1 50 458 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/3a969620f40213def339cb568ea432c3.jpg 69ee8e82dc4f7aae8c80472d7956553a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching with engraving on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The execution of James Graham, first Marquess of Montrose Description An account of the resource The execution of James Graham, first Marquess of Montrose; Montrose with the hangman upon a ladder leaning against the gallows; various figures in attendance; on the right, a figure being beheaded with an axe; Edinburgh in the background. Illustration to Jacob van Oort's "Ontlokene roose, bloeyende distel-bloem, en hersnaerde harp" Creator An entity primarily responsible for making the resource Abraham Andriesz Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1661 (c.) Rights Information about rights held in and over the resource The image is released under a Creative Commons <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/">Attribution-NonCommercial-ShareAlike 4.0 International</a> (CC BY-NC-SA 4.0) license. You can read more about the British Museum and Creative Commons <a href="http://www.britishmuseum.org/about_this_site/terms_of_use/copyright_and_permissions.aspx">here</a>. <div> </div> https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/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/21f4818a071bf2a126987edd381a2a92.png 8b56427fb7f2953557cd35278497d1b0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched print on paper Physical Dimensions The actual physical size of the original image 26.5 x 19cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Die Bänkelsänger Creator An entity primarily responsible for making the resource Christian Wilhelm Ernst Dietrich (1712-1774) Date A point or period of time associated with an event in the lifecycle of the resource circa 1740 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/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/61e643c694b76a96d51cf6e981e1ceec.jpg 844fe0382ed98f89b1f02c0a099e07ee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data oil on copper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Execution of Louis XVI, 21st January 1793 Creator An entity primarily responsible for making the resource Danish School Date A point or period of time associated with an event in the lifecycle of the resource Late 18th Century Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. 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 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/db07144bdd8c0e2a235cb911f7097792.jpg 1f8de6275c88be9d0d83473f43e0116f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Engraving - print on paper playing card Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coleman drawn to his execution Description An account of the resource "Coleman drawn to his execution"; card number 7 of a set of playing cards depicting the Popish Plot . Creator An entity primarily responsible for making the resource Francis Barlow? Date A point or period of time associated with an event in the lifecycle of the resource 1679 or 1849 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/b6fdaa3e12340426783f68e607f8a002.jpg 4d5208c1ee12857815164debbb315646 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print on paper Physical Dimensions The actual physical size of the original image Height: 420 millimetres Width: 320 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "A New Love Song, Only Ha' Pence A Piece" Series: Cries of London Description An account of the resource Plate 11, a ballad seller with strip ballads, selling to two men, around them are two women with a child, and a small boy feeding a dog. Creator An entity primarily responsible for making the resource Francis Wheatley Print made by: Anthony Cardon Published by: Colnaghi Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1796 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/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 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/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. 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 https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/2b34faec27f26fb1db4f18baf9eccc26.jpg 5b8ac8df43b770d33466efc15650149c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Watercolours and ink on paper Physical Dimensions The actual physical size of the original image 22 x 29 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Der Moritatensänger Creator An entity primarily responsible for making the resource Hieronymous Hess (1799-1850) Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/4f7b82dcb0fff571c808eb5d53b64532.jpg 39fd06630ee4168c81698b19e44c5f85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Baenkelsaenger Description An account of the resource Bänkelsänger in Basel, in front of the "Wirtshaus zur Henne" on the Nadelberg. The sung pictures show the earthquake of Basel 1356 and the floods in Hölstein 1830. Creator An entity primarily responsible for making the resource Hieronymus Hess (1799–1850) Date A point or period of time associated with an event in the lifecycle of the resource between 1830 and 1850 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/4e875551b39aed2553d564801e53942f.JPG 3c21da13671c221fe809c4bf82f7b6d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Pen and ink on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ballad Singer Creator An entity primarily responsible for making the resource Inigo Jones (1573-1652) Source A related resource from which the described resource is derived Inigo Jones and Ben Jonson: Being the Life of Inigo Jones by Peter Cunningham (1853) Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/ee12eee76685c22b43b6dadbbd7861db.gif 2b4e6f43374f783e6215f54e1c8685dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L’Arquebusade (The firing squad), plate 12 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series. Description An account of the resource Callot has always been regarded as one of the exceptional artists of his time, although he never made any paintings; he worked exclusively as a printmaker and produced more than 1400 plates, almost all of which he designed and which earned him enduring fame across Europe. Callot hailed from Nancy, capital of the Duchy of Lorraine, were he grew up in elevated court circles and was apprenticed by his father to the court goldsmith. He departed for Rome at a young age, training there as a printmaker and forming his recognisable style. By 1614 he was living in Florence and working for the Grand Dukes of Tuscany, recording theatrical productions and court pageants. He returned to Nancy in 1621 and two years later was appointed artist to the Lorraine court under the patronage of Duke Henri II, but most of his activity involved commissions from religious orders and prints made independently for sale to the public. To this last category belongs Callot’s masterpiece, the series of 18 small etchings known in English as The miseries and misfortunes of war, arguably the best-known set of prints produced in France during the 17th century. The prints were marketed in Paris in 1633 by Callot’s friend, the publisher Israel Henriet, and the set was sold as a booklet, stitched together at the left side. Each plate (excluding the title page) contains a verse commentary in the bottom margin attributed to the voracious print collector, the abbé Michel de Marolles. Marolles famously sold his collection to Louis XIV in 1667, and it eventually became the foundation of the present-day print collection at the Bibliothèque nationale in Paris. Callot only made etchings but he handled the technique in a very particular way: he used a specially designed tool called an échoppe which allowed him to create elegant, swelling lines mimicking those produced by the engraver’s burin. Thus Callot was able to imitate the effects of the nobler art of engraving while sustaining the speed of execution peculiar to the process of etching. Working on a miniaturist’s scale, his animated vignettes are replete with detail; indeed, part of their fascination is due to the vast spaces and hopelessly innumerable crowds Callot managed to capture in such a reduced format. The miseries and misfortunes of war abounds with scenes of barbarity and carnage, and although it was not intended to be read as a sequence of documentary-like observations of real events, there is no denying the aspect of lived experience which runs through the plates. The socio- political context in which Callot made the prints was the Thirty Years’ War, a succession of conflicts that devastated central Europe between 1618 and 1648. What was initially a string of religious disputations between Protestants and Catholics erupted into a larger conflict between the Habsburgs of the Holy Roman Empire and the French kings, the Bourbons, for dominance in Europe. Lorraine sided with the Habsburgs; in 1633 the French army invaded Lorraine and in the following years the territory was ravaged by marauding troops, many of them mercenaries with no allegiance to their side, wreaking havoc on the lives of ordinary people and making violence part of the background of daily life. Callot’s series is less an indictment of war than a moral tale about the unhappy consequences that befall the undisciplined soldier. The descent into lawlessness is typified by the plate depicting troops looting a farmhouse and torturing the inhabitants. Other prints focus on the radical corrections administered by the military to corrupt soldiers: one such plate depicts the body of a criminal soldier being broken on a wheel, while in another, executed men hang from the boughs of a tree, the shocking spectacle belied by Callot’s refined touch and the measured elegance of the composition at large. The verse in the lower margin reads: ‘Those who, in obedience to their evil genius, fail in their duty, use tyranny, take pleasure only in evil and violate reason, and whose treason-filled actions produce a thousand bloody uproars in the camp, are thus chastised and shot.’ Peter Raissis, Prints & drawings Europe 1500–1900, 2014 https://www.artgallery.nsw.gov.au/collection/works/DO10.1963.12/ Creator An entity primarily responsible for making the resource Jacques Callot (French, 1592 - 24 Mar 1635) Date A point or period of time associated with an event in the lifecycle of the resource 1633 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c3135a7d75c3cd0653b549c34bc2ca49.gif 938c69561f1a286cf63442f67a26f505 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L’Estrapade (The Strappado), plate 10 from the suite Les Misères et les malheurs de la guerre (The miseries and misfortunes of war). Description An account of the resource Callot has always been regarded as one of the exceptional artists of his time, although he never made any paintings; he worked exclusively as a printmaker and produced more than 1400 plates, almost all of which he designed and which earned him enduring fame across Europe. Callot hailed from Nancy, capital of the Duchy of Lorraine, were he grew up in elevated court circles and was apprenticed by his father to the court goldsmith. He departed for Rome at a young age, training there as a printmaker and forming his recognisable style. By 1614 he was living in Florence and working for the Grand Dukes of Tuscany, recording theatrical productions and court pageants. He returned to Nancy in 1621 and two years later was appointed artist to the Lorraine court under the patronage of Duke Henri II, but most of his activity involved commissions from religious orders and prints made independently for sale to the public. To this last category belongs Callot’s masterpiece, the series of 18 small etchings known in English as The miseries and misfortunes of war, arguably the best-known set of prints produced in France during the 17th century. The prints were marketed in Paris in 1633 by Callot’s friend, the publisher Israel Henriet, and the set was sold as a booklet, stitched together at the left side. Each plate (excluding the title page) contains a verse commentary in the bottom margin attributed to the voracious print collector, the abbé Michel de Marolles. Marolles famously sold his collection to Louis XIV in 1667, and it eventually became the foundation of the present-day print collection at the Bibliothèque nationale in Paris. Callot only made etchings but he handled the technique in a very particular way: he used a specially designed tool called an échoppe which allowed him to create elegant, swelling lines mimicking those produced by the engraver’s burin. Thus Callot was able to imitate the effects of the nobler art of engraving while sustaining the speed of execution peculiar to the process of etching. Working on a miniaturist’s scale, his animated vignettes are replete with detail; indeed, part of their fascination is due to the vast spaces and hopelessly innumerable crowds Callot managed to capture in such a reduced format. The miseries and misfortunes of war abounds with scenes of barbarity and carnage, and although it was not intended to be read as a sequence of documentary-like observations of real events, there is no denying the aspect of lived experience which runs through the plates. The socio- political context in which Callot made the prints was the Thirty Years’ War, a succession of conflicts that devastated central Europe between 1618 and 1648. What was initially a string of religious disputations between Protestants and Catholics erupted into a larger conflict between the Habsburgs of the Holy Roman Empire and the French kings, the Bourbons, for dominance in Europe. Lorraine sided with the Habsburgs; in 1633 the French army invaded Lorraine and in the following years the territory was ravaged by marauding troops, many of them mercenaries with no allegiance to their side, wreaking havoc on the lives of ordinary people and making violence part of the background of daily life. Callot’s series is less an indictment of war than a moral tale about the unhappy consequences that befall the undisciplined soldier. The descent into lawlessness is typified by the plate depicting troops looting a farmhouse and torturing the inhabitants. Other prints focus on the radical corrections administered by the military to corrupt soldiers: one such plate depicts the body of a criminal soldier being broken on a wheel, while in another, executed men hang from the boughs of a tree, the shocking spectacle belied by Callot’s refined touch and the measured elegance of the composition at large. The verse in the lower margin reads: ‘It is not without cause that great captains have well-advisedly invented these punishments for idlers, blasphemers, traitors to duty, quarrellers and liars, whose actions, blinded by vice, make those of others lax and lawless.’ https://www.artgallery.nsw.gov.au/collection/works/DO10.1963.10/? Creator An entity primarily responsible for making the resource Jacques Callot (French, 1592 - 24 Mar 1635) Date A point or period of time associated with an event in the lifecycle of the resource 1633 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/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/1799be58c80f2a695181950268eefbd4.jpg 8ffe38094ed94405562440ab8377aeef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Execution of Thomas Armstrong Description An account of the resource Engraving depicting the execution of Sir Thomas Armstrong in Tyburn, on 20 June 1684. Creator An entity primarily responsible for making the resource Jan Luyken (1649-1712) - Dutch engraver, poet, painter and writer & Jan Claesz ten Hoorn (printer). Source A related resource from which the described resource is derived Figure 11, Page 121 of A Traitor's Death? Date A point or period of time associated with an event in the lifecycle of the resource 1698 (etching) Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/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/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/e581487eb2ca5320485f90a74182f74f.jpg 98f5a7e03c406a185421811dc9acdf56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paul's Walk Description An account of the resource John Franklin's illustration of Paul's Walk for William Harrison Ainsworth's novel, Old St. Paul's, published London : Chapman & Hall, 1841. Creator An entity primarily responsible for making the resource John Franklin Date A point or period of time associated with an event in the lifecycle of the resource 1841 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/c78bc78266df28f20fad1ef5d5d99cea.jpg 171c3c66a0d8efe03dc7d09b3860878e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched print on paper - book illustration Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource New Elegy Description An account of the resource Plate XIV 'New Elegy' - Illustration from 'The Cries of London' 1839 Creator An entity primarily responsible for making the resource John Thomas Smith Date A point or period of time associated with an event in the lifecycle of the resource 1819 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/bb0abb61f6c342e004b5be92b06ab6e7.jpg 4514536aa4ddaacc26a36093ca20e3e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil painting on canvas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Autolycus Subject The topic of the resource Oil painting by Charles Robert Leslie depicting Autolycus from Shakespeare's 'A Winter's Tale' (Act IV, Scene 4). Great Britain, 1836. Description An account of the resource Autolycus was a thief disguised as a pedlar who appears in Shakespeare's play A Winter's Tale. He is shown here selling cheap goods and sensational printed ballads to gullible country folk. Leslie based the background sky and the ash tree at the right on studies supplied by his friend, the landscape painter John Constable. Source: http://collections.vam.ac.uk/item/O80881/autolycus-oil-painting-leslie-charles-robert/ Creator An entity primarily responsible for making the resource Leslie, Charles Robert, 1794 - 1859 Publisher An entity responsible for making the resource available Catalogue of British Oil Paintings 1820-1860, Ronald Parkinson, Victoria and Albert Museum, London: HMSO, 1990, pp. 164-65 Date A point or period of time associated with an event in the lifecycle of the resource ca. 1836 (painted) Rights Information about rights held in and over the resource This is a faithful photographic reproduction of a two-dimensional, public domain work of art. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/418e4982b1cd45245a4a431d9621e35c.jpg 98f3b40ca8efadc7385730ef06fdc777 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Black and white photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Jean-Baptiste Troppmann Description An account of the resource Photographic portrait of the French murderer Jean-Baptiste Troppmann Creator An entity primarily responsible for making the resource Photographer: Gustave Macé Date A point or period of time associated with an event in the lifecycle of the resource 1869 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/aa6abea87c43820b2b3e0f97036b9ab5.jpg e9577373aab04326bb19595cdf7e14fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etching print on paper Physical Dimensions The actual physical size of the original image Height: 250 millimetres Width: 338 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hell Broke Loose, or, The Murder of Louis Description An account of the resource Satire on the execution of Louis XVI; the king kneeling under the guillotine operated by two winged devils; Abbé Edgeworth kneeling in front of him, with crucifix and prayer's book; angel playing trumpet among clouds surrounded by devils flying above; army of sans-culottes holding bayonets in the foreground. <a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1489650&partId=1" target="_blank">British Museum.</a> Creator An entity primarily responsible for making the resource Print made by: William Dent Published by: James Aitken Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/226f7900e68cddfdbe91aff3cea5a320.jpg 98a30086c07efeb006d28f66d5bac59f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print Physical Dimensions The actual physical size of the original image Height: 630 millimetres Width: 820 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Claude Duval Subject The topic of the resource Representation of Claude Duval Description An account of the resource A coach stopped by highwaymen, one bowing to the women inside, who plead or faint, others going through the luggage, one playing a pipe on the left, the gentleman sitting bound near him, watching glumly as the chief highwayman, Duval, sweeps a flourishing bow to one of the young women, who stands in front of the coach, curtseying; after Frith; scratched-letter proof. 1863 Creator An entity primarily responsible for making the resource Published by: Art Union of London After: William Powell Frith Print made by: Lumb Stocks Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1863 Rights Information about rights held in and over the resource This is a faithful photographic reproduction of a two-dimensional, public domain work of art. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/bc3aa5799730e326563cc450cf12ece3.jpg f00b2b2f2dec78ba60983a4a06badaee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print - book illustration Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pillory, Charing Cross Description An account of the resource Plate 62: view of Cockspur Street, Charing Cross, with two men in the pillory in the centre surrounded by an enthusiastic crowd, on the right the equestrian statue of Charles I stands watching over the scene; illustration to the book 'Microcosm of London'. Creator An entity primarily responsible for making the resource Published by: Rudolf Ackermann Print made by: John Bluck After: Augustus Charles Pugin After: Thomas Rowlandson Date A point or period of time associated with an event in the lifecycle of the resource 1809 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/852f7c0a7879b9d07cf556c65fdccec9.jpg 6d149840ab466e19f1e57917ef302be8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Watercolour Physical Dimensions The actual physical size of the original image Height: 15.75 in, Width: 11 in Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of John Fawcett Description An account of the resource Watercolour portrait depicting John Fawcett, the actor and dramatist, in the role of Autolycus in Shakespeare's 'A Winter's Tale'. Signed and dated T. C. Wageman 1828. Creator An entity primarily responsible for making the resource Thomas Charles Wageman, 1787 - 1863 Source A related resource from which the described resource is derived Victoria and Albert Museum, London Date A point or period of time associated with an event in the lifecycle of the resource 1828 (made) Rights Information about rights held in and over the resource This is a faithful photographic reproduction of a two-dimensional, public domain work of art. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/42b08ae9d5b4769a0c2e164eba797e4a.jpg 55261b3a63b56a0ccd0760dc89e6a285 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Watercolour print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Last Dying Speech Description An account of the resource This watercolour depicts a streetseller vending a batch of criminal broadsheets. In the background, crowds are watching an execution taking place outside Newgate Prison. Creator An entity primarily responsible for making the resource Thomas Rowlandson Date A point or period of time associated with an event in the lifecycle of the resource 1819 - 1821 Rights Information about rights held in and over the resource This file is made available under the <a class="extiw" title="w:en:Creative Commons" href="https://en.wikipedia.org/wiki/en:Creative_Commons">Creative Commons</a> <a class="external text" href="https://creativecommons.org/publicdomain/zero/1.0/deed.en">CC0 1.0 Universal Public Domain Dedication</a> https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/39fab19bb2736ba1addf25d540807aa4.jpg 47f38f0bd230aeb386d78a53f49020fb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Great News! Creator An entity primarily responsible for making the resource Thomas Rowlandson Date A point or period of time associated with an event in the lifecycle of the resource 1819 / 1820 Description An account of the resource Two men handing out news notices in the street. One blowing a small wind instrument. Rights Information about rights held in and over the resource This file is made available under the <a class="extiw" title="w:en:Creative Commons" href="https://en.wikipedia.org/wiki/en:Creative_Commons">Creative Commons</a> <a class="external text" href="https://creativecommons.org/publicdomain/zero/1.0/deed.en">CC0 1.0 Universal Public Domain Dedication</a> https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/6bd1a107ec5b2ee9c704a8890b46deed.jpg a9261e7e30adb465be5e47bd10c5a746 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bartholomew Fair Subject The topic of the resource Bartholomew Fair as illustrated in 1808. Held in West Smithfield (1133–1855) on St. Bartholomew’s Day. Creator An entity primarily responsible for making the resource Thomas Rowlandson (1756–1827) and Augustus Charles Pugin (1762–1832) (after) John Bluck (fl. 1791–1819), Joseph Constantine Stadler (fl. 1780–1812), Thomas Sutherland (1785–1838), J. Hill, and Harraden (aquatint engravers) Source A related resource from which the described resource is derived Pyne, William Henry; Combe, William (1904) [1808] "Bartholomew Fair" in The Microcosm of London or London in Miniature, Volume I, London: Methuen and Company, pp. Plate 8 Retrieved on 13 July 2011. Date A point or period of time associated with an event in the lifecycle of the resource 1808 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/fc567887dcaad2f79288a6faaef59f0e.jpg e311e5175007c80076faaeb7982302cd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Captain Kidd hanging in chains Description An account of the resource Kidd was tried at the Old Bailey, London, in May 1701. He was found guilty of murder and piracy and was hanged at Execution Dock. Kidd's body was then suspended on a gibbet at Tilbury Point on the lower reaches of the Thames. Creator An entity primarily responsible for making the resource Unknown Rights Information about rights held in and over the resource This media file is in the public domain in the United States. This applies to U.S. works where the copyright has expired, often because its first publication occurred prior to January 1, 1923. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/3bf0da82da0bba2e16a808c01969ab46.JPG b8fd1cae7eeb9593920a8a752ba0fa52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Execution of Cartouche Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 18th Century Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/b517a181d3c546e643a9382c03b6f4c0.gif dacc28ad7e96b7482cb0fe983e65cbe7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched print on paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exécution d'Anne du Bourg Description An account of the resource Execution by hanging of the French magistrate Anne du Bourg on 23 December 1559 in Paris. Creator An entity primarily responsible for making the resource Unknown Date A point or period of time associated with an event in the lifecycle of the resource 1650 Rights Information about rights held in and over the resource Public Domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/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/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/c91e2c2e602bfe95033e7e3a6d8064a7.jpg 550106c4534d820904f89dba879d764f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil painting on canvas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exécution de Marie Antoinette le 16 octobre 1793 Description An account of the resource Marie Antoinette's execution in 1793 at the Place de la Révolution Creator An entity primarily responsible for making the resource Unknown Danish artist Date A point or period of time associated with an event in the lifecycle of the resource c. 1793 Rights Information about rights held in and over the resource Public domain: This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 70 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/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/89b04d5e1b9b55faf3a787a4783dc763.jpg 837b85ca05c3996636cbea37abae65ca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 353 millimetres Width: 405 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Rake's Progress, Plate 3 Description An account of the resource A room at the Rose Tavern, Drury Lane (after the painting at Sir John Soane's Museum); to l., Tom, surrounded by prostitutes and clearly drunk, sprawls on a chair with his foot on the table; one young woman embraces him and steals his watch, another spits a stream of gin across the table to the amusement of a young black woman standing in the background, another woman drinks from the punchbowl, another is removing her clothes in order to perform "postures"; to right., a harpist and a door through which enter a man holding a large dish and a candle, and a pregnant ballad singer holding a sheet lettered "Black Joke"; on the walls hang a map of the world to which a young woman holds a candle and framed prints of Roman emperors, all (except that of Nero) damaged. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1735 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/02d93e8ad38805bd2d493d2c9d8c5c03.jpg 4331d6345e92db368054855f38d0b95f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 353 millimetres Width: 407 millimetres Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Enraged Musician Description An account of the resource A scene in London, possibly near St Martin's-in-the-Fields, with a musician at an open window holding his ears against the noise of the street; a ballad-seller chants while her baby cries, a milkmaid and other street-traders cry their wares, one small boy plays a drum while another urinates under the startled gaze of a small girl who holds a rattle, an itinerant oboist plays, a knife-grinder sharpens a cleaver, and so on. In this state the horse on the extreme right is black (white in the earlier state), the boy's slate trailing on the ground was only half shaded in the earlier state, but is now darkened. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1741 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/0f83db7d995946bcd33263bad511a843.jpg 271482b1493c1c4e896e4ef3c2b5a38e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 387 millimetres Width: 321 millimetres (plate) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gin Lane Description An account of the resource A scene of urban desolation with gin-crazed Londoners, notably a woman who lets her child fall to its death and an emaciated ballad-seller; in the background is the tower of St George's Bloomsbury; in this state, the child's face has been changed so that the face is wizened and the eyes sunken. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Source A related resource from which the described resource is derived British Museum Date A point or period of time associated with an event in the lifecycle of the resource 1751 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/907ac2ad0d84fef5c5fcb7758766fb4b.jpg 551739a61e6ec35193a31f10b746345f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Etched/engraved print on paper Physical Dimensions The actual physical size of the original image Height: 271 millimetres Width: 404 millimetres Height: 318 millimetres (sheet) Width: 483 millimetres (sheet) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Idle 'Prentice Executed at Tyburn Series: Industry and Idleness, Plate 11 Description An account of the resource Plate 11: the place of execution with, in the middle ground, Idle seated in a cart with his coffin and John Wesley exhorting him to repent, the Newgate chaplain in a carriage, the triple gallows, and a wooden gallery crowded with onlookers; in the foreground an unruly mob including a ragged woman selling a copy of "The last dying Speech & confession of Tho. Idle" and Tiddy Doll, the gingerbread seller. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697 - 1764) Date A point or period of time associated with an event in the lifecycle of the resource 1747 Rights Information about rights held in and over the resource This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or less. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/ff9eba2fdb7dd248859a71fe31dcbabf.jpg 3a9717ab012fa8c59fa3f64aa52b2e4e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artworks Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil painting on canvas. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The March of the Guards to Finchley Description An account of the resource The March of the Guards to Finchley, also known as The March to Finchley or The March of the Guards, is a 1750 oil-on-canvas painting by English artist William Hogarth, owned by and on display at the Foundling Museum. This painting depicts London during the Jacobite Rebellion in 1746. Toward the end of 1745 concerns were raised that the capital would be undefended in the event of a Jacobite attack. William Augustus, the Duke of Cumberland, Commander of the British Army, decided to garrison troops to the north of the city as a precaution. In the foreground soldiers can be seen assembling at the Tottenham Court Road turnpike. Creator An entity primarily responsible for making the resource William Hogarth (English, 1697-1764) Date A point or period of time associated with an event in the lifecycle of the resource 1750 Rights Information about rights held in and over the resource The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/f1f511f399820a8ddc65fcbad22aff84.jpg 39d64a54a796aa292003babffbc12992 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. The Ladies Daughter, also known as Bonny Nell Transcription Transcription of ballad lyrics A Cruell Cornish Murder, I briefely will declare, at your attention further, my Story wondrous rare, [A]nd doe not thinke tis fayned, because it seemeth strange, What hath not Satan gained, when men from God doe range? [...]t Crowen in that County, an old blind man doth dwell, Who by good peoples bounty, did live indifferent well, By name he's ca'ld Carnehewall , his house stood all alone, Where [ke]pt this d[ee]d so cruell, the like was scarce ere knowne. He had a proper Damsell that liv'd with him, his daughter, To whom some suiters came still, and in true wedlocke sought her, Because the newes was bruited, how that the blind man would, Though he were poore reputed) give forty pounds in gold. Oh, then bewitching money, what mischiefe dost thou cause, Thou mak'st men dote upon thee, contrary to Gods Lawes. What Murder is so hainous, but thou canst find out those, Tha[t] willingly for gaine thus, will venter life to lose. Nay often soule and body, as in this Story rare, By the sufferance of God, I will punctually declare: The fame of this mans riches, a Vagrant chanc't to heare, In haste his fingers itches, away the same to beare. This bloody murderous Villaine, whose fact all manhood shames, Did live long time by stealing, his name was Walter James , Who with his wife, and one more yong woman, and a boy, Three Innocents in purple gore, did cruelly distroy. The twenty sixth of July , when it was almost night, These wanderers unruly, on this lone house did light, The old blind man was then abroad, and none but his old wife, And a little Girle, ith' house abode, whom they depriv'd of life, At first they ask'd for Vittle: quoth she, with all my heart, Although I have but little, of that you shall have part; He swore he must have money, alas, here's none she sed; His heart then being stony, he straight cut off her head. And then he tooke her G[irl child?] about some seven yeer[s old?] Which he (oh monster [revil'd?)] by both the heeles did [hold?] And beate her braines o[n the bed?] oh barbarous cruelty, The like of this I never [read?] in any history. When they those two ha[d murder'd?] and tane what they de[sired?] Like people fully [...], with joy, they sate by t[he fire?] And tooke Tobacco mer[rily?] without all feare or dr[ead] Knowing no house nor to[...] and while these two l[ay dead?] In came the blind mans d[aughter] who had beene workin[g ?] And seeing such a slaught[er] she wondrously was s[...] No marvell, when her M[other?] lay headlesse on the floor Her zeale she could not [smother?] but running out oth' doo[r] His Sword which lay ot[...] with her she tooke, an[...] As fast as she was able, she ran to call some folk[...] To come and see the murd[er?] but after her he stept, And ere she went much fur[ther] he did her intercept. [...] [...] (oh stony-hearted wretch) And into th' house he brought her: (what sighes alas I fetch, To thinke upon this Tragedy) for he with mischeife stor'd, Cut off her head most bloodily, with th' piece oth' broken Sword. Thus did three harmlesse innocents by one vile Caitiffes hand With both the counsell and consents, oth' woman of his band: Their heads and bodies laid they all very close together; And being gone a little way, they did at last consider, That if the house were burned, the murder might be hid, With that they backe returned, and as they thought, they did, Setting the house on fire, which burned till next day, Full many did admire, as they went on the way. These murtherers suspected that people would have thought, Those three ith house enclosed, unto their deaths were brought, By accident of fire, but God did then declare His power [...] let's admire his wondrous workes most rare. The murdered corps remained, as if no fire had beene, Their clothes with blood besmeared, not burnt, as might be seene: The leg and arme oth' Maiden, were only burnt in sunder, Full many people said then, ith' middest of their wonder. That surely there were murdered, by some that robd them had, And presently twas ordered, that for this deed so bad, All Vagrants on suspicion, should apprehended be, And in this inquisition, one happened to see, Some clothes upon the parties, that from this house we[re] tane And some before a Justice, the little boy told plaine, All things before that passed: also the boy did say, James was ith mind to kill him, lest he should all betray, They taken were at Meriwicke , forty five miles, or more, From Crowen where the murth[er]er was about a moneth before, Where in the Jayle they lay, Untill the Lend Assize did come, which tooke their lives away[.] The little Boy was quitted, and sent unto the Parish, Where he was borne, well fitted, with clothes and food, to cherish Him, as he ought with honesty and leaves his wandering trade: The other three were doom'd to dye, on that which he had said. But Walter James denyed, that ere he did that act, For swearing (till he dyed, and when he dy'd) that fact His wife at her last ending, confest the bloody guilt, So monstrously offending, when so much blood was spilt. The other woman after confest more plainely all: James tooke his death with laughter and nere to God did call: Thus as he liv'd a reprobate, and did God great reject, His soule with Christ bought at deare rate, in death he did neglect. He was hang'd dead at Lancestone , among the rest that di'd, Then carried where the deed was done, and by the high-way side, He hangeth, for example, in chaines now at this time, Thus have I shew'd the ample discourse of this foule crime. Objection may be framed, where was the old blind man: Whom I have never named since when I first beganne. He was abroad ith' interim, when this mischance befell, Or else the like had hapt to him, but he is living still. And goes about the Country, to begge, as he before Did use, among the Gentry, and now his need is more. All you that are kind Christians, thinke on this bloody deed. And crave the Lords assistance, by it to take good heed. The names of certaine eminent men of the Countrey, for confirmation of the verity of this tragicall Story. John Albon. John Coade. William Beauchamp. Ezekiel Treureu. William Lanyon. John Blithe. William Randall. John Treyeene. Language Language ballad is printed in English Date Date of ballad 1624 Printing Location Location the ballad pamphlet was printed. London Printed for F. Coules 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. murder Gender Gender of the person being executed. Male; Female Composer of Ballad Martin Parker Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/f1f511f399820a8ddc65fcbad22aff84.jpg" frameborder="0" scrolling="yes" width="600" height="550"></iframe> Image / Audio Credit Magdalene College - Pepys Library, Shelfmark: Pepys Ballads 1.360-361; <a href="https://ebba.english.ucsb.edu/ballad/20169/image" target="_blank">EBBA 20169</a> Subtitle in chaines neere vnto the place where the murder was done. 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 [...] / For which fact, he, his wife, and the other woman, were executed at Lanceston, last Lent Assizes, [...] Female hanging in chains Male murder https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/30b1e13b51c5dd7eebc8603192f293d0.jpg 301cb01f390923fc64d2ecc99f8c1885 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/1208">Tender hearts of London City</a> Transcription Transcription of ballad lyrics P Ride the bane of humane creatures, will corrupt the best of natures, when it soars to its full height, who can stand it or command it, when the object is in sight? Reason is no more our jewel, When our dearest thoughts are cruel, all her Maxims are forgot: Else what reason, was for Treason, or this base inhumane Plot. Russel that injoy'd the treasure, Every way repleat with pleasure, had Allegience quite forgot: Hopes of Risiing did advise him, to this base inhumane Plot. Who alas! could he desire, That himself could not require, pride did only his besott; To aspire to grow higher, By a base inhumane Plot. Safely might have liv'd for ever, In a gracious Princes favour, and more honour there have got: Then his thoughts what e're they wrought, By any base inhumane Plot. Those false hopes that did deceive him, With his nature will not leave him, nor with his poor body rot: Whilst records, the world affords, his Treason ne'r will be forgot. Better be the Earl of Bedford , Then for Treason loose his Head for't, and to make his name a blot: In each Lybel as a Rebbell, In a base inhumane Plot. If his Prince had ever left him, Or of any Grace bereft him, e're his Treason force his Lot: Yet Obedience and Allegience, should have kept him from this Plot. Treason is a Crime 'gainst nature, Against Kings the highest matter, sure can never be forgot: he that blames him does prophane him and his soul is in the Plot. Russel dy'd then unlamented, By all men but who consented to this damn'd inhumane Plot: To Distroy the Nations joy, the King and Monarchy should Rot. But Heavens preserve the Crimson Royal And bring all the rest to tryal who Alegience have forgot: And confounded be each Round-head, in this damn'd inhumane Plot. FINIS. Language Language ballad is printed in English Date Date of ballad 1683 Synopsis Account of events that are the subject of the ballad Lord William Russell was one of those implicated in the Rye House plot against Charles II and James, Duke of York, early in 1683. Although he pleaded not guilty and there seems to have been little ground for suspecting him, he was convicted of high treason and exeuted July 21, 1683. A number of good-night ballads were written upon his death (Simpson 1966). Ketch's execution of Lord Russell at Lincoln's Inn Fields on 21 July 1683 was performed clumsily; in a pamphlet entitled The Apologie of John Ketch, Esquire he alleged that the prisoner did not "dispose himself as was most suitable" and that he was interrupted while taking aim. On that occasion, Ketch wielded the instrument of death either with such sadistically nuanced skill or with such lack of simple dexterity - nobody could tell which - that the victim suffered horrifically under blow after blow, each excruciating but not in itself lethal. Even among the bloodthirsty throngs that habitually attended English beheadings, the gory and agonizing display had created such outrage that Ketch felt moved to write and publish a pamphlet title Apologie, in which he excused his performance with the claim that Lord Russell had failed to "dispose himself as was most suitable" and that he was therefore distracted while taking aim on his neck. Printing Location Location the ballad pamphlet was printed. Printed for P. Brooksby, at the Golden Ball, in West-Smithfield. Method of Punishment Method of punishment described in the ballad. beheading Crime(s) Crime or crimes for which the person in the ballad is convicted. high treason Gender Gender of the person being executed. Male Execution Location Location the condemned was executed. Lincoln's Inn Field Composer of Ballad John Dean Tune Data Tender Hearts of London Cirty (Simpson 1966, p.699-701). Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/30b1e13b51c5dd7eebc8603192f293d0.jpg" frameborder="0" scrolling="yes" width="800" height="532"></iframe> Image / Audio Credit National Library of Scotland - Crawford, Shelfmark: Crawford.EB.1018; <a href="https://ebba.english.ucsb.edu/ballad/34353/image" target="_blank">EBBA 34353</a> Subtitle VVho was Beheaded for High Treason, in Lincolns Inn Fields, JULY 21st. 1683. 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 Lord RUSSELS Farewel beheading high treason Male https://omeka.cloud.unimelb.edu.au/execution-ballads/files/original/20c884c15ac40df0d9d6f25ffb14214f.jpg 3c98eee601b31e8f696e38ae55120040 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. Cavalilly-man Transcription Transcription of ballad lyrics Come all our Caballers & Parliament Votes That stick'd for hanging & cuting of throats, Lament the misfortune of perjured Otes. Who first must be Pillor's and after be Hang'd. What Devil suspected this, 5 years agon, When I was in hopes to hang up half the Town, I Swore against Miter and Cursed the Crown. But now must be Pillor'd and after be Hang'd. I cursed the Bishops and hang'd up the Priests, I swore my self Doctor yet never could Preach, But a Cant full of Blasphemy all I could reach. I now must be Pillor'd, and after be Hang'd. Now Otes is i'th' Cubboard & Manger with Colt, The Caldron may boyl me for fear I should molt, here I've ne'r a Bum for a VVheel-Barrow jolt. Yet now must be Pillor'd and after be Hang'd. My forty Commissions and Spanish balck Bills, Invisible Armys lodg'd upon Hills, Such old perjur'd Nonsence my Narrative fills. That I now must be Pillor'd and after be Hang'd. My twelve pounds a Wee I want to support For stinking i'th' City and fouling the Court, Like Devil in Dungeon I'm now hamper'd fort. Yet first must be Pillor'd and after be Hang'd. They hang us in order, the Devil knows how, 'Zounds all the e're put one paw to the Plow, I ne'r fear'd the Devil would fail me till now. That I first must be Pllor'd & after be hang'd. For Calling the Duke a Papist and Traytor, I often have call'd the King little better, I'm fast by the heels like a Beast in a Fetter, I first must be Pillor'd and after be Hang'd. I swore that the Queen would Poyson the King, That VVakeman had monys the Poyson to bring, When I knew in my heart there was no such thing. I now must be Pillor's and after be Hang'd. I'm Resolv'd to be hang'd dead drunk like Hugh Peter If I can but have my Skin stuft with good Liquor, Then I shall limp to old Tapskie much quicker. But I first must be Pillor'd and after be hang'd. Language Language ballad is printed in English Date Date of ballad 1684 Notes Additional information related to the ballad pamphlet or related events <a href="https://en.wikipedia.org/wiki/Titus_Oates" target="_blank">Wikipedia:</a> Titus Oates (15 September 1649 - 12/13 July 1705) was an English perjurer who fabricated the "Popish Plot", a supposed Catholic conspiracy to kill King Charles II. The Popish Plot Oates and Tonge wrote a lengthy manuscript that accused the Roman Catholic Church of approving an assassination of Charles II. The Jesuits in England were to carry out the task. In August 1678, King Charles was warned of this supposed plot against his life by the chemist Christopher Kirkby, and later by Tonge. The king was unimpressed but handed the matter over to his minister Earl of Danby, who was more willing to listen, and who was introduced to Oates by Tonge. The King's Council interrogated Oates. On 28 September Oates made 43 allegations against various members of Catholic religious orders äóî including 541 Jesuits äóî and numerous Catholic nobles. He accused Sir George Wakeman, the queen's physician, and Edward Colman, the secretary to the Duchess of York (Mary of Modena), of planning to assassinate the king. Although Oates probably selected the names randomly or with the help of the Earl of Danby, Colman was found to have corresponded with a French Jesuit, which condemned him. Wakeman was later acquitted. Others Oates accused included Dr William Fogarty, Archbishop Peter Talbot of Dublin, Samuel Pepys, and Lord Belasyse. With the help of the Earl of Danby the list grew to 81 accusations. Oates was given a squad of soldiers and he began to round up Jesuits, including those who had helped him in the past. On 6 September 1678, Oates and Tonge approached an Anglican magistrate. On 12 October, Sir Edmund Berry Godfrey, an Anglican magistrate, disappeared and was found dead five days later in a ditch at Primrose Hill. He had been strangled and run through with his own sword. In September Oates and Tonge had sworn an affidavit in front of Godfrey detailing their accusations. Oates exploited this incident to launch a public campaign against the "Papists" and alleged that this murder had been the work of the Jesuits. On 24 November, Oates claimed the Queen was working with the King's physician to poison the King, and Oates enlisted the aid of "Captain" William Bedloe, who was ready to say anything for money. The King personally interrogated Oates, caught him out in a number of inaccuracies and lies, and ordered his arrest. However, a couple of days later, Parliament forced Oates' release with the threat of constitutional crisis. Oates soon received a state apartment in Whitehall and an annual allowance of £1,200. Oates was heaped with praise. He asked the College of Arms to check his lineage and produce a coat of arms for him. They gave him the arms of a family that had died out. There were even rumours that Oates was to be married to a daughter of the Earl of Shaftesbury. After nearly three years and the executions of at least 15 men who are now thought to be innocent of the Plot, opinion began to turn against Oates. The last high-profile victim of the climate of suspicion was Oliver Plunkett, Archbishop of Armagh, who was executed on 1 July 1681. Judge William Scroggs began to declare more people innocent, as he had done in the Wakeman trial, and a backlash took place. On 31 August 1681, Oates was told to leave his apartments in Whitehall, but remained undeterred and denounced the King, the Duke of York, and just about anyone[who?] he regarded as an opponent. He was arrested for sedition, sentenced to a fine of £100,000 and thrown into prison. When James II acceded to the throne, he had a score to settle. He had Oates retried and sentenced for perjury to annual pillory, loss of clerical dress, and imprisonment for life. Oates was taken out of his cell wearing a hat with the text "Titus Oates, convicted upon full evidence of two horrid perjuries" and put into the pillory at the gate of Westminster Hall (now New Palace Yard) where passers-by pelted him with eggs. The next day he was pilloried in London and a third day was stripped, tied to a cart, and whipped from Aldgate to Newgate. The next day, the whipping resumed. The judge was Judge Jeffreys who stated that Oates was a "shame to mankind". Oates spent the next three years in prison. At the accession of William of Orange and Mary in 1688, he was pardoned and granted a pension of £5 a week but his reputation did not significantly recover. The pension was later suspended, but in 1698 was restored and increased to £300 a year. Titus Oates died on 12 July or 13 July 1705. Printing Location Location the ballad pamphlet was printed. London Printed for J. Dean, Bookseller in Cranborn-street near Newport House in Leicester-Fields 1684. Crime(s) Crime or crimes for which the person in the ballad is convicted. treason Gender Gender of the person being executed. Male Method of Punishment Method of punishment described in the ballad. Hanging Image / Audio Credit Huntington Library Bridgewater, Shelfmark: HEH 134252, <a href="https://ebba.english.ucsb.edu/ballad/32136/image" target="_blank">EBBA 32136</a> Digital Object <iframe src="https://omeka.cloud.unimelb.edu.au/execution-ballads/files/fullsize/20c884c15ac40df0d9d6f25ffb14214f.jpg" frameborder="0" width="400" height="500"></iframe> Subtitle Or Otes made Free-man of Whitington's Colledge, for Perjury, Scandalum Magnatum, and something like 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 A SONG of the Light of the three Nations turn'd into DARKNES Male treason