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A TUESDAY, APRIL 15, 2014 PHOTO PROVIDED BY ISNA, A SEMI-OFFICIAL NEWS AGENCY This picture provided by ISNA, a semi-official news agency, taken on Tuesday, April 15, 2014 shows Maryam Hosseinzadeh, right, and her husband Abdolghani, left, removing the noose from the neck of blindfolded Bilal who was convicted of murdering their son Abdollah in the northern city of Nour, Iran. Bilal who was convicted of killing Abdollah Hosseinzadeh, was pardoned by the victim's family moments before being executed. (AP Photo/ISNA, Arash Khamoushi)
The Church Of Sant Felip Neri was used as an execution wall during the Spanish Civil War (1936-1939). Today we can still see the gunshots on the wall.
The square and the church were both constructed over a Medieval Cemetery.
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My life continues to twist and turn down paths I have never walked before, the unknown lies around every corner. My emotions and mind are working against me, I feel like I am being internally executed by myself...
prisoners who could not be waited upon for the gas chamber were executed here at once. what you see is the black bullet obsorbig panels.
Public Executions in Nottingham used to take place on Gallows Hill. This hill was up the Mansfield Road in the area now occupied by St Andrew's Church / Church Rock Cemetery. From 1831 to the 1860's Public Executions of those sentenced to death took place on the front steps of Shire Hall on High Pavement. The scaffold used to be constructed over the main steps at the front of the building. The stone square plugs a gap in the stonework for one of the beams on the scaffold.
On 8th August 1844 William Saville aged 29 was hung here. He lived in the nearby town of Arnold. He murdered his Wife and three children using a razor in Colwick Woods. There was such revulsion at his crime that thousands crammed into High Pavement to watch him hang at 8am prompt. The numbers of spectators was so high that some reports recount that the doors of some of the nearby buildings were close to being burst open.
A panic set in the crowd. (Pickpockets have been blamed). The crowd moved down High Pavement towards the Weekday Cross. When the crowd reached the top of Garners Hill people fell down the steps. 13 people were suffocated to death and hundreds more injured.
There used to be a memorial to those that were suffocated and crushed on Garner's Hill that day. However the memorial has gone. Garner's Hill too has now gone as a result of the Nottingham Contemporary being built.
"Prosciutto & Melon Pig"
This pig is awesome. A good idea, excellent execution and a beautifully grotesque effect. I would buy this pig.
A banner to commemerate Anne Boleyn's death this scene was soooo sad - seriously as I say to my freinds the beheadings get to me, I've cried in all of them except Dereham's and Culpepper's theirs was just way to gruesome to watch and the shock at what I was watching took over and I didn't cry. Natalie captivated this woman like no other actress.
The Dome
Facts About the Dome
•Height, from base to weather vane: 121'
•Diameter at base: 40'
•Construction begun: 1785
•Interior work completed: 1797
•Wood used in dome construction: Timber from Maryland’s Eastern Shore, supplied by Dashiell family of Cypress Swamp, Somerset County.
•Architect of the dome: Joseph Clark
•Possible model for design of the dome: Schloßturm, the dome of the free-standing tower next to the palace of Karl-Wilhelm, Markgraf of Baden, in Karlsruhe, Germany
History of the State House Dome
When the Continental Congress came to Annapolis to meet in the Old Senate Chamber from November 1783 – August 1784, they found a State House which was still unfinished. Although the Old Senate Chamber was complete, the roof was not and it had leaked during the last few winters, damaging the upstairs rooms. The dome—or cupola—atop the State House was variously described as inadequate, unimpressive, and too small for the building and, it, too, leaked.
In order to rectify the situation, Joseph Clark, an Annapolis architect and builder, was asked to repair the roof and the dome. Clark first raised the pitch of the roof to facilitate the runoff of water and covered it with cypress shingles. The crowning achievement of Clark’s work on the State House was, of course, the extraordinary dome which he designed and built. It is not known where Clark’s inspiration for the unusual design of the dome came from, but it is very similar to one in Karlsruhe, Germany called the Schloßturm.
By the summer of 1788, the exterior of the new dome was complete. It was constructed of timber and no metal nails were used in its construction and, to this day, it is held together by wooden pegs reinforced by iron straps forged by an Annapolis ironmonger.
Although the exterior of the dome was completed by 1788, the interior was not completed until 1797. Tragedy struck the project in 1793 when a plasterer named Thomas Dance fell to his death from the inside of the dome. By 1794, Joseph Clark was completely disillusioned with the project and left it to John Shaw, the noted Annapolis cabinetmaker, to oversee completion. Over the years, John Shaw did much of the maintenance work on the State House, built various items for it and, in 1797, made the desks and chairs which furnished the Old Senate Chamber.
The First Dome: 1769-1774
Just as the Articles of Confederation did not effectively govern the country, the first dome of the State House at Annapolis did not survive more than a decade of Maryland weather. In 1769, the General Assembly of Maryland passed an act to erect a new state house, securely covered with slate tile or lead. The architect was Joseph Horatio Anderson, and the undertaker or builder of the project was Charles Wallace. According to William Eddis in 1773, the work was carried on with great dispatch and when completed would “be equal to any public edifice on the American continent.”
The exact date of the completion of the first dome or cupola is not known but evidence suggests that it was completed by the year 1774. In a 1773 Act of Assembly, Charles Wallace was instructed to fix an iron rod pointed with silver or gold at least six feet above the cupola. The General Assembly also recommended that the roof be covered with copper because the slate originally specified would require frequent repairs and cause other inconveniences. According to Charles E. Peterson’s “Notes on Copper Roofing in America to 1802”, it was more than likely that local copper was put on the roof to advertise the new industry of Maryland.
The Second Dome: 1785-1794
According to the Intendent of Revenue, Daniel St. Thomas Jenifer, the first dome of the State House was a contradiction of architectural design. A survey of the timbers in 1784 revealed that they were so decayed by water damage that a new dome would be required.
“It was originally constructed contrary to all rules of architecture; it ought to have been built double instead of single, and a staircase between the two domes, leading up to the lanthorn. The water should have been carried off by eaves, instead of being drawn to the center of the building, to two small conductors, which are liableto be choked by ice, and overflowed by rains. That it was next to impossible, under present construction, that it could have been made tight”.
On February 24, 1785 Jenifer placed a notice in the Maryland Gazette for carpenters work to be made to the dome and roof under the execution of Joseph Clark
“The work We are a Doing is to put a Roof on the Governor’s House and we are going to take the Roof of the State house and it is a going to Raise it one story higher and the Doom is to be Sixty foot higher then the old one”.
Clark raised the pitch of the dome to facilitate the runoff of excess water, the chief reason the timbers rotted in the original dome.
“The Annapolis dome is in its proportions like the original Karlsruhe tower. Possibly its more classical feeling is a result of the universal trend of architectural styles rather than the influence of the altered Schloßturm. Yet the arched windows below the architrave in Annapolis, one with the lower part closed, are like the windows below the Architrave in Karlsruhe in all of which the lower parts are closed. The horizontal oval windows below the main curving section of the dome in Annapolis resemble the vertical ovals in the equivalent part of the Karlsruhe tower. The small square windows above the balustrades and the architraves themselves in both buildings are similarly placed.”
Execution of Mary Queen of Scot's painted 1867 by Robert Herdman (1829-1888).
8th February 1587 After 19 years imprisonment, Mary Queen of Scots was beheaded for treason at Fotheringhay Castle, Northamptonshire. She had been implicated in the Babington Plot to murder her cousin, Queen Elizabeth I.
"Mary Queen of Scots was a popular subject for Victorian painters. In this painting Scottish artist Robert Herdman deliberately glamorised the event of the Queen’s execution on 8 February 1587 at Fotheringay Castle, Northamptonshire. Mary was 44 years old and long imprisonment had left her physically frail and aged. However, Herdman shows her looking elegant and beautiful, wearing a black velvet and satin robe with a white crape veil and Italian ruff, holding a crucifix, a rosary attached to her girdle. Herdman gives us a glimpse of Mary’s red petticoat, symbolising her martyrdom to the Catholic faith. He paints her approaching the emissaries of Queen Elizabeth I and the executioner's block. Light from a window dramatically falls on her face, making her appear a saintly figure, an innocent victim. The two ladies at the foot of the stage are her attendants Elizabeth Curle and Jane Kennedy, the man between them is Sir Andrew Melville, Master of Mary’s household. It is thought that the three men to the right of the painting are the Earls of Shrewsbury and Kent and Sheriff Thomas Andrew. The executioner, which one contemporary commentator described as ‘preposterously tall’, is seen from behind, stands with the axe resting on the floor behind him; in the immediate foreground of the painting, it adds further drama and tension to the scene, as does the coffin on the floor to the right.
Since the 16th century there has been a public fascination with the story of the ill-fated Queen of Scots. There has been much debate about her marriages and intrigues, the murders of her husband Lord Darnley and her Italian secretary David Riccio and the extent to which she was powerful political player or innocent victim. She has inspired poetry, prose, theatre, opera and popular song. In 1800 the German poet and philosopher Friedrich Schiller produced a play on her. In the Victorian period Mary became particularly romanticised as a tragic heroine, this reinforced by the novels of Sir Walter Scott, which had immense popularity; The Abbott (1820) focuses on the Queen's imprisonment at Loch Leven Castle in 1567, her escape, defeat and flight to England.
This painting was actually an illustration to a poem by Henry Glassford Bell, Sheriff of Lanarkshire:
‘[…] Beside the
block a sullen headsman stood,
And gleamed the broad axe in his
hand, that soon must drip with blood.
With slow and steady step there came
a lady through the hall,
And breathless silence chained the
lips, and touched the hearts of all;
Rich were the sable robes she wore,
her white veil round her fell,
And from her neck there hung the
cross, that cross she loved so well!’
The painting was commissioned by the Glasgow Art Union, along with three other paintings by Herdman depicting aspects of the life of Mary Queen of Scots (The Convent Garden; The Farewell to France; The Abdication Signed; The End - Fotheringay). These paintings were presented to James Blaikie of Glasgow in 1868 in the Glasgow Art Union’s annual draw, the Lord Provost commenting that the later than normal draw for prizes was caused by ‘Mr Herdman not giving in his pictures early enough’ (Glasgow Herald(, 19 August 1868). However, the paintings proved popular and were shown in key northern cities that year: Glasgow, Edinburgh, Dundee, Aberdeen, Manchester and Liverpool, to critical acclaim. They were photographed by Thomas Annan and bound with Sheriff Bell’s poem in a special edition. This painting, which went through the hands of various owners, was bequeathed to the museum by Adam Teacher, one of Teacher’s Whisky family, in 1898. Bequeathed by Adam Teacher, 1898. Robert Herdman
(1829 - 1888) The youngest of a parish minister’s four sons, Herdman attended the parish school in Rattray until 1838 when his father died and the family moved to St Andrews. Aged 15, Herdman went to St Andrews University with the intention of becoming a minister like his father. Painting soon became a dominant interest and in 1847, he went to Edinburgh and enrolled at the Trustees’ Academy where he was taught by Robert Scott Lauder.
Lauder’s influence on Herdman was considerable. More than any other of Lauder’s famous students, Herdman remained faithful to his teacher’s values throughout his career. Herdman was a regular recipient of prizes at the Academy for drawing and painting from the life model. In 1853 he was selected by the Trustees Academy to go to Italy to paint watercolour copies of works by the Italian masters.
Herman completed his training by spending a year in Italy (1855-56) where he studied a variety of sources, ranging from Masaccio and Filippino Lippi, through to Raphael and Tintoretto. On his return to Scotland, Herdman became a regular exhibitor at the Royal Academy in London and at the Royal Scottish Academy in Edinburgh. He became an associate of the latter in 1858 and a full academician in 1863.
He became well known as a portraitist, genre and historical narrative painter, often painting subjects from Scottish history. These were observed through a romantic lens, influenced by Walter Scott, whose works Herdman illustrated for engraving purposes, commissioned by the Royal Association for the Promotion of the Fine Arts in Scotland. His paintings are not historically accurate or intellectual, but tend towards the dreamy and emotional, with a painterly interest in colour." Glasgow collections website.
Galgen der Burg Jörgenberg - Munt sogn Gieri ( forca gibet gallows Richtstätte Richtplatz lieu d'exécution luogo di esecuzione place of execution ) ob Waltensburg in der Surselva im Kanton Graubünden - Grischun der Schweiz
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Ausflug nach W.altensb.urg am Mittwoch den 16. Oktober 2013
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Ü.bernachtung in R.häzüns
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Mit dem A.uto von R.häzüns nach F.alera
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Besuch des M.egalithena.nlage P.arc la M.utta
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Mit dem A.uto weiter nach W.altensb.urg
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Besuch der K.irche W.altensb.urg und der R.uine K.ropfens.tein
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Mit dem A.uto über B.reil zurück nach R.häzüns
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Hurni131016 AlbumZZZZ131016Ausfl.ugF.aleraW.altensb.urg KantonGraubünden KantonGrischun AlbumGraubünden
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 131223
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NIF
This memorial takes the form of a glass pillow resting on a polished glass disk. It is intended to remember all those who were executed near this spot, with particular reference to the seven famous figures who were beheaded here and three army deserters shot by firing squad. Around the disk are the words--
Close to this site were executed:
William, Lord Hastings 1483
Queen Anne Boleyn 1536
Margaret Pole, Countess of Salisbury 1541
Jane Boleyn, Viscountess Rochford 1542
Queen Katherine Howard 1542
Lady Jane Grey 1554
Robert Devereux, Earl of Essex 1601
Highlander Farquhar Shaw 19 July 1743
Highlander Samuel Macpherson 19 July 1743
Highlander Malcolm Macpherson 19 July 1743
Operational Contract Support Joint Exercise 2016 participants perform the exercise execution phase April 2, 2016, at Fort Bliss, Texas. This exercise provides training across the spectrum of OCS readiness from requirements and development of warfighter staff integration and synchronization through contract execution supporting the joint force commander. (U.S. Air Force photo by Staff Sgt. Jonathan Snyder/Released)
Where danish members of the resistance where executed by the german soldiers and gestapo during WW2 and the occupation of Denmark april 9 th 1940 - may 5th 1945.
Notice the poles have been shot through in chest height. A white cloth was fastend to the chest of the person/persons, so the shooters had no problem aiming for the heart.
Paco Park was originally planned as a municipal cemetery for the well-off and established aristocratic Spanish families who resided in the old Manila, or the city within the walls of Intramuros during the Spanish colonial era. Most of the wealthy families interred the remains of their loved ones inside the municipal cemetery in what was once the district of Dilao (former name for Paco). The cemetery was built in the late 18th century but was completed several decades later and in 1822, the cemetery was used to inter victims of a cholera epidemic that swept across the city.
The cemetery is circular in shape, with an inner circular fort that was the original cemetery and with the niches that were placed or located within the hollow walls. As the population continued to grow, a second outer wall was built with the thick adobe walls were hollowed as niches and the top of the walls were made into pathways for promenades. A Roman Catholic chapel was built inside the walls of the Paco Park and it was dedicated to St. Pancratius.
On December 30, 1896, Philippine national hero Dr. José P. Rizal was interred at Paco Park after his execution at Bagumbayan.