On or very near this date in 1943, a Ukrainian militias massacred the Poles of the village of Janowa Dolina (Yanova Dolina).
Janowa Dolina in the 1930s. The village was a model settlement for workers at the nearby basalt quarry, jobs given at that time by official preferences to Poles. It was created in the 1920s, and featured an orderly plot with running water and electricity throughout.
In World War II, each theater of the war was unhappy in its own way. For the beautiful region of Volhynia long straddling the blood-soaked marches between Poland and Ukraine, it meant a ghastly local war under the umbrella of German occupation.
Mostly Polish in the interwar years, when Ukrainian residents chafed under “Polonization” policies, Volhynia had come fully under Soviet control when Berlin and Moscow carved up Poland in 1939, and then, of course, fully under German control in 1941. In these years of ash and bone, ethnic compositions in Volhynia were redrawn with every desperate ferocity nationalism could muster: pogroms visited neighbor upon neighbor, or ethnic cleansing visited state upon subject. It would be Ukrainian ultras positioned in the end to fantasize about ethnic purity by dint of their collaboration with the conquering Reich.
Come 1943, Poles comprised a shrinking minority in Volhynia. The prospect of purging this borderlands to cinch its place in a Ukrainian homeland made those Poles an inviting target for a campaign of ethnic slaughter that’s remembered now as the Volhynia or Volyn Massacres. And with the German defeat at Stalingrad and the Red Army’s advance on eastern Ukraine, Reich administration further west had become sufficiently distracted by more urgent priorities that genocidaires* perceived their moment to strike.
“We should undertake a great action of extermination of the Polish element. As the German armies withdraw, we should take advantage of this convenient moment to exterminate the entire male population from 16 to 60 years of age,” thundered Dmytro Klyachkivsky, a commander of the Ukrainian Insurgent Army (UPA), military organ of the Organization of Ukrainian Nationalists (OUN-B).** “As the German armies withdraw, we should take advantage of this convenient moment for liquidating the entire male population from the age of 16 up to 60 years. We cannot lose this battle, and it is necessary to diminish Polish forces at all costs. Forest villages and those near forests, should disappear from the face of the earth.”
Many specific atrocities, beginning in February 1943 and continuing well into 1944, comprise this liquidation drive.
The one of interest for this post is the invasion on the night of April 22-23 — the eve and morning of Good Friday — of Janowa Dolina, a predominantly Polish village where 600 were massacred by the UPA and the village put to the torch.†
This horror is commemorated by a monument at the site …
The 1990 monument commemorating Poles murdered by UPA. Here’s a closer view of the stone marker, and here’s the inscription on the adjacent cross.
As anyone holding even passing familiarity with events in present-day Ukraine will surely know this is no mere historiographical quibble; the legacy of the OUN from World War II and of its descendants on the modern far right remain deeply contentious in and out of Ukraine.
* Poland officially (and to the dismay of Ukraine) considers this campaign a genocide. There’s also a Polish film on the horrors of Wolyn.
** The OUN split factionally; the “-B” suffix in this case stands for Stepan Bandera, leader of the most militant faction; his surname is still today a byword and/or slur (“Banderists”) for Ukrainian fascism. Its rival faction was the more moderate OUN-M, led by Andriy Melnyk.
† The territory became Ukrainian — which at the time meant Soviet — after World War II and remains so today, so Janowa Dolina is now the Ukrainian town of Bazaltove. There’s a Flickr album tour of the muddy mining village, including photos of the Polish monument and a separate marker for Soviet POWs, but not the UPA monument, here.
‡ The UPA stone also cites April 21-22 as the date. It appears to me, a distant non-specialist, that the Ukrainian construction on what adherents prefer to more neutrally describe as the “tragedy” of Janowa Valley spreads action over two days and emphasizes alleged guerrilla actions by the UPA against German occupation targets prior to destroying the village.
On this date in 1374, mayor Tile von Damm was beheaded by rebel populares in his home city of Braunschweig (Brunswick).
One of northern Europe’s great Hanseatic merchant cities, Braunschweig enjoyed a rich history of civic unrest — the Braunschweiger Schichten. (Literally shift, but also carrying the sense of rebellion.)
The Great Rebellion in Braunschweig, by Alfred von Schüssler (mid-19th century).
One of its most outstanding installments — the one recalled as the Große Schicht — kicked off on April 17, 1374. (Most of the information about this incident is in German, as are most of the links in this post.) On that evening, a meeting of the ruling council of merchant magnates with its guild chiefs on how to deal with Braunschweig’s crippling debt turned tetchy and spilled into a popular protest. Within hours, as a chronicler would later put it, the devil was set loose in Braunschweig.
Guild protests carried to the “House of the Seven Towers” where Tile von Damm(e) resplended in the manner fitting the city’s mayor and its wealthiest patrician. That house still exists to this day, but the mayor’s thread was measured in mere hours: he was soon hauled out and beheaded on the Hagenmarkt.
Either eight or ten magnates (sources seem to be split on the figure) were slain during these April disturbances with others fleeing as guild rebels took full control of the city, not to be fully restored until 1386 — although in a show of transnational oligarch solidarity, Braunschweig was booted out of the Hanseatic League while the lower orders had the run of the place.
On April 1, 1464 mayor of Cologne Johann Breyde was chopped into quarters … with ink.
This startling image does not depict an actual flesh-and-blood execution. It is, instead, an outstanding (and conveniently for our purposes, dated) instance of an artifact from medieval Germany, the Schandbild. Such “defamatory pictures” often supplemented a Schmahbrief or “defamatory letter” — intended, as the names suggest, to impugn publicly the target over a debt, a broken promise, or some other private breach of faith.
Something like 100 of these defamations survive from late medieval and early modern Germany (approximately 1400 to 1600), many of them fantasizing about their debtors’ executions in bloodthirsty scenes that also gesture to the place that ritual, spectacle, and dishonor held on the real-life gallows. Here are a few of the more piquant examples; many more await at a wonderful Pinterest gallery here.
The purpose of defamatory letters and pictures was to bring low the reputation of their target in the eyes of a wider community — leveraging social pressure either for revenge, or to force the defamed to repair the breach.
Matthias Lentz, one of the (regrettably few) historians working on these underappreciated objects, notes* that there are even surviving contracts from Germany, Bohemia and Poland enumerating an “explicit understand about injuring a person’s reputation and bringing dishonour upon a defaulting individual … a clause called Scheltklausel that laid down the practice of publicly scolding a defaulter.” For every Schandbild or Schmähbrief there must have been a dozen other potential swindlers quietly forced by the threat of public infamy to make good their contracts.
Per Lentz, the earliest known instance of an explicit contract dates to 1379, “wherein a ducal councillor accorded a nobleman, in eventuality of the former violating the terms of the contract, the right to denounce him as a fraud by ‘posting his name on the pillory [of the councillor’s home town], or wherever he likes'” — again, linking the “mere” text to the instruments of official corporal punishment.
Nor was it uncommon for the Schmähbrief, if things got to that point, to fantasize about the debtor’s bodily suffering in brutal terms that would like invite an investigation for terroristic threats were the modern debt collection call center to deploy them in its harangue. One quoted by Lentz captioned his illustration thus:
It is customary to judge thieves and traitors according to their offences, the first is sent to the gallows, the second broken on the wheel. As I have not got power to carry out the above-mentioned acts, it is my intention to use the painter to have them painted hanging from the gallows and being tortured on the wheel.
Still, Schandbilder und Schmähbriefe meant to intimidate not physically, but socially.** It was in this capacity that the iconography of the pillory and the scaffold entered the frame: ’twas an infamy to be exposed upon them for a public crime — serving as “an indictment of those who knew the criminal … [and] a punitive stigma over his or her relatives and friends.”† Posting a slur on the repute of a prominent person — for the targets were most always people of rank, who would feel an injury to their status — taxed this same, essential, civic currency.
This is why we should let his shameful picture hang here with his coat of arms, until he has given me compensation recognized by respectable people for those unwarranted things that he and his people did … and ask all those who seek charity, who see him painted hanging, that they let him hang. (Source)
By consequence the execution imagery was strictly optional, one iconographic choice among many. From the too-few examples that survive to us it is plain that creditors delighted in their symbolic chastisement, issuing all the obloquies a grievance could devise, untethered from the confines of possible or the … sanitary.
The Schandbild frequently evinced a scatological fixation.
* Quotes form Lentz’s “Defamatory Pictures and Letters in Late Medieval Germany: The Visualisation of Disorder and Infamy” in The Medieval History Journal, vol. 3, no. 1 (2000). Lentz also has several German-language journal titles on the same topic.
** Not necessarily true of their Italian cousins, pitture infamanti. These were a similar sort of thing, but were issued not privately but by the city-states themselves against absconded offenders — a sort of quasi-execution by effigy. Many of these were painted for public spaces and removed with the passage of time so we have lost exemplars, including the products of masters — the Medici, for example, commissioned Botticelli to grace Florence with pitture infamanti of the Pazzi conspirators, which were whitewashed in 1494.
A characteristic pose for these pictures, also used in Germany, had the “victim” hanging upside-down by one foot, conjoining “metaphors of inversion” (as Robert Mills puts it) to the disgrace of the gallows. This posture is commonly thought to have inspired the “Hanged Man” tarot card.
Left: a pittura infamante study by Florentine Renaissance artist Andrea del Sarto; right: the “hanged man” card from a tarot pack.
*† Maria Boes, “Public Appearance and Criminal Judicial Practices in Early Modern Germany,” Social Science History, Vol. 20, No. 2 (Summer, 1996)
A Magdeburg gardener of socialist proclivities, Jennrich was nothing more than an enthusiast who got swept up in events when metalworkers at the Ernst-Thälmann factory struck for better pay and lower food prices — a protest that quickly metastasized into what looked to the Communist authorities like a treasonable movement calling for liberalization, a release of political prisoners, and reunification with West Germany.
The movement was crushed within a day by Russian tanks — although some Soviet soldiers notably (and sacrificially) refused to fire on protesting workers. But before events played out, Jennrich had disarmed a guard at the prison in nearby Sudenburg. He fired the guard’s carbine twice, then destroyed the weapon.
It’s not certain how many people lost their lives in the suppression of this affair — hostile western estimates ran into the thousands — but two policemen were killed at Sudenburg prison, and in a cruel show of official impunity Jennrich got tapped to answer for their deaths. He said he’d just fired the carbine into a wall or the air in order to empty it … but the state said he’d emptied it into those two luckless officers.
On scant evidence, Jennrich harshly received a life sentence that August. But even this did not suffice for officials racing to manifest their righteous indignation against the late subversion. “The protection of our peaceful state requires the death penalty for the crimes committed by the defendant,” huffed the prosecutor, and appealed the sentence to Germany’s high court … which accordingly upgraded the sentence to “the extermination of the defendant from our society, and therefore the death penalty.”
Jennrich was beheaded on the fallbeil at Dresden still protesting his innocence. A post-unification court finally vindicated that protest in 1991, posthumously rehabilitating Jennrich as having been condemned without evidence even by the terms of East Germany’s 1950s laws.
On this date in 1942, the start of Purim,* Nazi forces occupying Minsk massacred approximately 5,000 Jews from the Minsk Ghetto at a site known simply as Yama, “the Pit”.
The site, which hosts memorial events every March 2, was marked with a somber obelisk in the immediate postwar years; unusually for a Stalin-era monument, it is overt about the Jewish character of the victims — for Soviet propaganda often obfuscated this with a technically-correct formulation such as “Russian citizens”. In this case, the 1940s memorial obelisk remarkably had a Yiddish inscription to mirror its Russian one. (The sculpture of a column of faceless people tragically descending the slope into the pit was added in the post-Soviet period.)
All images (cc) Dennis Jarvis.
Minsk’s pre-war Jewish population of more than 50,000 was almost entirely annihilated during World War II.
Comprised of foreign communists whose backgrounds amply motivated them to desperate resistance, FTP-MOI was a notably aggressive partisan unit; a few months before this date’s executions, it had stunningly assassinated SS Col. Julius Ritter on the streets of Paris. Risky tactics, including larger-scale operations like the one that claimed Ritter (these required more partisans to know each other) entailed greater risk of penetration, and the November 1943 arrest of the Armenian commander Missak Manouchian and his group devastated FTP-MOI. After the customary interlude of torture, these were subjected to a show trial with 23 condemned to execution.*
As a gaggle of foreign terrorists, heavily Semitic, this clique looked to the occupation like a marvelous tar with which to blacken the Resistance. To that end the Germans produced a scarlet poster denouncing the Resistance as an “Army of Crime,” its soldiery labeled with strange names and alien nationalities converging on the swarthy Manouchian.**
Soon known as l’Affiche Rouge, the poster instead apotheosized its subjects. In the postwar period it became an emblem of the best of the Resistance — its multinational unity, France as an idea powerful enough that men and women of distant birth would give their lives for her. (Not to mention the postwar French Communists’ claim on le parti des fusillés.)
To this day in France, the backfiring propaganda sheet is one of the best-recognized artifacts of the Resistance.
The executions were naturally conducted quietly; the Germans strictly forbade public access to or photography of Resistance heroes in their martyrdoms for obvious reasons.
That made it especially surprising when a few pictures of this execution surfaced recently, surreptitiously snapped from an overlooking vantage by German motorbike officer Clemens Rüter, who kept them hidden for decades. They are to date the only known World War II photos of French Resistance members being executed.
* The 23rd, and the only woman in the group, was Romanian Olga Bancic, also known by the nom de guerre Pierrette; she was not shot on this date but deported to Stuttgart and beheaded there on May 10, 1944. There was also a 24th, a man named Migatulski, who was initially part of the same trial; he was instead remanded to French custody. (See coverage in the collaborationist La Matin from Feb. 19, 1944 and Feb. 22, 1944.)
** We’ve noted before that a Polish Jew named Joseph Epstein who was part of the same cell (and a prime candidate for racist demagoguing) avoided a place on l’Affiche Rouge thanks to his preternatural talent for remaining mum under interrogation.
Gerson’s cabaret career was the more robust through the roaring twenties but with benefit of retrospection we admit with Liza Minelli that from cradle to tomb, it isn’t that long a stay.
And the ominous next act would not belong to Weimar Jews.
After being elbowed off German stages by Reich race laws, Gerson recorded several songs in German and Yiddish; her “Vorbei” (“Beyond Recall”) hauntingly commemorates the lost world before fascism — “They’re gone beyond recall / A final glance, a last kiss / And then it’s all over.”
Gerson fled Nazi Germany to the Netherlands; once that country fell under its own harrowing wartime occupation, she tried to escape with her family to neutral Switzerland but was seized transiting Vichy France. Gerson, her second husband Max Sluizer, and their two young children Miriam (age 5) and Abel (age 2) were all deported to Auschwitz and gassed on arrival on Valentine’s Day 1943.
* Her first marriage was to film director Veit Harlan, who would later direct the notorious anti-Semitic propaganda film Jud Süß — based on an executed Jewish financier. From the German-occupied Netherlands, Gerson unsuccessfully appealed to this powerful ex for protection.
** Future horror maven Bela Lugosi also appeared in both Gerson films, Caravan of Death and On the Brink of Paradise. Gerson’s German Wikipedia page also identifies her as the voice of the evil queen in the 1938 German-language dub of Disney’s Snow White and the Seven Dwarves.
February 12th. Hennsa of Geyselwind, alias the fat lad; Hennsa Pallauf of Hernda; Killian Wurmb of Virnspach, alias Backendt; Hans Schober of Weher, alias Pulfferla; and Hennssla Klopffer of Reigelsdorff; five thieves who, with the previously executed ‘Silly Mary’ and ‘Country Kate,’ had burgled and stolen (they had also formerly been whipped out and put in the stocks ten times). They had to be clothed, for they were naked and bare; some of them knew no prayers and had never been in a church; the eldest were 22, 17, 16 and 15 years old, the youngest 13 years. All five hanged here in Nuremberg.
Executioner Franz Schmidt records in his journal for this date in 1584 the hanging of two women — according to Schmidt, the first women hanged in Nuremberg.
February 11th. Maria Kurschnerin of Nuremberg, alias Silly Mary, who had formerly been whipped out of town with rods, and had her ears cropped; also Katherine Schwertzin of Weher, alias Country Kate, who had also formerly been whipped out of the town; both of them thieves and whores, who with thievish youths and fellows climbed and broke into citizens’ houses and stole a mighty quantity of things; both hanged at Nuremberg. It was an unheard of thing for a woman to be hanged in Nuremberg, and it had never yet happened.
Thought Schmidt doesn’t say it, both of these girls were very young — according to Joel Harrington’s The Faithful Executioner, both would be minors by today’s standards.
This helps account for the huge crowd that turned out to see them executed — many of them no doubt had also been in the huge crowd that had previously seen “Silly Mary” suffer a non-fatal corporal punishment the year before. The executioner Schmidt administered that punishment as well, and likewise noted it in his diary on January 10, 1583.
January 10th. Mary Kurssnerin, a young prostitute, who was a watchman’s [musketeer’s?] daughter, a girl who had thieved considerably and a handsome young creature with whom the young Dietherr had dealings; Elizabeth Gutlerin, a bath attendant; Katherine Aynerin, alias die Gescheydin, a blacksmith’s wife and a handsome creature; all three children of citizens, and prostitutes, were here pilloried and afterwards flogged out of the town. Such a dreadful crowd ran out to see this that several people were crushed to death under the Frauenthor. Subsequently Mary’s ears were cut off, and she was hanged.
Jean-Marie Arthus (“Marchand” by his nom de guerre), Jacques Baudry (“Andre”), Pierre Benoit (“Francis”), Pierre Grelot (“Paul”) and Lucien Legros (“Jeannot”)* started small with subversive pamphleting and placarding but soon moved on to sabotage and armed opposition in affiliation with the Francs-Tireurs et Partisans.
The arrest of one of their teachers, Raymond Burgard, in 1942 spurred them to lead a student demonstration whose mass arrest they barely escaped. By that time their identities were known, and the boys had to go underground; for their remaining months at liberty they lived on the run and participated in occasional (albeit not very damaging) armed attacks on occupying forces — until that summer, when French intelligence arrested Arthus, Baudry, Grelot and Legros, and French police later caught Benoit.
All five were handed off by their collaborationist countrymen to the eager claws of the Germans, who condemned them as terrorists at a military trial.
* A sixth school chum, Michel Agnellet, could easily have joined them at the execution posts and in the martyrologies, but the five who were captured did not permit their interrogators to extract his name.