View allAll Photos Tagged execution
I think that people were executed or something here. I don't know what it was, but it looked like a pretty brutal place.
In the face of inevitable death, the prisoners behaved with calm dignity. They were shot singly or in pairs in the back of the head. The place of execution was the yard between Blocks 10 and 11, which was sealed off by two walls.
Here there was a wall, specially painted black, built of wood, sand and insulating board. At the foot of the wall, sand was sprinkled to soak up the blood of the victims. This wall was known as the “Wall of Death” or “Black Wall”.
Site of the pawpaw tree incident where three McCoy brothers were tied to the trees and shot in 1882. This was just on the Kentucky side of the river outside of Matewan, WV.
The historical marker at the site reads: "Pawpaw Tree Incident: This episode is result of 1882 election-day fight. Tolbert, a son of Randolph McCoy, exchanged heated words with Ellison Hatfield, which started a fight. Tolbert, Pharmer and Randolph McCoy Jr. stabbed Ellison to death. Later the three brothers were captured by Hatfield clan, tied to the pawpaw trees, and shot in retaliation."
See More: Howder Travel Adventures
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)
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.
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.
"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.
“We Will Not Be Silent” is a statement attributed to a student resistance movement in Nazi Germany called The White Rose. It is a statement of purpose, intended to inspire acts of resistance and dissent against abuses of power.
All of us, who believe in our freedom and that of others, cannot afford to be silent.
The White Rose was a non-violent, intellectual resistance group in Nazi Germany, consisting of students from the University of Munich and their philosophy professor. The group became known for an anonymous leaflet and graffiti campaign, lasting from June 1942 until February 1943, that called for active opposition to dictator Adolf Hitler's regime.
The six most recognized members of the German resistance group were arrested by the Gestapo, tried for treason and beheaded in 1943.
Sophia Scholl (9 May 1921 – 22 February 1943) was a German student and revolutionary, active within the White Rose non-violent resistance group in Nazi Germany.
She was convicted of high treason after having been found distributing anti-war leaflets at the University of Munich with her brother Hans. As a result, they were both executed by guillotine.
Since the 1970s, Scholl has been celebrated as one of the great German heroes who actively opposed the Third Reich during World War II.
Another 4 executions by puppet administration in Iran through last two days.
They prove not only their unfaithfulness to the
god but also they believe in Darkness.
"During his consulship the royal family made an attempt to regain the throne, firstly by their ambassadors seeking to subvert a number of the leading Roman citizens in the Tarquinian conspiracy. Amongst the conspirators were two brothers of Brutus' wife Vitellia, and Brutus' two sons, Titus Junius Brutus and Tiberius Junius Brutus. The conspiracy was discovered and the consuls determined to punish the conspirators with death. Brutus gained respect for his stoicism in watching the execution of his own sons, even though he showed emotion during the punishment. His colleague Collatinus was removed from office for his lack of harshness on the conspirators."
Source: Wikipedia
"The Royal Palace of Amsterdam in Amsterdam (Dutch: Koninklijk Paleis van Amsterdam or Paleis op de Dam) is one of three palaces in the Netherlands which are at the disposal of the monarch by Act of Parliament. It is situated on the west side of Dam Square in the centre of Amsterdam, opposite the War Memorial and next to the Nieuwe Kerk.
"The palace was built as a city hall during the Dutch Golden Age in the 17th century. The building became the royal palace of King Louis Napoleon and later of the Dutch Royal House.
"The structure was built as the Town Hall of the City of Amsterdam 'facing the landing wharfs along Damrak, which at that time would have been busy with ships'. The town hall was opened on 29 July 1655 by Cornelis de Graeff, the mayor of Amsterdam. The main architect was Jacob van Campen, who took control of the construction project in 1648.
"After the patriot revolution which swept the House of Orange from power a decade earlier, the new Batavian Republic was forced to accept Louis Napoleon, brother of Napoleon Bonaparte, as King Louis I of Holland in 1806. After holding his court at The Hague and Utrecht, Louis Napoleon moved to Amsterdam, and converted the Town Hall into a royal palace for himself.
"The King of Holland did not have long to appreciate his new palace. He abdicated on 2 July 1810; his son, Napoleon Louis Bonaparte, then succeeded him, as King Louis II, before the Netherlands were annexed by France ten days later. The palace then became home to the French governor, Charles François Lebrun.
"Prince William VI (son of Prince William V of Orange), returned to the Netherlands in 1813, after Napoleon fell from power, and restored the palace to its original owners. After his investiture as King William I of the Netherlands, however, Amsterdam was made the official capital of the United Kingdom of the Netherlands (the seats of government being Brussels and The Hague). The new king realised the importance of having a palace in the capital, and the Town Hall again became a royal palace."
Source: Wikipedia
Church of St John the Evangelist,
Bedingfield Chantry Chapel,
Terracotta tomb chests, now without the original brasses.
Sympathetically restored in 1968, Sir Edmund’s, which divides the chapel from the church, had greater losses (made good in a deeper red material) than Lady Margaret’s framing the entrance to the chantry chapel. Sir Edmund’s was also cut down on the edges of both sides where it joins the chapel wall. The roof of chantry chapel has just undergone a major restoration.
The Bedingfields, originally from the village of the same name in Suffolk, inherited Oxburgh as a result of Edmund Bedingfield’s (d. 1451) marriage with of Margaret Tuddenham (d. 1476) and her inheritance of her brother Thomas's estate, which included Oxburgh, following his execution in 1462. On Margaret's death in 1476 the estate passed to her grandson, Edmund Bedingfield (1443–1496). Edmund, who was knighted in about 1482, moved the family's main residence to Oxburgh, building Oxburgh Hall about 1482. His widow Lady Margaret (née Scot †1514) added the chantry chapel for her burial in her will of 1513. It retained the west and east, together with one on the south west wall, windows of the chapel, established by her husband, Edmund. The chantry chapel was provided with a new roof and windows on the south wall and, most importantly, two striking terracotta tomb chests. Their date is uncertain but is now thought to have been in the late 1520s or early 1530s, at the same time as two similar terracotta monuments at Layer Marney. The connection suggests that Margaret's youngest son and eventual heir, Sir Edmund Bedingfield (1479/80–1553), was responsible for the commission. He was connected with the Marney barons through his marriage with Grace Marney (d. in or after 1553), the daughter of Henry, first Baron Marney. The monuments at Oxborough and Layer Marney must have been made by the same workshop and share a range of continental influences, which may have come through France where Edmund had fought with distinction and been knighted for his bravery by Charles Brandon, duke of Suffolk, in 1523.
As noted above Lady Margaret’s tomb chest runs across the chapel, framing the entrance with decorative pilasters which support a cornice, decorated with alternating semi-circular and triangular pediments where rather crude putti play with flaming hearts and hold geese(?). Further putti sit on the triangular pediments of the six drums, which crown the canopy. The chest is decorated with rectangular panels of flowers springing from vases framed by pilasters, where shields hang beneath ribbons. While the form of the monuments, with their canopies, decorated chests and cusps transformed into capitals hanging from the cornice, is traditional the detailing reflects the Italian Renaissance discovery of ‘grotesque’ decoration in the Golden House of Nero during the later fifteenth century. As style that had been taken up both in the Netherlands and, most accessibly, France, leading to the suggestion hat the workshop responsible for the Oxborough, Layer Marney and the slightly Jannys monument at St George, Colegate were possibly French, or perhaps even Flemish like those responsible at the end of the 1530s for the monument to Thomas Howard, 3rd Duke of Norfolk, intended for Thetford priory, but finally reconstructed in the family chapel at Framlingham in the 1550s.
Whinney, M., revised Physick, J., Sculpture in Britain, 1530 to 1830, London, 1988, 34-36, 428 note 15; Pevsner, N. and Wilson B., Buildings of England. Norfolk 2: North West and South, New Haven and London, 1997, 582-583; ODNB: Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Oct 2009, article by William Sheils.
"The bell will toll, the curtain rises, and you will see the culprit pay the penalty!"
At the Museé Mechanique in San Francisco, CA
Execution Rocks Lighthouse
National Lighthouse Museum
Signature "Halloween" Tour
Out of Staten Island, NY
October 30, 2021
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.