debba al supplicio apparechiare, E sento l’alma mia tutta smarrita, E tre mante poi ch’hà d’abbandonare Il corpo e lui ancor grave dolore Sente per sua pietade, e grande amore. Già cha (mal grado mio) hor mi conviene Finir il mio lamento in pene, e guai Sento che’l sangue si gela in le vene, Perch’è vicina la mia morte hormai, Io prego il Sommo Dio, che tante pene Non sian ragione de gli eterni guai, Ma che lo spirito mio al Ciel ritorni, Dove (piacendo a lui) stanzi e soggiorni. Cosi vi prego tutti, ò circostanti, Ch’à l’atio, e à la passion non date albergo, Che l’esperienza havete hormai di tanti, Quali hanno le virtudi poste à tergo, E la lor mala fin pensar inanti, Non voler com’ anch’io: onde sommergo, Vi prego adunque con doglia infinita A viver di memeglio in questa vita. A te mi volto, ò Redentor del Mondo, Venia chiedenao de’ peccati miei, Tù conosci c’hà it cor contrito, e mondo, Se tale è il mio, perdona i falli rei, Ti prego non guardar ch in questo Mondo Io non facessi quello, che dovei, E insieme prego ancor’il Padre Eterno, Per sua bontà, mi scampi dall’Inferno. IL FINE. Subtitle D’un Mastro da Scola, quale mosso da invidia uccise un suo Discepolo, e nè fece otto quarti; Con un lamento ch’ei fece quando per ciò fù preso, & condennato à morte. 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 Compassionevole, e lacrimoso caso, nuovamente occorso nella Città di Pesaro Italian https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/20e70bb75170bd6d85fd25f0c8f0d2d4.jpg 6e17c341776a31ef42165a320edda36e https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/efbd9b6e4684566194f90f9bd824cb0b.jpg 392d556b0418817069a05c0a2b4c753b https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c29ef5c827a46a480dd093a38e43d01b.jpg b9017a9a97ad4b9412a5a9a0cdf2c13f https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/5bb1f435a602f7bf54ad104d53dda7ee.jpg 70add189b79826ebf607b40d991c8a80 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 Italian Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. terza rima Language Language ballad is printed in Italian Date Date of ballad 1518 Synopsis Account of events that are the subject of the ballad Father Agustino is convicted of blasphemy?/sodomy? and is sentenced to hang in a cage outside the church of San Marco. In this song he comforts his female lover (la sua donna) Method of Punishment Method of punishment described in the ballad. display Crime(s) Crime or crimes for which the person in the ballad is convicted. blasphemy Execution Location Location the condemned was executed. Venice Transcription Transcription of ballad lyrics Qui incomincia il pietoso lamento che fa la femena de pre Agustino cosa piacevole & esemplar Se mai Amorà donna fu ribello, Et se ad alcuna die cagion di pianto Ben posso dir che à me su accerbo e fello. La causa non dirò: però che tanto E manifesta, che infin’ ai defonti Il sanno, ch’odon il stridor tamanto. Si vendeno le hystorie per li ponti, Et per le piazze in ciascadun confino, È manifesto infin de la’ dai Monti Che in chebba è posto il mio pre Agustino À meggio il Campanil,sopra la piazza Per biastemmar il Creator divino. Non so per qual ragion io non m’amazza. Non so qual mio destin mi tenga in vita. Per’ho il cervel, e non so piu che fazza. Vedo che ogn’un mi guarda, e dietro addita Et dice, questa è quella donna altiera Che per prete Agustin tutta e smarrita. E quando poi che’l di gionge alla sera, Et mi aricordo che in Chebba solo Sta il poverino, muggio come fiera. Fo’ come il Tigre à cui tolto il figliolo E’ stato da qualch’un, che tutta freme, Ne sa che piu si far per il gran dolo. Ahime che dal dolor par l’alma treme, Moro d’angustia, non trovo riparo: Chi me soccorre in queste doglie estre Non credo che a niun il ciel si avaro Sia di sua gratia, quanto à me meschina: O caso attroce, inusitato, & raro. Qual altra il ciel dar mi puo disciplina Che a un tempo tuormi e l’honor e la vita? Ahi crudel fato, o sorte aspra, assassina. Io sento il mio dolor, e l’infinita Pena di quel meschin, iui condutto Dove non è che al mal suo pogo aita. Deh Dio per qual cagion non fusti mutto Quando giocando biastemmasti Idio? Che forsi non saresti iui ridutto. O quant fiate hotti represo io D’altri tuoi vitii horribili & iniqui: Cagion che in chebba adesso tu paghi il fio? Non sai che spesso li peccati antiqui Idio punisse fuor d’ogni stagione, Per divertir qualchun da troggi obliqui? Ahime, se mi lamento, ho pur ragionie: Non ti posso aiutar, moro da doglia: Moro vivendo a veder tua magione. O morte presto vien piglia sta spoglia: Non mi lasciar penar, trame di affanni: Amazza quella che ha de morir voglia. Che li sei posto mi par sia mille anni: Non credo mai veder l’ultimo giorno, Che giuso scenda di tanto alti scanni. Ser fero viva ogni vergogna escorno A’ gloria mi terrò, perche mia fede Servaro intatta infino al tuo ritorno. Et se son morta vo che quando riede Tua vita in liberta, tu ti ricordi Dell’ossa mie che la terra possiede. Dal grido hormai son divenuti sordi Della piazza in canton, e le Colonne, Che di veder tu mal erano ingordi. Questo lo sa fanciuli, homini, & donne, Ventia tutta quanta, & sanlo anchora Li forastier che veston curte gonne. Ben te potrai gloriar quando sia l’hora Della tua liberta, che niuna tale In parte alcuna del mondo dimora. Piango che come uccello non ho l’ale, Che teco ad habitar nel piccol tetto Pronta verrei à congoder tuo male. Idio non vol c’habbi tanto diletto: Vorrei teco morir poi che la morte Debbe di me seguir l’ultimo effetto. O rio destin, o mia malvagia sorte, Poi che per troppo amar perdo la vita, Et andro à visitar l’infernal porte: Donne che amate il mio parlar v’invita Pigliar esempio, & non perder voi stesse, der far piu presto la fama sbandita. Io parlo con dolor, molto me incresse D’ogn’un esser eseempio horsu patientia: A’ un mal principio il peggior fin tiesse. Guardate donne qual peggior sententia: Poteva sopra di me unqua cadere, che dar al mio Amator tal penitentia? Pero notate mie parole vere: Non fate fallo alli vostri mriti, Se ben sperate in questo mondo havere. Anzi servate I giusti & santi riti Del matrimonio il tutto vi aviso, Se non l’honor, la fama, e’l paradiso Perdrete, se attendete ad altri inviti. Finis. URL https://books.google.com.au/books?id=HYgNAAAAYAAJ&pg=PA58&lpg=PA58&dq=pre+agustino&source=bl&ots=KrnDbLvfcw&sig=yQV8lXIaoLVIK8IEtFSUKVE0Bxk&hl=en&sa=X&ved=0ahUKEwiC27XA4M3bAhUJC6YKHa5yDtoQ6AEIWzAJ#v=onepage&q=pre%20agustino&f=false Subtitle & duolesi di non poter morire. Con alcuni aricordi alle donne. Cò una Frottola d’un Fachin che gli da la baia, Et un Sonetto di p` Agustin che la còforta. 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 Il lamento della femena di Pre Agustino, qual si duol di esser viva vedendolo in tante angustie: Italian https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/2b03c32235155c641d87e4a4d9745ac8.jpg ce7a6a107dc17701328374e1c6a4e655 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/8362ebef2899fccb5333683cfb65bc4e.jpg 6b225cf4b9d3cd8ac0af9e6b91bd773b https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/8a1710a43f4cfc8cac602897d493bb14.jpg f8abfda6da9aaa16eaec410f8ea09fdd https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/65c012ecb3774d1deb43164ae99bf6fb.jpg cad5b0b7d5c829cd263c2260756f0e11 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/ef4d1c606ba9c25c34cbb6c0e8432d9c.jpg 87fdf9bd4dc7d2497fb6da7d6021e66a https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/1983622597e7b6d00198ab4db2ce233d.jpg a8b633245db02ee7f71f6d4f048fdf2a https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/2b8a7d6a94b8f7c0bee3d92ffddeee64.jpg 7f9a389a56f0e50c941e1156a0f4855a https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/d01572f47774372b98fc37c578425c99.jpg c169a37ef79b194d1671ce9fc984bca3 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/6766ab7b8d5b3ee54377a281aa4732fc.jpg dca058bb5798c5e747f77325e88b6ab6 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. La Marseillaise ('Allons enfans de la Patrie') Language Language ballad is printed in French Date Date of ballad 1794 Synopsis Account of events that are the subject of the ballad Jean-Baptiste Carrier (1756 – 16 December 1794) was a French Revolutionary. In a twenty-page letter to his fellow republicans, Carrier promised not to leave a single counter-revolutionary or monopolist (in reference to hoarders and aristocratic land owners) at large in Nantes. His vigorous action was endorsed by the Committee of Public Safety, and in the following days Carrier put large numbers of prisoners aboard vessels with trap doors for bottoms, and sunk them in the Loire river. These executions, especially of priests and nuns, as well as women and children, known as the Drownings at Nantes (Noyades), along with his increasing demeanor, gained Carrier a reputation for wanton cruelty. On 3 September 1794 Carrier was arrested. The jury that heard Carrier's case was left dumbfounded as the trial closed and passed a unanimous vote for Carrier's execution, which took place on 16 December 1794. Method of Punishment Method of punishment described in the ballad. guillotine Crime(s) Crime or crimes for which the person in the ballad is convicted. murder (genocide) Execution Location Location the condemned was executed. Paris Transcription Transcription of ballad lyrics Infortunés, vous dont la Loire Roule les corps amoncelés, Vous, dont l’épouvantable histoire Déchire nos coeurs désolés. [bis] De Carrier, nombreuses victimes Sortez de la nuit des tombeaux, Pour voir Carrier et ses bourreaux Subir la peine de leurs crimes! Que par vous obsédé, qu’assiègé de remords, Carrier [bis] avant la mort, éprouve mille morts. Mais quand du sénat, la justice Frappe ce tyran détesté, Doit-on différer le supplice Des tyrans qui l’ont imité? [bis] Les sectateurs de Robespierre Conspirent au milieu de nous; En paix, ils bravent le courroux Et l’horreur de la France entière. Justice, il en est tems; ennemis de nos droits Tombez, [bis], laisez régner le sénat et les lois. Du fer, du feu, quel assemblage Frappe sans choix les Lyonnais, Collot punit par ce carnage, Ceux dont il souffrit les siflets; [bis] Tout tombe, innocent ou coupable, Enterrés à demi vivans, On a vu leurs corps palpitans Mouvoir et soulever le sable. Joins Carrier au trépas, monstre de cruauté; Collot [bis] ne l’as-tu pas mieux que lui mérité. Coeur faux, ame atroce et timide, Au plus fort vendu par métier; Parleur impudent et perfide De Robespierre chancelier: [bis] Envain tu masques ton visage Barrère, on punit le forfait, Et dans celui qui le commet, Et dans celui qui l’encourage. Mais non: rassure-toi. Grace à notre mépris, La mort [bis] que tu crains tant, n’en sera point le prix. Qu’a jamais couvert d’infamie, Ce lâche orateur des tyrans, Dans les remords long-tems expie L’abus de ses minces talens; [bis] Mais que la loi bientôt punisse Tout voleur et tout assassin; Montant, Duhem, Cambon, Dupin, Et quiconque fut leur complice. Notre foiblesse envain diffère leur trépas, Carrier [bis] les attend tous: ils vont suivre ses pas. De pouvoir les excès superbes; Tes viols, tes atrocités, Sous le nom de formes acerbes, Par Barrère furent vantés; [bis] Oui, cruel Lebon! Mais la France A ces mots ne se trompe pas, Le sang dans Cambray, dans Arras, Fume encor demandant vengeance. Sans doute il l’obtiendra: va monstre, au tribunal! Lebon! [bis] Carrier t’attend à l’échafaud fatal. Toi, l’opprobre de ta patrie, A qui ton pinceau fit honneur; Toi, dont le sublime génie S’avilit par ton mauvais coeur. [bis] David, plat tyran subalterne, Ennemi de l’humanité, Par un supplice mérité Va joindre l’Appius moderne. Tu fus son sectateur, tu subiras son sort, David! [bis] Carrier t’attend: va partager sa mort. Quand le Rhin, la Meuse et la Sambre Ont vu fuir tous nos ennemis, Un assassin du deux Septembre Conspire pour eux dans Paris: [bis] Traître Billaud l’heure est venue, Tous les voiles sont déchirés; Avec les rois, les émigrés Ton intelligence est connue. Le peuple detrompé, prononce ton arrêt, Billaud, [bis] Carrier t’attend et le supplice est prêt. De la France Dieu tutélaire, Défenseur des Républicains, Le sénat est ton sanctuaire, Daigne y veiller sur nos destins; [bis] Protège ce sénat auguste Fondateur de la liberté! Qu’à jamais en soit écarté L’homme de sang et l’homme injuste. Guerre à mort aux forfaits, indulgence à l’erreur; Français [bis] de cette loi dépend notre bonheur. Du sénat, quel affreux génie Ecarte encor ses députés Qui, dévoilant la tyrannie, Furent par son ordre arrêtés; [bis] Quoique la passion allègue Le peuple les sait innocens, Dans chacun d’eux, Représentans, Retrouvez enfni un collègue. Oubli des passions, triomphe à l’équité; Sénat [bis], que dans ton sein renaisse l’unité. Notes Additional information related to the ballad pamphlet or related events List of Jacobins mentioned in the Carrier song: Jean-Baptiste Carrier (1756 – 16 December 1794) was a French Revolutionary, known for his cruelty to his enemies, especially to clergy. Bertrand Barère de Vieuzac (10 September 1755 – 13 January 1841) was a French politician, freemason and journalist, one of the most notorious members of the National Convention during the French Revolution. Jean-Marie Collot d'Herbois (19 June 1749 – 8 June 1796) was a French actor, dramatist, essayist, and revolutionary. He was a member of the Committee of Public Safety during the Reign of Terror and, while he saved Madame Tussaud from the Guillotine, he administered the execution of more than 2,000 people in the city of Lyon. Jacques Nicolas Billaud-Varenne (23 April 1756 – 3 June 1819), also known as Jean Nicolas, was a French personality of the Revolutionary period. Though not one of the most well known figures of the French Revolution, Jacques Nicolas Billaud-Varenne was an instrumental figure of the period known as the Reign of Terror. Billaud-Varenne climbed his way up the ladder of power during the period of The Terror, becoming a member of the Committee of Public Safety. He was recognized and worked with French Revolution figures Georges Danton and Maximilien Robespierre, and is often considered one of the key architects of the period known as The Terror. "No, we will not step backward, our zeal will only be smothered in the tomb; either the Revolution will triumph or we will all die." 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 Carrier a commencé la marche, suivez, Messieurs French 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. la belle Judith Language Language ballad is printed in French Date Date of ballad 1721 Synopsis Account of events that are the subject of the ballad Cartouche Method of Punishment Method of punishment described in the ballad. breaking on the wheel Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Paris, Place de Grève Transcription Transcription of ballad lyrics Peuples de France et de Paris, Venez entendre de ma bouche, Les cruautés et perfidies, Commises par moi cruel Cartouche, Je ne crois pas sous le soleil, Qu'on pourroit trouver mon pareil. 2. Je fus un monstre plein d'horreur, Redouté sur la terre et l'onde, Jamais plus insigne voleur, Que l'on ait vu dedans le monde, Car mon coeur fut plus inhumain, Que ceux des Empereurs Romains. 3. J'ai commis tant de cruautés, De meurtres, vols et brigandages, Dans Paris et de tous côtés, Sur les grands chemins et bocages; Par-tout je donnois la terreur, Aux marchands et aux voyageurs. 4. Pour vous conter toute ma vie, Il faudroit faire un gros volume, Et pour la donner en écrit, De fer il faudroit une plume, Pour de l'encre il faudroit du sang, Pour tracer mes forfaits sanglans. 5. La grande ville de Paris, Fut le beau lieu de ma naissance, Né de parens remplis d'esprit, Bien élevé dès mon enfance, Me donnant bonne instruction, Par leur bonne éducation. 6. Mon Père quoique chargé d'enfans, De travail et d'inquiétudes, Connoissant mon esprit savant, Il me fit conduire aux études, Mais en apprenant le latin, Je devins encore plus malin. 7. Ce qui dut m'être avantageux, Me perdit sans nulle ressource, Pour plaire à mon coeur ambitieux, Falloit de l'argent dans ma bourse, Pour imiter mes compagnons, Qui étoient de bonnes maisons. 8. Pour leur belle figure égaler, Je mis d'abord tout en usage, Et je commençai à voler, Pour me couvrir de beaux plumages, Voici le beau commencement, De mes premiers déréglemens. 9. Je volois des pommes et des fruits, Près du collége à des fruitières, Avec tant d'adresse et génie, Qu'on ne s'en appercevoit guères, Et des livres à mes compagnons, Que je vendois comme un fripon. 10. Je n'avois pas encore onze ans, J’étais en quatrième école, Un jeune Marquis opulent, Me caressoit sans nulle frivole, Toujours bien reçu en tout tems, Chez lui dans son appartement. 11. J’étois toujours le bien venu, De ce jeune Marquis honnête, Un jour il reçut cent écus, Qu’il mit dedans une cassette, Je résoluts dans le moment, De lui prendre tout cet argent. 12. Je lui prends fort subtilement, Un jour la clef dedans sa poche, Je cours dans son appartment, De la cassette je m’approche, Lui dérobant les cent écus, Où j’ai manqué d’être apperçu. 13. J’entendis monter le Marquis, Suivi de son valet de chambre, Alors la frayeur me saisit, Qui me fit tout trembler les membres, Je me cachai rempli de soin, Derrière une armoire dans un coin. 14. L’homme de chambre du Marquis Accablé d’un grand mal de tête, Resta deux jours dessus son lit, Moi toujours tremblant faisant diette, Où je fus dedans ce danger, Deux jours sans boire et sans manger. 15. Dès que le valet fut sorti Je quittai cette armoire fatale, Et je sortis de ce logis, Etant d’une joie sans égale, Croyant de m’en aller chez nous, Pour calmer mon [illegible]. Le Frère de Cartouche. 16. Mon frère ne vas point au logis, Car mon père est trop en colere, Suivant le rapport du Marquis, Il dit qu’il fera tes affaire, Si tu es jamais convaincu, De lui avoir pris cent écus. Cartouche. 17. Epouvanté de ce récit, Je fis mes adieux à mon frère, Et je m’éloignai de Paris, Sans savoir ce que j’allois faire, Marchant sans trouver de logis; Plein de frayeur pendant la nuit. 18. Conduit par mon fatal destin, Je me trouvai dans un bocage, J’entendis dans un lieur voisin, Des gens parler d’un sot langage; Je reconnus à leur maintien, Une troupe de bohémiens. Une Bohémienne à Cartouche. 19. Où t’en vas-tu mon pauvre enfant, Tout seul dans un âge si tendre, Reste avec nous un peu de temps, Des secrets nous pouvons t’apprendre, Mange si tu veux avec nous, Choisis ce qui est à ton goût. Cartouche. 20. Il ne falloit pas me prier; Avec eux je me mis à table, Je mangeai pigeons et poulets, Et je bus du vin délectable. Je n’avois jamais de ma vie, Mangé de si bon appetit. 21. Ils m’apprirent l’art de voler, Et me dirent mon horoscope, Je suis si bien en profiter, Qu’avec le temps par-tout l’Europe, On connut mes tours de filoux, Que je fis en France et partout. 22. M’ayant bien instruit là-dessus, Un de la troupe détestable, Me déroba les cent écus, Comme moi il fit le semblable, Je fus contraint de m’en aller, Pour les imiter à voler. 23. Je profitai de leurs leçons, Je volois avec tant d’adresse, Que moi avec d’autres fripons, Nous fimes plusieurs tours de souplesse, Mais le parlement de Rouen, Prit plusieurs de ces garnemens. 24. Moi pour éviter le fléau De la justice de ce monde, J’allai pour trouver un vaisseau, Pour m’embarquer sur les ondes; Mais un de mes proches parents, Me fit changer de sentiment. L’Oncle de Cartouche. 25. Qui vois-je avec ses matelots, Sur ce port de mer qui promène, C’est Cartouche bien à propos, Que cette figure me fait peine, Quoique Cartouche soit un voleur, [illegible] perce le coeur. Cartouche. 26. Mon oncle je me jette à vos pieds Et j’implore votre assistance, De moi ayez quelque pitié, Je reconnois toutes mes offenses, A Dieu j’en demande pardon, Remenez-moi à la maison. L’Oncle de Cartouche à son Père. 27. Mon Frère j’amène une brebis, Qui fut égarée au pacage, Recevez-la c’est votre fils, L’amour paternel vous engage, Pardonnez, il veut obéir, Et sera plus sage à l’avenir. Cartouche. 28. Mon père je tombe à vos genoux Pardonnez mes fautes et intrigues, Pour Dieu recevez-moi chez vous, Ainsi qu’un autre enfant prodigue, Oubliez ce qui s’est passé, Je ferai mieux que je n’ai fait. Son Père. 29. Je te pardonne d’un bon coeur, Mais il faut que tu sois plus sage, Quitte le métier de voleur, Songe que tu avances en âge, Suis les traces de tes aïeux, Tu sais bien qu’il y a un Dieu. Cartouche. 30. Je ne profitai pas long-tems Des remontrances de mon Père, Mon coeur ingrat et turbulent, Ne songeoit jamais qu’à mal faire, Voulant paroître en grand Seigneur, Fallut encore faire le voleur. 31. Je repris mon premier métier, D’une effronterie toute entière. Je pris des montres et noeuds d’épée, Des mouchoirs et des tabatières, Et grande quantité d’argent, Je m’habillai superbement. Le Père de Cartouche. 32. Que je sens de cruels soupçons. Glisser dans le fond de mon âme, Je crois que mon fils est un fripon, Eclaircissons-nous peur du blâme, Voyons si dans son coffre fort, Il n’y loge pas des trésors. 33. Hélas qu’apperçois-je, ô grand Dieu! Que de vols et de belles choses, Ce n’est que louis dedans ce lieu, Quelle étrange métamorphose, Des Dentelles en différens goûts, Etuis d’or, flacons et bijoux. 34. Mon fils puisque le temps est beau, Veux-tu venir, je me prépare, J’ai affaire pour cinq cents tonneaux, Dans le couvent de Saint Lazare, Allons dans ce lieu attendu, Nous seront les très-bien venus. 35. Mon fils différez un moment, Je vais descendre du carrosse. Au Père Prieur[?] Mon Père j’amène mon enfant, Prenez-le par amour ou par force, Donnez-lui bonne correction, Je vous donnerai bonne pension. Cartouche. 36. Que vois-je ce sont des archers, Qui sont dans ce lieu pour me prendre, Il faut périr ou me sauver, Allons je ne dois pas attendre, Il faut tromper mes surveillans, Par un simple deguisement. 37. J’ôtai mon habit d’un plein saut, D’une manière vive et allerte, Quittant ma perruque et chapeau, Fis un bonnet d’une serviette, Ainsi qu’un garçon cuisinier, Me sauvant au nez des archers. 38. Lorsque mon Père fut de retour, Qui peut douter de sa surprise, Et tous les archers d’alentour, D’avoir ainsi manqué leur prise, Retournèrent tous à Paris, Et moi je gagnai le pays. 39. Je me nippai de beaux habits, Ainsi qu’un homme de noblesse, Je revins encore à Paris, Où je pris étant à la Messe, Une montre à un Allemand Qui valoit bien deux mille francs. 40. Je m’accostai étant fripon, D’une aimable et jeune lingère, Je lui prouvai ma passion, Et lui faisoit faire grande chère, Et pour éviter les espions, Je me donnai un autre nom. 41. Vêtu en habit galonné, Belle épée et fine chemise, Je volois dans les assemblées, Aux Comédies et dans l’Eglise, Prenant des montres, noeuds d’épées Et de l’or dedans les goussets. 42. Un jour par ma subtilité, Je volai comme un misérable, Une croix riche à un Abbé, Dans le tems qu’il étoit à table, Pour faire gagner un pari, A des Messieurs de ses amis. 43. Un jour je sortis de Paris, En voiture et en attirailles; Je fis un coup des plus hardis, Dans la noble cour de Versailles, Ainsi qu’un garçon Tapissier, Dans la galerie j’ai entré. 44. Je dérobai un bras d’argent, Qu’on mettoit bougis ou chandelle. Louis quatorze me voyant, Ainsi monté sur une échelle, Me surprit disant tout d’un coup: Que fais-tu, tu te casseras le cou. 45. Qui peut douter de mon effroi, Me voyant surpris de la sorte, Promptement je réponds au Roi, A Monsieur Bontemps je reporte. Ainsi qu’il me l’a commandé, Pour le faire raccommoder. 46. Ayant mon vol entre les mains Au Roi je fis la révérence, De Paris je pris le chemin, En faisant grande diligence: Où j’appris que plusieurs fripons, Etoient en galère à Toulon. 47. Sans m’épouvanter de ce bruit, Je fis mon train à l’ordinarie, Je fis tant de friponneries, Tant de meurtres extraordinaires, Il faut vous faire quelque récits, De ce que j’ai fait dans Paris. 48. Un jour étant chez le Régent, On y jouoit gros jeu de cartes, J’étois vêtu superbement, Je volai au Duc de Chartres, Un riche cordon de diamans, Puis je m’en allai promptement. 49. Faisant le métier de voleur, J’étois marchand de chair humaine, Je devins fameux racoleur. Fournissant à des Capitaines, Un très-grand nombre de soldats, Qu’on envoyoit aux Pays-Bas. 50. Un Sergent étant à Paris, Je lui devois livrer cinq hommes, Nous fumes au Faubourg Saint Denis, Prétendant de lui une somme, Des hommes que j’avais livrés; A mon tour je fus attrappé. 51. Le Sergent me saoula de vin, Afin de tant mieux me surprendre, Je m’endormis jusqu’au matin, Ou je suis surpris sans attendre, Qu’on me dit étant éveillé, Que j’étois aussi engagé. URL https://criminocorpus.org/fr/bibliotheque/page/46821/ 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 vie memorable et tragique du fameux scélérat Louis Dominique Cartouche French https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/0886e03f25e4ef85d40d6bec31e1a710.JPG 14a34a88533d9f80119992eea34860c4 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/911cb28897a895fea98dd34a9625efd9.png b048074cb3660a2a58ecba5b284dca3a 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. O gué lan la Language Language ballad is printed in French Date Date of ballad 1716 Synopsis Account of events that are the subject of the ballad Husband and wife are convicted of prostitution/being pimps, whipped through Paris, wearing signs saying 'Public Pimp and Whore', then banished for nine years Method of Punishment Method of punishment described in the ballad. whipping, banishment Crime(s) Crime or crimes for which the person in the ballad is convicted. prostitution Execution Location Location the condemned was executed. Paris Printing Location Location the ballad pamphlet was printed. Paris Transcription Transcription of ballad lyrics Dans ce bel assemblage Nous estions bien L’argent du voisinage Venoit soudain L’assurance d’un grand profit Fut sans contredit Un riche dessein Que flata l’entreprise D’un grand butin. Le retour de la chance Est autrement Car pour recompense Le châtiment Détruit tout ce bien là la la En criant hola Hola [illegible] Quelle metamorphose Que tout ela Ah tres-facheux commerce Je vous le dis Pour celuy qui l’exerce Dans ces jours cy: Prenez bien vos précautions, Vous qui sans façons Croyez que cela Est pure bagatelle Hola hola Au fâcheux équipage L’on nous reduit Nostre dos est le gage Et le circuit D’une juste reparation Que nostre action Noire procura: Quelle horrible avanture Que tout cela. Nos testes sont couvertes D’un ornement Que nous rend peu alertes Dans ce moment, De pailles sont nos chapeaux Nous rendans Nigaux Et de grands Guerdins Estant bien a son aise Avant ce train Fâcheuse circonstance Sans dire mot, Faut danser une danse En écriteau Dans les Carefours de Paris Où rien ne s’oubli; Entendant ces voix Voilà l’homme & sa femme Bien aux abois FIN Avec Permission URL https://books.google.com.au/books?id=vVHRlG34Ub4C&pg=PA64&lpg=PA64&dq=air+o+gue+lan+la&source=bl&ots=ExPSl6nMBr&sig=K63A2NoHkGhbzTnc3JPI6jbnIqI&hl=en&sa=X&ved=0ahUKEwiam9iY69HbAhXCFZQKHQnOAGsQ6AEIKzAA#v=onepage&q&f=false Subtitle atteint et convaincus de maquerelage, condamnez par Sentence de Mr le Lieutenant Criminel, confirmee par Arrest du trois Mars 1716. d’estre battus et fustigez de Verges par les Carrefours de Paris, ayant ecriteaux devant et derriere, portant ces mots, Maquereau & Maquerelle publics, un chapeau de paille sur la teste, puis bannis pour neuf ans. Chanson nouvelle: Sur l’air, O gué lan la 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 remarquable d’un homme et de sa femme banishment French prostitution whipping https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/6bf112899e21460de1a9e4ad2755f89f.png d539e1baabf2a390cf5bf920bfbd999e https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/88846a84a37ff9fc10e80800d662c75d.png 8c4213e9649405b9d6a924f5ccc99119 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/20ed909dc59240c8eab07da138b3c50a.png 2afbefcb7aaa80ef48f58de759d81437 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. <a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1160">Fualdès</a> Language Language ballad is printed in French Date Date of ballad 1817 Synopsis Account of events that are the subject of the ballad Three men are convicted of plotting the murder of a farmer and the soldiers sent to arrest them, and await their death sentence. Method of Punishment Method of punishment described in the ballad. not mentioned Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Printing Location Location the ballad pamphlet was printed. Chartres Transcription Transcription of ballad lyrics C’est en vain qu’à la Justice Le méchant pense échapper; Le coup qui le doit frapper Part souvent do son complice: Tel fut le sort de Colin, La malfaiteur inhumain. A son crime il associe Ville, Asselin, Marigault, Jean Buret nommé Gaffault Qu’entraîne leur perfidie; Et dans Cormin ces voleurs Doivent porter leurs fureurs. Deschamps duquel il espère, Par un d’eux est informé Du project qu’ils ont formé; Mais à l’adjoint de son maire, Celui-ci courut bientôt Révéler le noir complot. La gendarmerie instruite Du jour qu’a choisi Colin Pour aller piller Cormin, Dans la ferme est introduite, Et va protéger Auger Que menace un grand danger. En implorant l’assistanve De ce fermier généreux, Colin, comme un furieux, Sur lui se jette et s’élance; Sans le brave brigadier, C’en était fait du fermier. Colin, transporté de rage, A bout portant, sans succès, A tiré ses pistolets: Des gendarmes le courage A rendu vain son courroux; Colin tombe sous leurs coups. Tous les siens, transis de crainte, Pour écarter les soupçons, Ont regagné leurs maisons, Au crime que sert la feinte? Ces voleurs dans leurs logis Sont l’un après l’autre pris. Devant la Cour prévôtale Ils furent tous amenés Et par elle condamnés A la peine capitale. Que leur juste châtiment Serve d’exemple au méchant. URL https://books.google.com.au/books?id=jhxdAAAAcAAJ&pg=PA219&dq=imagerie+populaire+de+chartres&hl=en&sa=X&ved=0ahUKEwidjame8dHbAhVFo5QKHUYaDHEQ6AEIKTAA#v=onepage&q=complainte&f=false Subtitle pour une tentative d’assassinat sur sieur Auger, fermier de Cormin, et sur plusieurs de gendarmes chargés de les arrêter. 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 Complainte sur l’exécution de Claude-Etienne Colin, Jean Marigault et Jean Buret dit Gaffault French https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/a6d5b0117ff87ab7e4138ac307e5fd27.JPG 8c3110fc5461e0e1616148f425e0c93b 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. Ah quelle étrange tyrannye! Language Language ballad is printed in French Date Date of ballad 1697? Synopsis Account of events that are the subject of the ballad Moreau murders his friend Geoffroi and is sentenced to be broken on the wheel Method of Punishment Method of punishment described in the ballad. breaking on the wheel Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Paris Printing Location Location the ballad pamphlet was printed. Paris Transcription Transcription of ballad lyrics AH quelle étrange tyrannie Bien pire qu’une rage d’enfer M’a mis dedans la phantaisie De mon camarade tuer Par un trespas le plus odieux Qui fust jamais dessous les cieux! Satan malheureux detestable De le tuer me vint tenter, Et moy encore plus miserable D’adherer à ses volontez: Ne sui-je pas bien malheureux De faire un coup si odieux. A que j’ay regret dans mon ame D’avoir trahy mon bon amy, Et voir dessous la froide lame Celuy la que j’ay tant chery Je meure avec grand regret, pardonné moi mon cher Geoffroi. Le trouvant d’une humeur afable Je l’ay convié à diné Et lorsqu’il seroit à ma table J’ay resolu de le tuer, Des sur les dix heures du matin Le gardant jusqu’au lendemain. Le voyant mort dedans ma chambre Je le foulois sans contredit, Je pris tous ses billets de change Et l’argent qu’il avoit sur luy, Je le fit porter du matin Dans la rue des vieux Augustins. Messio du guet faisant leur ronde Rencontrent en leur chemin un corps nu hors la vie du monde Dans la ruë des vieux Augustins Sur une échelle sans tarder Au grand Chastelet l’ont porté. Aussitost l’on fit la recherche Et puis les informations, L’on a observé mes demarches Pour en connoistre la taison, Se doutint de mon action L’on me vint prendre à ma maison. Me voyant surpris de la sorte Dabord je nie mon forfait, Je fut conduit avec escorte Dans les prisons du Chastelet. Où le Juge avec raison A recognu ma trahison. J’avoue mon forfait execrable Mon crime & ma mechanceté L’auguste Conseil honorable Du grand Chastelet ma juge, Que je ferois rompu tout vif, Pour le forfait par moy commis. Ne suis-je pas bien miserable Sortant d’une bonne Maison, Ayant des employs honorables, Et faire une telle action. Helas que diront mes parens, ils feront tous bien mécontens. Du Grand Chastelet j’en appelle Devant Messieurs du Parlement. Connoissés que mon crime est telle, On confirme mon jugement, Aujourd’huy il me faut souffrir D’estre rompu & brisé vif. A mon Dieu mon Seigneur j’avoue Que la mort j’ay bien merité, Et que si je suis sur la roue, C’est pour ma grande temerité, Mais je vous prie de tout mon coeur Pardonnez à ce deux pécheurs Subtitle Chanson nouvelle, sur l'air: Ah quelle étrange tyrannye! 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 Récit véritable Du cruelle Assassin commis par le nommé Moreau à l'endroit du nommé Geoffroit son bon amy. breaking on the wheel French murder https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/9c45a309e002d59f14e93804b855b37a.JPG 0c4a885483d806fc446a4ca1c0361b20 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/d854588b93427166f9198488ef5750c1.JPG 5bf62839444691f788b4ed2d0990da1c 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. air du Danger Language Language ballad is printed in French Date Date of ballad 1755 Synopsis Account of events that are the subject of the ballad On this date in 1755, Henri Mongeot was broken on the wheel for assassinating the husband of his adulterous lover, Marie. Louis Alexandre Lescombat was a Paris architect; the betrayal of his flighty wife Marie Catherine Taperet was all the talk of Paris after her lover Mongeot slew the husband whilst out on a walk in December of 1754 — then summoned the watch to present a bogus self-defense claim. This tactic has been known to work when the killer enjoys sufficient impunity; perhaps a respectable bourgeois like Lescombat could have done it to Mongeot — but when the horny 23-year-old busts up the family home with one blade and then the other, it’s La Mort de Lescombat, a tragedy. For the widow, one good betrayal would deserve another: Mongeot faithfully avoided implicating her in the murder but when he discovered on the very eve of his death that she was already making time with a new fellow, he summoned the judge and revenged himself by exposing her incitement to the crime. His evidence would doom her to follow him many months later, after the sentence was suspended long enough for the widow Lescombat to deliver a son. Joining Mongeot on the scaffold this date was a 15-year-old heir to the family executioner business apparently conducting just his second such sentence — Charles-Henri Sanson, the famed bourreau destined in time to cut off the head of the king and queen. Mongeot makes a passing appearance in the 19th century Memoirs of the Sansons; in it, Charles-Henri’s grandson remarks from the family notes that “Mdme. Lescombat … was confronted with him [i.e., her doomed lover] at the foot of the scaffold. She was remarkably handsome, and she tried the effect of her charms on her judges, but without avail.” Method of Punishment Method of punishment described in the ballad. hanging Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Paris, Place de Greve Transcription Transcription of ballad lyrics O Mort, t’es trop cruelle, Tu me livres un combat, Et quoique je sois belle, Faut y sauter le pas; Sans différer, Faut perdre la santé, Chose assurée, Au cabriolet j’irai. Je partirai sans doute Dans quelque jours d’ici: Faut que je me résoude A ne plus voir Paris; C’est aujourd’hui Qu’il me faut perdre la vie, Sans plus tarder, Je me vois condamnée. Me voilà donc jugée, La chose est décidée, Et par mon Favori J’ai fait tuer mon Mari, Qui m’aimoit bien. Ah! quel fâcheux destin Que j’ai commis, Pour plaire à mon ami. Cela est tout abus, Faut que je sois pendue. Adieu, Ville de Paris, Puisqu’il me faut partir En mantelet, Ayant un air coquet, Tout le monde charmé De me voir cabrioler. Il me faut donc mourir Pour vous faire plaisir. Adieu, tous mes Amis, Et mes Parens aussi. Quel grand chagrin, Moi qui vous aimois bien, Dans votre coeur Pour vous quel deshonneur. Mon Pere, aussi ma Mere, Je vous fais mes adieux. Quelle douleur amere De voir devant vos yeux Un tel objet! Que vous avez de regret De votre enfant Que vous aimiez tendrement. Et le jour de ma mort Tout Paris y viendra, Les filles, aussi les femmes S’empresseront pour cela De tous côtés, Ils seront étouffés Pour contempler Ma charmante beauté. Au supplice arrivée; A la Ville je monterai, Sera pour faire pester Ceux que seront charmés, Sans plus târder, C’est pour m’y voir danser, Chose assurée, Menuet & Passepied. Avant de rendre l’ame, Son coeur s’en va disant: Priez pour moi, mes Dames, Que Jesus tout-puissant, Et que pour cette nuit Je sois en paradis, Je prierai Dieu Pour vous dedans les cieux. Et vous, jeunes fillettes, Qui êtes à marier, Ne prenez point un homme Et sans que vous l’aimiez; C’est que je vous le dis, J’ai fait tuer mon Mari, Ne l’aimant pas, Me voilà au trépas. FIN Avec Permission URL https://fr.wikipedia.org/wiki/Marie_Catherine_Taperet 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 Chanson nouvelle sur Madame Lescombat. Sur l’air du Danger. Female French hanging murder https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/eb4823ba8828866d5c463372729ca3be.JPG 0d7363bdd5fda61448e8ca4b643e9771 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c70c945496f9c1b889512c74919e85c5.JPG 8e7c4f3604287962dbf066f0a9e0ef56 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. air des Pendus Language Language ballad is printed in French Date Date of ballad 1755 Synopsis Account of events that are the subject of the ballad On this date in 1755, Henri Mongeot was broken on the wheel for assassinating the husband of his adulterous lover, Marie. Louis Alexandre Lescombat was a Paris architect; the betrayal of his flighty wife Marie Catherine Taperet was all the talk of Paris after her lover Mongeot slew the husband whilst out on a walk in December of 1754 — then summoned the watch to present a bogus self-defense claim. This tactic has been known to work when the killer enjoys sufficient impunity; perhaps a respectable bourgeois like Lescombat could have done it to Mongeot — but when the horny 23-year-old busts up the family home with one blade and then the other, it’s La Mort de Lescombat, a tragedy. For the widow, one good betrayal would deserve another: Mongeot faithfully avoided implicating her in the murder but when he discovered on the very eve of his death that she was already making time with a new fellow, he summoned the judge and revenged himself by exposing her incitement to the crime. His evidence would doom her to follow him many months later, after the sentence was suspended long enough for the widow Lescombat to deliver a son. Joining Mongeot on the scaffold this date was a 15-year-old heir to the family executioner business apparently conducting just his second such sentence — Charles-Henri Sanson, the famed bourreau destined in time to cut off the head of the king and queen. Mongeot makes a passing appearance in the 19th century Memoirs of the Sansons; in it, Charles-Henri’s grandson remarks from the family notes that “Mdme. Lescombat … was confronted with him [i.e., her doomed lover] at the foot of the scaffold. She was remarkably handsome, and she tried the effect of her charms on her judges, but without avail.” Method of Punishment Method of punishment described in the ballad. hanging Crime(s) Crime or crimes for which the person in the ballad is convicted. murder Execution Location Location the condemned was executed. Paris, Place de Greve Printing Location Location the ballad pamphlet was printed. Paris Transcription Transcription of ballad lyrics Complainte sur Madame Lescombat. Sur l’Air des pendus. Quelle nouveauté est-ce aujourd’hui! Quel bruit entend-on dans Paris! L’on voit le monde qui s’amasse Dans les Carfours & dans les Places, Qui s’entredisent, allons voir ça, L’on va pendre la Lescombat. Monsieur, faut que vous l’appreniez, C’est une femme éfrontée Qui fit assassiner son homme Par son Faraut, elle en personne. Aujourd’hui elle est condamnée D’être pendue & étranglée. Maître Charlot vient d’arriver, Sitôt il la fut saluer. La corde au col, dit-il, Madame Je vous jure dessus mon ame, Aujourd’hui il nous faut danser, Ma Salle est déjà préparée. Pourquoi donc m’en vouloir, Charlot? Tôt ou tard je ferai ton lot. Si de quelques mois je differe, Ne sçais tu pas qu’il est vulgaire, Que quand on est prêt de mourir, Adieu la joye & les plaisirs. A ce discours aussi courtois Charlot qui est un bon grivois, Lui dit: dans quelque mois Madame, Je vous ferai danser un branle Je vous ferai cabrioler Un Menuet & un Passepied. Console-toi aussi Charlot, Car cela ne sera pas de sitôt, Remporte tout ton équipage; Je ne veux point aller au Bal, Ou bien par ma foi si j’y vas, Ce ne sera que dans quatre mois. Avant de danser un Menuet, Tu sçais que les Cabriolets Sont les voitures les plus commodes Et même les plus à la mode, Pour dedans ta Salle danser, Il faut tous deux dedans rouler. Mais sache que je suis appuyée D’un puissant Seigneur étranger, Comme il est Anglois sans doutance, Et qu’il a beaucoup de finance, Le bruit court par tous dans Paris, Qu’il me pourra sauver la vie. Allez vous, Madame, penser Que vous serez pendu & étranglée. Si l’on vous donne votre grace, Ça seroit faire un grand outrage. Ayant fait tuer votre Mari Par Mongeot votre Favori. Je veux, & cela sera fait, Etre pendue en Mantelet. Il est vraie, c’est chose assurée, Que l’on dit à ma renommée, Quand on pendra la Lescombat Pour la voir tout Paris viendra. Madame, il me le faut donc payer, Est-ce ainsi que vous me renvoyez? Ma foi je vous le dis sans honte, Ce sera toujours pour votre compte, Puisque près ou loin vous viendrez Mes outils je vais remporter. Avec Permission. URL https://fr.wikipedia.org/wiki/Marie_Catherine_Taperet 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 Complainte et epitaphe de Madame Lescombat Female French hanging murder https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/34fb5a60f2225c08b2c893f28e7359fe.png 8229475230870a11187cab1117c8aad0 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 Tunes Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Transcription Transcription of ballad lyrics Just before the battle, mother, I am thinking most of you, While upon the field we're watching With the enemy in view. Comrades brave are 'round me lying, Filled with thoughts of home and God For well they know that on the morrow, Some will sleep beneath the sod. CHORUS: Farewell, mother, you may never Press me to your heart again, But, oh, you'll not forget me, mother, If I'm numbered with the slain. Oh, I long to see you, mother, And the loving ones at home, But I'll never leave our banner, Till in honor I can come. Tell the traitors all around you That their cruel words we know, In every battle kill our soldiers By the help they give the foe. CHORUS: Farewell, mother, you may never Press me to your heart again, But, oh, you'll not forget me, mother, If I'm numbered with the slain. Hark! I hear the bugles sounding, 'Tis the signal for the fight, Now, may God protect us, mother, As He ever does the right. Hear the "Battle-Cry of Freedom," How it swells upon the air, Oh, yes, we'll rally 'round the standard, Or we'll perish nobly there. CHORUS: Farewell, mother, you may never Press me to your heart again, But, oh, you'll not forget me, mother, If I'm numbered with the slain. Lyrics are in the public domain. Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/34fb5a60f2225c08b2c893f28e7359fe.jpg" frameborder="0" scrolling="yes" width="600" height="600"></iframe> Ballads using this tune: <ul><li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/878">Execution of the purfleet murderer </a></li> <li><a href="https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1139">Life of the Mannings</a></li> </ul> 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 Just before the battle, Mother Creator An entity primarily responsible for making the resource George F. Root https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/e4f0c2f693c3bb395492d11e21cca68d.jpg b8393515b0f69ed109eb366ed0c453f5 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 Louis XVI Creator An entity primarily responsible for making the resource Engracer (etching); Antoine-Jean Duclos (1742-1795) After Charles Monnet (1732–1808) Date A point or period of time associated with an event in the lifecycle of the resource 1794 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/7b4380b4e8d34a6dd28ccfecb81908fa.jpg 7f8bf8534ff4479999a01b8780698de4 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 Louis XVI taken to the place of execution Creator An entity primarily responsible for making the resource Charles Benazet Date A point or period of time associated with an event in the lifecycle of the resource 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/507ade726962ac5814184c8baed080b7.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 The Execution of Louis XVI, 21st January 1793 Description An account of the resource Oil painting on copper. Creator An entity primarily responsible for making the resource Unknown artist from the 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/fe8e2de3cd8f72f9fbba226af25b4e98.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 Hell Broke Loose, or, The Murder of Louis Subject The topic 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. This British print was published in London just four days after the execution of Louis XVI on 21 January 1793. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1489650&partId=1 Description An account of the resource Etching - print on paper Physical Dimensions: Height: 250 millimetres, Width: 338 millimetres Creator An entity primarily responsible for making the resource Print made by: William Dent Published by: James Aitken Date A point or period of time associated with an event in the lifecycle of the resource 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 100 years or less. 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 Events Execution Event An execution event that may have multiple ballads and ballad pamphlets, accounts and artworks associated. Execution Location Location the condemned was executed. Place de la Révolution (renamed Place de la Concorde in 1795), Paris People Executed Louis XVI Method of Punishment Method of punishment described in the ballad. Guillotine 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 Date A point or period of time associated with an event in the lifecycle of the resource 21 January 1793 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 Events Execution Event An execution event that may have multiple ballads and ballad pamphlets, accounts and artworks associated. Execution Location Location the condemned was executed. Place de la Révolution (renamed Place de la Concorde in 1795), Paris People Executed Marie Antoinette Method of Punishment Method of punishment described in the ballad. Guillotine Crime(s) Crime or crimes for which the person in the ballad is convicted. High Treason 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 Marie Antoinette Date A point or period of time associated with an event in the lifecycle of the resource 16 October 1793 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/6fad092d2102e4b39736162c44e9e9c8.jpg 46820b71468f7eaad9f75c17ea4b513b https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/e2d4cd74351c5a78d5b90aae2cac695f.jpg 9cc10e0739d844b7cefb752316499bde 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 French Execution Ballads Execution Ballad Set to tune of... Melody to which ballad is set. Comment goûter quelques repos Language Language ballad is printed in French Date Date of ballad >1793 Synopsis Account of events that are the subject of the ballad Execution of Louis XVI Method of Punishment Method of punishment described in the ballad. guillotine Crime(s) Crime or crimes for which the person in the ballad is convicted. treason Execution Location Location the condemned was executed. Paris Printing Location Location the ballad pamphlet was printed. Paris Transcription Transcription of ballad lyrics I. O Peuple toujours menaçant, Qui m’accables de ta colère! Il en est tems, juge ton père; De ton Roi finis le tourment: Sous mille formes trop affreuses Tu sais me présenter la mort!... Ah! que pour terminer mon sort, Tes mains soient assez généreuses! II. Pourquoi, sur un foible mortel, Suspendre encore ta vengeance? Je n’implore pas ta clémence, Je me croirois trop criminel: De ma compagne infortunée A chaque instant je vois les pleurs!... Eh! puis-je adoucir ses douleurs En pensant à sa destinée! III. Lorsque j’aperçois mes enfans, Leur vue augmente mon suplice!... Mais ils invoquent la justice Du dieu sontien [sic] des innocens; Alors, par leurs vives tendresses, Ils rendent mes jours moins affreux, Et l’unique object de mes voeux Partage avec moi leurs caresses. IV. Epoux, Pères compatissans, Vous, ennemis de l’imposture, Daignez, au nom de la nature, Sauver ma femme et mes enfans: Si je suis soupçonné d’un crime, Qui n’a pu pénétrer mon coeur!... Ah! que dans ce commun malheur Je sois seul la triste victime! Notes Additional information related to the ballad pamphlet or related events Found in: ROMANCES ET COMPLAINTES SUR LOUIS XVI 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 Romance. French guillotine Louis XVI