View allAll Photos Tagged execution
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.
Members from the U.S. Army Corps of Engineers, Savannah District talk with Maj. Gen. Michael Wehr, (center) Deputy Chief of Engineers/Deputy Commanding General, about the progress being made on contracts to repair damage caused by Hurricane Florence at Military Ocean Terminal Sunny Point, N.C. Oct. 5, 2018. -U.S. Army photo by Russell Wicke
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 Postcard
A postally unused postcard bearing no publisher's name. The card was printed in Saxony, although the design of the back of the card looks American.
The card was posted in West Lynn, Massachusetts on Thursday the 1st. January 1914 to:
Margaret Rickman,
56, Fourth Street,
West Lynn.
The message on the divided back of the card was as follows:
"Love from Blanche".
Inayat Khan
So what else happened on the day that Blanche posted the card?
Well, the 1st. January 1914 marked the birth of Noor-un-Nisa Inayat Khan, GC.
She was a British heroine of World War II renowned for her service in the Special Operations Executive.
She also went by the name Nora Baker, and was a published author of Indian Muslim and American descent who was posthumously awarded the George Cross for her service in the SOE, the highest civilian decoration in the UK.
As an SOE agent she became the first female wireless operator to be sent from Great Britain into occupied France to aid the French Resistance during World War II, and was Britain's first Muslim war heroine.
Inayat Khan was betrayed to the Germans by a double agent working for the Sicherheitsdienst.
She was arrested and taken to Germany on the 27th. November 1943 "for safe custody".
Khan was imprisoned at Pforzheim in solitary confinement as a "Nacht und Nebel" ("Night and Fog": condemned to "Disappearance Without Trace") prisoner, in complete secrecy. For ten months, she was kept there, shackled at her hands and feet.
Execution
Inayat Khan was abruptly transferred to Dachau concentration camp with fellow agents Yolande Beekman, Madeleine Damerment and Eliane Plewman, and at dawn on the following morning, the 13th. September 1944, the four women were executed.
A Gestapo man named Christian Ott gave a statement to American investigators after the war as to the fate of Inayat Khan and her three companions. Ott was stationed at Karlsruhe and volunteered to accompany the four women to Dachau as he wanted to visit his family in Stuttgart on the return journey. He reported:
'The four prisoners had come from the
barrack in the camp, where they had
spent the night, into the yard where the
shooting was to be done.
Here the death sentence was announced
to them.
The German-speaking Englishwoman told
her companion of this death sentence.
All four had grown very pale and wept.
Khan asked whether they could protest
against the sentence. The Kommandant
declared that no protest could be made.
The four prisoners now had to kneel with
their heads towards a small mound of earth,
and were killed by two SS men, one after
another by a shot through the back of
the neck.
During the shooting the two Englishwomen
held hands and the two French women
did likewise.
For three of the prisoners the first shot
caused death, but for the German-speaking
Englishwoman a second shot had to be fired,
as she still showed signs of life.
After the shooting of these prisoners the
Lagerkommandant said to the two SS men
that he took a personal interest in the jewellery
of the women, and that this should be taken
to his office'.
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.
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
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.
Photographer unknown: Execution in Old Shanghai, September 1904. Major criminals were sometimes left to die publicly as an example to the innocent. A “cage” was constructed so that the inmate could either stand on tiptoe to relieve the pressure around his neck or finally suspend himself until he strangled.
Source: The Face of China As Seen by Photographers & Travelers 1860-1912, p. 89