https://omeka.cloud.unimelb.edu.au/execution-ballads/items?sort_field=Dublin+Core%2CCreator&output=atom <![CDATA[Execution Ballads]]> 2024-03-29T03:11:26+11:00 Omeka https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1128 <![CDATA[The execution of James Graham, first Marquess of Montrose]]> 2020-01-08T14:18:04+11:00

Title

The execution of James Graham, first Marquess of Montrose

Description

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

Abraham Andriesz

Source

British Museum

Date

1661 (c.)

Rights

The image is released under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license. You can read more about the British Museum and Creative Commons here.

 

Original Format

Etching with engraving on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1160 <![CDATA[<em>Fualdès</em>]]> 2020-12-17T13:52:13+11:00

Title

Fualdès

Creator

Anonymous (traditional)

Digital Object

Transcription

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.
...

 

]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1148 <![CDATA[Die Bänkelsänger]]> 2020-01-08T14:18:04+11:00

Title

Die Bänkelsänger

Creator

Christian Wilhelm Ernst Dietrich (1712-1774)

Date

circa 1740

Rights

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.

Original Format

Etched print on paper

Physical Dimensions

26.5 x 19cm
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1143 <![CDATA[Bänkelsänger vor ländlichem Publikum (Bänkelsänger in front of a rural audience)]]> 2020-01-08T14:18:04+11:00

Title

Bänkelsänger vor ländlichem Publikum (Bänkelsänger in front of a rural audience)

Creator

Cornelius Suter d. J., Beromünster

Date

c.1790-1800

Rights

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.

Original Format

Hinterglasbild - reverse glass painting

Physical Dimensions

25.5 cm x 19 cm
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1133 <![CDATA[The Execution of Louis XVI, 21st January 1793]]> 2020-01-08T14:18:04+11:00

Title

The Execution of Louis XVI, 21st January 1793

Creator

Danish School

Date

Late 18th Century

Rights

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.

Original Format

oil on copper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1162 <![CDATA[<em>Terza Rima</em>]]>
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. © Academy of American Poets]]>
2020-01-08T16:40:58+11:00

Title

Terza Rima

Description

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. © Academy of American Poets

Creator

Dante Alighieri (Italian)

Date

Late 13th Century
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1146 <![CDATA[Moritatenerzahler]]> 2020-01-08T14:18:04+11:00

Title

Moritatenerzahler

Creator

Dutch painter (17th/18th century)

Rights

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.

Original Format

Oil paint on wood

Physical Dimensions

36 x 47 cm
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1125 <![CDATA[Coleman drawn to his execution]]> 2020-01-08T14:18:04+11:00

Title

Coleman drawn to his execution

Description

"Coleman drawn to his execution"; card number 7 of a set of playing cards depicting the Popish Plot .

Creator

Francis Barlow?

Date

1679 or 1849

Rights

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.

Original Format

Engraving - print on paper playing card
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1115 <![CDATA["A New Love Song, Only Ha' Pence A Piece" <br /> Series: Cries of London]]> 2020-01-08T14:19:19+11:00

Title

"A New Love Song, Only Ha' Pence A Piece"
Series: Cries of London

Description

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

Francis Wheatley
Print made by: Anthony Cardon
Published by: Colnaghi

Source

British Museum

Date

1796

Original Format

Print on paper

Physical Dimensions

Height: 420 millimetres
Width: 320 millimetres
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1167 <![CDATA[<em>Kommt her zu mir spricht Gottes Sohn</em>]]> Lindenschmied-Weise (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.]]> 2021-03-26T15:31:50+11:00

Title

Kommt her zu mir spricht Gottes Sohn

Description

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 Lindenschmied-Weise (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

Georg Grünwald

Transcription

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.
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1186 <![CDATA[<em>Just before the battle, Mother</em>]]> 2020-01-08T14:16:30+11:00

Title

Just before the battle, Mother

Creator

George F. Root

Digital Object

Transcription

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.
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1141 <![CDATA[Le Barbarie del mondo]]> 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 here 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:  Harry Ransom Humanities Research Center, University of Texas, Austin.]

]]>
2020-01-08T14:18:04+11:00

Title

Le Barbarie del mondo

Description

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 here 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:  Harry Ransom Humanities Research Center, University of Texas, Austin.]

Creator

Girolamo (Hieronymous) Porro 1574 - 1604

Source

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

c.1567-1599

Rights

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.

Original Format

Engraving print on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1168 <![CDATA[<em>Hilff Gott daß mir gelinge</em>]]> 2020-01-08T16:42:23+11:00

Title

Hilff Gott daß mir gelinge

Creator

Heinrich Müller
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1145 <![CDATA[Der Moritatensänger]]> 2020-01-08T14:18:04+11:00

Title

Der Moritatensänger

Creator

Hieronymous Hess (1799-1850)

Rights

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.

Original Format

Watercolours and ink on paper

Physical Dimensions

22 x 29 cm
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1144 <![CDATA[Baenkelsaenger]]> 2020-01-08T14:18:04+11:00

Title

Baenkelsaenger

Description

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

Hieronymus Hess (1799–1850)

Date

between 1830 and 1850

Rights

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/items/show/1122 <![CDATA[Ballad Singer]]> 2020-01-08T14:18:04+11:00

Title

Ballad Singer

Creator

Inigo Jones (1573-1652)

Source

Inigo Jones and Ben Jonson: Being the Life of Inigo Jones by Peter Cunningham (1853)

Rights

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.

Original Format

Pen and ink on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1153 <![CDATA[L’Arquebusade (The firing squad), plate 12 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.<br /> ]]> 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/

]]>
2020-01-08T14:18:04+11:00

Title

L’Arquebusade (The firing squad), plate 12 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.

Description

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

Jacques Callot (French, 1592 - 24 Mar 1635)

Date

1633

Rights

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.

Original Format

Etching
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1152 <![CDATA[L’Estrapade (The Strappado), plate 10 from the suite Les Misères et les malheurs de la guerre (The miseries and misfortunes of war).]]> 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/?

]]>
2020-01-08T14:18:04+11:00

Title

L’Estrapade (The Strappado), plate 10 from the suite Les Misères et les malheurs de la guerre (The miseries and misfortunes of war).

Description

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

Jacques Callot (French, 1592 - 24 Mar 1635)

Date

1633

Rights

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.

Original Format

Etching
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1156 <![CDATA[La Roue (The Wheel), plate 14 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.]]> 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/

]]>
2020-01-08T14:18:04+11:00

Title

La Roue (The Wheel), plate 14 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.

Description

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

Jacques Callot (French, 1592 - 24 Mar 1635)

Date

1633

Rights

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.

Original Format

Etching
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1114 <![CDATA[Execution of Thomas Armstrong]]> 2020-01-08T14:19:19+11:00

Title

Execution of Thomas Armstrong

Description

Engraving depicting the execution of Sir Thomas Armstrong in Tyburn, on 20 June 1684.

Creator

Jan Luyken (1649-1712) - Dutch engraver, poet, painter and writer & Jan Claesz ten Hoorn (printer).

Source

Figure 11, Page 121 of A Traitor's Death?

Date

1698 (etching)

Rights

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.

Original Format

Etching
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1154 <![CDATA[ La Pendaison (The hanging), plate 11 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.]]>
https://www.ngv.vic.gov.au/explore/collection/work/41047/]]>
2020-01-08T14:18:04+11:00

Title

La Pendaison (The hanging), plate 11 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.

Description

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

Jaques Callot (French, 1592 - 24 Mar 1635)

Date

1633

Rights

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.

Original Format

Etching
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1155 <![CDATA[Le Bûcher (The Stake), plate 13 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.]]>
https://www.artgallery.nsw.gov.au/collection/works/DO10.1963.13/]]>
2020-01-08T14:18:04+11:00

Title

Le Bûcher (The Stake), plate 13 from Les Misères et les malheurs de la guerre (The miseries and misfortunes of war) series.

Description

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

Jaques Callot (French, 1592 - 24 Mar 1635)

Date

1633

Rights

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.

Original Format

Etching
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1164 <![CDATA[<em>Warum betrübst du dich, mein Herz</em>]]> 2021-03-26T16:16:34+11:00

Title

Warum betrübst du dich, mein Herz

Creator

Johann Sebastian Bach

Digital Object

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 (Wikipedia).

Transcription

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 !
 
 
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.
 
 
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1165 <![CDATA[<em>Es ist gewißlich an der Zeit</em>]]> 2020-01-08T16:41:47+11:00

Title

Es ist gewißlich an der Zeit

Creator

Johann Sebastian Bach

Transcription

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!
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1123 <![CDATA[Paul's Walk]]> 2020-01-08T14:18:04+11:00

Title

Paul's Walk

Description

John Franklin's illustration of Paul's Walk for William Harrison Ainsworth's novel, Old St. Paul's, published London : Chapman & Hall, 1841.

Creator

John Franklin

Date

1841

Rights

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.

Original Format

Print
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1130 <![CDATA[New Elegy]]> 2020-01-08T14:18:04+11:00

Title

New Elegy

Description

Plate XIV 'New Elegy' - Illustration from 'The Cries of London' 1839

Creator

John Thomas Smith

Date

1819

Rights

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.

Original Format

Etched print on paper - book illustration
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1110 <![CDATA[Autolycus]]>
Source: http://collections.vam.ac.uk/item/O80881/autolycus-oil-painting-leslie-charles-robert/]]>
2020-01-08T14:19:20+11:00

Title

Autolycus

Subject

Oil painting by Charles Robert Leslie depicting Autolycus from Shakespeare's 'A Winter's Tale' (Act IV, Scene 4). Great Britain, 1836.

Description

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

Leslie, Charles Robert, 1794 - 1859

Publisher

Catalogue of British Oil Paintings 1820-1860, Ronald Parkinson, Victoria and Albert Museum, London: HMSO, 1990, pp. 164-65

Date

ca. 1836 (painted)

Rights

This is a faithful photographic reproduction of a two-dimensional, public domain work of art.

Original Format

Oil painting on canvas
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1132 <![CDATA[Portrait of Jean-Baptiste Troppmann]]> 2020-01-08T14:18:04+11:00

Title

Portrait of Jean-Baptiste Troppmann

Description

Photographic portrait of the French murderer Jean-Baptiste Troppmann

Creator

Photographer: Gustave Macé

Date

1869

Rights

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.

Original Format

Black and white photograph
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1161 <![CDATA[Hell Broke Loose, or, The Murder of Louis]]> British Museum.]]> 2020-01-08T14:18:04+11:00

Title

Hell Broke Loose, or, The Murder of Louis

Description

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. British Museum.

Creator

Print made by: William Dent
Published by: James Aitken

Rights

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.

Original Format

Etching print on paper

Physical Dimensions

Height: 250 millimetres
Width: 338 millimetres
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1113 <![CDATA[Claude Duval]]> 2020-01-08T14:19:19+11:00

Title

Claude Duval

Subject

Representation of Claude Duval

Description

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

Published by: Art Union of London
After: William Powell Frith
Print made by: Lumb Stocks

Source

British Museum

Date

1863

Rights

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.

Original Format

Print

Physical Dimensions

Height: 630 millimetres
Width: 820 millimetres
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1124 <![CDATA[Pillory, Charing Cross]]> 2020-01-08T14:18:04+11:00

Title

Pillory, Charing Cross

Description

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

Published by: Rudolf Ackermann
Print made by: John Bluck
After: Augustus Charles Pugin
After: Thomas Rowlandson

Date

1809

Rights

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.

Original Format

Print - book illustration
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1111 <![CDATA[Portrait of John Fawcett]]> 2020-01-08T14:19:20+11:00

Title

Portrait of John Fawcett

Description

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

Thomas Charles Wageman, 1787 - 1863

Source

Victoria and Albert Museum, London

Date

1828 (made)

Rights

This is a faithful photographic reproduction of a two-dimensional, public domain work of art.

Original Format

Watercolour

Physical Dimensions

Height: 15.75 in, Width: 11 in
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1126 <![CDATA[Last Dying Speech]]> 2020-01-08T14:18:04+11:00

Title

Last Dying Speech

Description

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

Thomas Rowlandson

Date

1819 - 1821

Rights

This file is made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication

Original Format

Watercolour print on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1127 <![CDATA[Great News!]]> 2020-01-08T14:18:04+11:00

Title

Great News!

Description

Two men handing out news notices in the street. One blowing a small wind instrument.

Creator

Thomas Rowlandson

Date

1819 / 1820

Rights

This file is made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication

Original Format

Print on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1112 <![CDATA[Bartholomew Fair]]> 2020-01-08T14:19:20+11:00

Title

Bartholomew Fair

Subject

Bartholomew Fair as illustrated in 1808. Held in West Smithfield (1133–1855) on St. Bartholomew’s Day.

Creator

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

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

1808

Rights

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/items/show/1116 <![CDATA[Captain Kidd hanging in chains]]> 2020-01-08T14:19:19+11:00

Title

Captain Kidd hanging in chains

Description

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

Unknown

Rights

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/items/show/1195 <![CDATA[The Execution of Cartouche]]> 2020-01-08T14:16:30+11:00

Title

The Execution of Cartouche

Creator

Unknown

Date

18th Century

Rights

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/items/show/1200 <![CDATA[Exécution d'Anne du Bourg]]> 2020-01-08T14:16:30+11:00

Title

Exécution d'Anne du Bourg

Description

Execution by hanging of the French magistrate Anne du Bourg on 23 December 1559 in Paris.

Creator

Unknown

Date

1650

Rights

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.

Original Format

Etched print on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1157 <![CDATA[Robert Francois Damiens (1715-57) before the judges at the Chatelet, Paris, 2nd March 1757]]> 2020-01-08T14:18:04+11:00

Title

Robert Francois Damiens (1715-57) before the judges at the Chatelet, Paris, 2nd March 1757

Creator

Unknown artist from the French School, (18th Century)

Date

C18th

Rights

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.

Original Format

Etching
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1150 <![CDATA[Hinrichtung Peter Stump (Execution of Peter Stump)]]>
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.]]>
2020-01-08T14:18:04+11:00

Title

Hinrichtung Peter Stump (Execution of Peter Stump)

Description

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

Unknown artist. Print by Lukas Mayer

Rights

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.

Original Format

Woodcut print on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1131 <![CDATA[Exécution de Marie Antoinette le 16 octobre 1793]]> 2020-01-08T14:18:04+11:00

Title

Exécution de Marie Antoinette le 16 octobre 1793

Description

Marie Antoinette's execution in 1793 at the Place de la Révolution

Creator

Unknown Danish artist

Date

c. 1793

Rights

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.

Original Format

Oil painting on canvas
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1147 <![CDATA[Murder of William of Orange]]> 2020-01-08T14:18:04+11:00

Title

Murder of William of Orange

Description

Prince William of Orange was assassinated by a Jesuit named Balthasar Gérard (1557-1584).

Creator

Unknwon

Rights

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.

Original Format

Ink on paper
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1117 <![CDATA[A Rake's Progress, Plate 3]]> 2020-01-08T14:19:19+11:00

Title

A Rake's Progress, Plate 3

Description

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

William Hogarth (English, 1697 - 1764)

Source

British Museum

Date

1735

Rights

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.

Original Format

Etched/engraved print on paper

Physical Dimensions

Height: 353 millimetres
Width: 405 millimetres
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1118 <![CDATA[The Enraged Musician]]> 2020-01-08T14:19:19+11:00

Title

The Enraged Musician

Description

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

William Hogarth (English, 1697 - 1764)

Source

British Museum

Date

1741

Rights

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.

Original Format

Etched/engraved print on paper

Physical Dimensions

Height: 353 millimetres
Width: 407 millimetres
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1119 <![CDATA[Gin Lane]]> 2020-01-08T14:19:19+11:00

Title

Gin Lane

Description

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

William Hogarth (English, 1697 - 1764)

Source

British Museum

Date

1751

Rights

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.

Original Format

Etched/engraved print on paper

Physical Dimensions

Height: 387 millimetres
Width: 321 millimetres (plate)
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1121 <![CDATA[The Idle 'Prentice Executed at Tyburn<br /> Series: Industry and Idleness, Plate 11]]> 2020-01-08T14:18:04+11:00

Title

The Idle 'Prentice Executed at Tyburn
Series: Industry and Idleness, Plate 11

Description

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

William Hogarth (English, 1697 - 1764)

Date

1747

Rights

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.

Original Format

Etched/engraved print on paper

Physical Dimensions

Height: 271 millimetres
Width: 404 millimetres
Height: 318 millimetres (sheet)
Width: 483 millimetres (sheet)
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/1120 <![CDATA[The March of the Guards to Finchley]]>
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.]]>
2020-01-08T14:19:19+11:00

Title

The March of the Guards to Finchley

Description

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

William Hogarth (English, 1697-1764)

Date

1750

Rights

The work of art depicted in this image and the reproduction thereof are in the public domain worldwide.

Original Format

Oil painting on canvas.
]]>
https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/834 <![CDATA[[...] / For which fact, he, his wife, and the other woman, were executed at Lanceston, last Lent Assizes, [...] ]]> 2020-01-08T14:27:27+11:00

Title

[...] / For which fact, he, his wife, and the other woman, were executed at Lanceston, last Lent Assizes, [...]

Subtitle

in chaines neere vnto the place where the murder was done.

Digital Object

Image / Audio Credit

Magdalene College - Pepys Library, Shelfmark: Pepys Ballads 1.360-361; EBBA 20169

Set to tune of...

The Ladies Daughter, also known as Bonny Nell

Transcription

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.

Composer of Ballad

Martin Parker

Method of Punishment

Hanging in chains

Crime(s)

murder

Gender

Date

Printing Location

London Printed for F. Coules
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https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/835 <![CDATA[The Lord RUSSELS Farewel]]> 2020-01-08T14:26:29+11:00

Title

The Lord RUSSELS Farewel

Subtitle

VVho was Beheaded for High Treason, in Lincolns Inn Fields, JULY 21st. 1683.

Synopsis

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.

Digital Object

Image / Audio Credit

National Library of Scotland - Crawford, Shelfmark: Crawford.EB.1018; EBBA 34353

Set to tune of...

Transcription

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.

Composer of Ballad

John Dean

Method of Punishment

beheading

Crime(s)

high treason

Gender

Date

Execution Location

Lincoln's Inn Field

Printing Location

Printed for P. Brooksby, at the Golden Ball, in West-Smithfield.

Tune Data

Tender Hearts of London Cirty (Simpson 1966, p.699-701).
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https://omeka.cloud.unimelb.edu.au/execution-ballads/items/show/836 <![CDATA[A SONG of the Light of the three Nations turn'd into DARKNES ]]> 2020-01-08T14:27:54+11:00

Title

A SONG of the Light of the three Nations turn'd into DARKNES

Subtitle

Or Otes made Free-man of Whitington's Colledge, for Perjury, Scandalum Magnatum, and something like Treason.

Digital Object

Image / Audio Credit

Huntington Library Bridgewater, Shelfmark: HEH 134252, EBBA 32136

Set to tune of...

Cavalilly-man

Transcription

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.

Method of Punishment

Hanging

Crime(s)

treason

Gender

Date

Printing Location

London Printed for J. Dean, Bookseller in Cranborn-street near Newport House in Leicester-Fields 1684.

Notes

Wikipedia: 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.
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