Category Archives: Arts and Literature

1868: John Millian, who martyred a madam

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On this date in 1868, Mark Twain witnessed a Frenchman hanged in Virginia City, Nevada for murdering a popular prostitute.

Julia Bulette had turned up murdered in January 1867, her parlor ransacked for valuables. The crime went unsolved for several months until John Millian — or, Millain or Milleain — was caught selling one of her dresses.

The immigrant spoke very little English and was effortlessly convicted, though he maintained his innocence to the gallows.

Some three thousand people turned out for the hanging … among them Mark Twain, who was back to visit the town where he had lived a few years before, writing for a local newspaper.

He wrote about the execution in a letter from Virginia City, published in the Chicago Republican May 31, 1868 and only recently excavated by Nevada archivist Guy Rocha:

NOVEL ENTERTAINMENT.

But I am tired talking about mines. I saw a man hanged the other day. John Melanie, of France. He was the first man ever hanged in this city (or country either), where the first twenty six graves in the cemetery were those of men who died by shots and stabs.

I never had witnessed an execution before, and did not believe I could be present at this one without turning away my head at the last moment. But I did not know what fascination there was about the thing, then. I only went because I thought I ought to have a lesson, and because I believed that if ever it would be possible to see a man hanged, and derive satisfaction from the spectacle, this was the time. For John Melanie was no common murderer — else he would have gone free. He was a heartless assassin. A year ago, he secreted himself under the house of a woman of the town who lived alone, and in the dead watches of the night, he entered her room, knocked her senseless with a billet of wood as she slept, and then strangled her with his fingers. He carried off all her money, her watches, and every article of her wearing apparel, and the next day, with quiet effrontery, put some crepe on his arm and walked in her funeral procession.

Afterward he secreted himself under the bed of another woman of the town, and in the middle of the night was crawling out with a slung-shot in one hand and a butcher knife in the other, when the woman discovered him, alarmed the neighborhood with her screams, and he retreated from the house. Melanie sold dresses and jewelry here and there until some of the articles were identified as belonging to the murdered courtezan. He was arrested and then his later intended victim recognized him.

After he was tried and condemned to death, he used to curse and swear at all who approached him; and he once grossly insulted some young Sisters of Charity who came to minister kindly to his wants. The morning of the execution, he joked with the barber, and told him not to cut his throat — he wanted the distinction of being hanged.

This is the man I wanted to see hung. I joined the appointed physicians, so that I might be admitted within the charmed circle and be close to Melanie. Now I never more shall be surprised at anything. That assassin got out of the closed carriage, and the first thing his eye fell upon was that awful gallows towering above a great sea of human heads, out yonder on the hill side and his cheek never blanched, and never a muscle quivered! He strode firmly away, and skipped gaily up the steps of the gallows like a happy girl. He looked around upon the people, calmly; he examined the gallows with a critical eye, and with the pleased curiosity of a man who sees for the first time a wonder he has often heard of. He swallowed frequently, but there was no evidence of trepidation about him — and not the slightest air of braggadocio whatever. He prayed with the priest, and then drew out an abusive manuscript and read from it in a clear, strong voice, without a quaver in it. It was a broad, thin sheet of paper, and he held it apart in front of him as he stood. If ever his hand trembled in even the slightest degree, it never quivered that paper. I watched him at that sickening moment when the sheriff was fitting the noose about his neck, and pushing the knot this way and that to get it nicely adjusted to the hollow under his ear — and if they had been measuring Melanie for a shirt, he could not have been more perfectly serene. I never saw anything like that before. My own suspense was almost unbearable — my blood was leaping through my veins, and my thoughts were crowding and trampling upon each other. Twenty moments to live — fifteen to live — ten to live — five — three — heaven and earth, how the time galloped! — and yet that man stood there unmoved though he knew that the sheriff was reaching deliberately for the drop while the black cap descended over his quiet face! — then down through the hole in the scaffold the strap-bound figure shot like a dart! — a dreadful shiver started at the shoulders, violently convulsed the whole body all the way down, and died away with a tense drawing of the toes downward, like a doubled fist — and all was over!

I saw it all. I took exact note of every detail, even to Melanie’s considerately helping to fix the leather strap that bound his legs together and his quiet removal of his slippers — and I never wish to see it again. I can see that stiff, straight corpse hanging there yet, with its black pillow-cased head turned rigidly to one side, and the purple streaks creeping through the hands and driving the fleshy hue of life before them. Ugh!

This text, as well as a local paper’s report of the hanging, are also here.

Though Twain’s take on the hanging may attract our attention in posterity, the most famous party in the affair is the victim, Julia Bulette. A public figure in life, she was publicly mourned in death and quickly attained mythic status with the full panoply of secular laurels — dimestore paperbacks, “Bonanza” adaptations, and audio book treatment by the Nevada Library and Archives:

[audio:JuliaBulette.mp3]

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1945: Albrecht Haushofer, German Resistance intellectual

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On April 23, 1945, in Nazi Germany’s Berlin-Moabit prison, with the Red Army fast approaching, the SS executed Albrecht Haushofer for his part in the previous year’s July 20 plot to assassinate Adolf Hitler.

A social and political conservative and driving force behind the nascent field of “geopolitics,” which held views of the State “as a geographic organism or a spatial phenomenon” that were incorporated into the National Socialist ideology of “Lebensraum,” Haushofer was an early darling of the drive to find academic and scientific justification for Nazi beliefs and ideals — this despite his own part-Jewish parentage.

Haushofer had reservations about the intentions of the Nazi party following its rise to power in the 1930s, but he nonetheless consented to represent it in foreign affairs, having spent significant time abroad as a geopolitics student in the 1920s. Acting as chief foreign affairs adviser to Rudolf Hess, Hitler’s chief deputy, Haushofer traveled widely to promote German foreign policy. During this time, he wrote a series of historical dramas — Scipio (1934), Sulla (1938), and Augustus (1939) — containing progressively more strident symbolic criticisms of his age.

Believing that Germany must not get involved in another disastrous foreign war, Haushofer was a significant force in negotiating for peace with Britain and France. “The peoples of Europe are in a position in which they have to get on together lest they all perish,” he wrote; “and although one realises that it is not common sense but emotional urges which govern the world, one must try to control such urges.” As Hitler’s desire for war became ever more paramount, however, Haushofer lost his position with the government and returned to Germany, remaining active in secret talks to persuade the British to accept a new peace agreement.

With the outbreak of the Second World War, Haushofer remained a professor of geopolitics at the University of Berlin, but distanced himself from his Nazi past and began associating with elements of the German resistance. As the war wore on, he consistently opposed any attempt on Hitler’s life, but finally agreed to join the July plot as the only way to end the war without bringing further disaster upon Germany. With the plot’s failure, he was arrested by the Gestapo, and executed just days before the Red Army liberated Berlin.

Haushofer composed the Moabiter Sonette (pdf) while in prison, a series of poems posthumously published in 1946 regarded as among the most powerful documents of the German antiwar movement. One of his most well-known sonnets, “Schuld,” attemps to express — in sad retrospect — the weight of his moral guilt in the face of impending death:

“Schuld”

…schuldig bin ich
Anders als Ihr denkt.
Ich musste früher meine Pflicht erkennen;
Ich musste schärfer Unheil Unheil nennen;
Mein Urteil habe ich zu lang gelenkt…
Ich habe gewarnt,
Aber nicht genug, und klar;
Und heute weiß ich, was ich schuldig war.

“Guilt”

I am guilty,
But not in the way you think.
I should have earlier recognized my duty;
I should have more sharply called evil evil;
I reined in my judgment too long.
I did warn,
But not enough, and clear;
And today I know what I was guilty of.

The poem’s last line can be variously translated as “And today I know what I was guilty of” or “And today I know what my obligation had been.” Through this subtle play on words, Haushofer created a powerful poetic link between his failure to act decisively and the supposed “guilt” — “not in the way you think” — for which he had been condemned. His poems remain a testament to the power as well as the responsiblities of the individual under dictatorship, and have earned their writer a place in the annals of history as well as modern-day memorials to the German resistance movement.

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1763: Marie-Josephte Corriveau, Quebec murderess

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On this date in 1763, a young woman shuffled off this mortal coil and into Quebecois folklore.

She’d made the mistake of outliving two husbands, and was convicted (with her father) of having been the instrument of their demise. Gibbeted after her death — a punishment not used in France, but Quebec had been captured by the English in the French and Indian War — her corpse became a figure of ghost stories and popular superstition, haunting passersby and playing poltergeist.

But why take it from me? Here’s the unhappy fate of Madame Corriveau, in puppet theater.

Or a stylish graphic novel-style cartoon.

Devotees of the written word can get their fill in two 19th century texts available free from Google Books: a passage in Maple Leaves, and a historical novel in which she figures as a character, The Golden Dog. Her French Wikipedia page is here.

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1947: Fernand de Brinon, Vichy minister with a Jewish wife

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On this date in 1947, former Vichy Secretary of State Comte Fernand de Brinon was shot in the Paris suburb of Montrouge for war crimes.

A lawyer and journalist who met future Nazi luminary Joachim von Ribbentrop in 1919, Brinon and his socialite wife Lisette were the toast of right-wing high society in the 1930’s. He even scored a scoop interview with the Fuhrer himself, shortly after Hitler became chancellor.

Germany’s rout of France in 1940 vindicated to many of the French right their critiques of France’s decadence; for Brinon, the natural step was support for collaboration, a career-enhancing philosophy that saw him to the third-ranking position of the Vichy government.

There he struck a post-partisan, consensus-oriented pose vis-a-vis picking sides between the new overlord and the erstwhile ally it was bombing:

To collaborate loyally with our opponents of yesterday in no way signifies in the mind of any man of good sense becoming the enemies of our allies of yesterday. (New York Times)

Men of good sense also knew the Bolsheviks were the real threat to world peace; hence, this Vichy-era newsreel of today’s victim reviewing French troops on the Eastern front:

Brinon knew exactly which side he was on and behaved as such, according to Occupied France: Collaboration and Resistance, 1940-1944:

[O]bsequious, indiscreet and an open admirer of Nazism … his collaboration was ideological, and it exceeded by far the agreements over food, prisoners of war, the demarcation line, and the mass of daily adjustments to the occupation sought by most Vichy officials … [Brinon represented] the Nazi end of the Vichy spectrum.

That made him an easy call for the sternest reprisal liberated France could exact, and he knew it himself: Fernand and Lisette tried to flee for Germany when the western allies began recapturing France in 1944.

What adds poignancy, if perhaps not sympathy, to his fate is the fact that Lisette — Jeanne Rachel Louise Franck, her name had been before he put a ring on her finger — was Jewish, and that fact was not a secret. She spent the occupation years as an official Honorary Aryan, safe from the deportations her husband helped arrange for others.

Lisette was also arrested by the Allies as she fled for Germany in 1944 — and how many Jews can say that? — but was released, and died in 1982. Four years ago, her aged son wrote a soul-searching book about his relationship with his mother and (for Brinon was Lisette’s second marriage) his stepfather, Lisette de Brinon, Ma Mere. There is also a recent biography of Brinon in French (review (also French)).

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1682: Avvakum Petrov, Old Believer

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[audio:Old_Believer_chant.mp3]
(An Old Believer chant, via the Orthodox Church in America)

On this date in 1682, the Orthodox “Old Believer” priest Avvakum was burned at the stake in Pustozyorsk — part of Russia’s brutal crackdown on religious dissenters.

Old Believers rejected — with varying degrees of obstinacy, ranging at its most dramatic to communal self-immolation — liturgical reforms (and a concomitant expansion of central authority) forced by Patriarch Nikon. The conflict between the institutional church and Old Believers resulted in Orthodoxy’s great 17th-century schism, and persecution of the recalcitrants that waxed and waned for generations.

Avvakum, a protopope of one of the principal Moscow cathedrals, was at the forefront of the resistance as the schism opened, refusing to be reconciled with Nikon.

His tart autobiographical account — of miracles, devilry, preaching and persecution — captures an arresting, if obviously partisan, view of the situation.

Later they took the priest Lazar and cut his entire tongue from his throat. Just a bit of blood there was, and then it stopped. And he again spoke even without a tongue. Next they put his right hand on the block and chopped it off at the wrist, and lying there on the ground, of itself the severed hand composed its fingers according to tradition, and it lay that way a long time before the people. Poor thing, it confessed even in death the unchanging sign of the Savior.*

…

Wonderful are the works of the Lord and inexpressible are the designs of the Most High! He suffers punishment, but he has mercy and heals again. But why go on and on ? God’s an old hand at miracles, he brings us from nonexistence to life. And surely he will resurrect all human flesh on the last day in the twinkling of an eye. But who can comprehend this? For God is this: he creates the new and renews the old. Glory be to him in all things!

The “Life of the Archpriest Avvakum” is reprinted in Russian, English and Belgian here, and a slightly different English translation is extensively annotated here.

Old Believers (not excluding those in North America, though this trove of resources is not to be missed by anyone with an interest in Russian Orthodoxy, regardless of locale) still persist, unreconciled to the Orthodox establishment. This respectful photography project documents modern Old Believer life:

* One of the liturgical changes at issue was making the sign of the cross with two fingers (the old way) or three (the new way) — a particularly emblematic symbol of the conflict (notice Avvakum’s two-fingered blessing in the icon above). The dispute had a notable artistic use in Boyarina Morozova, a Vasily Surikov painting of an Old Believer defiantly holding up two fingers as she is hauled to exile.

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1670: Major Thomas Weir, a Puritan with a double life

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On this date in 1670, a 70-year-old upstanding Edinburgher went to the stake for confessing — unbidden — to witchcraft.

The “Wizard of West Bow” had had a distinguished military career and an exactingly pious public life among Edinburgh’s strictest Presbyterians. So it came as something of a surprise when, after being struck by an illness, he up and copped to a lifelong sexual relationship with his sister Jean … and a lifetime of hitherto unknown black arts, powered by a Satanic walking-staff. He was so far from being suspect that town elders at first thought him daft.

Only when Jean backed his story with the sort of details to give vapors to the “Bowhead Saints” neighborhood did things get serious. She especially warned about that staff.

So on this day, the dumbfounded city worthies had to tote one of their own to the area around Edinburgh’s modern Pilrig Street and have him strangled and burnt at the stake. Whatever moved Weir to issue his damning (literally!) admission, he was plainly quite in earnest: when asked to pray at the stake, he shot back, “Let me alone, I will not. I have lived as a beast, and I must die as a beast.” The staff was thrown onto the pyre with him; it was said to burn abnormally slowly.

His sister was hanged shortly thereafter for the same offenses, scandalizing her upstanding neighbors by tearing her clothes off on the way to the scaffold.

For a century, nobody dared live in Weir’s house, which the cremated major — and/or that staff, floating about looking for its owner — supposedly haunted. The house is long torn down, but the tale is natural fodder for any “haunted Edinburgh” tour.

One is struck in such a story by its modernity — perhaps the reason it could speak to a Victorian novelist like Robert Louis Stevenson.

The interpretive framework we begin with for witch hunts is — well, a “witch hunt.” Our own sense of what unjust social persecution is shapes the way we read these long-gone cases, the confessions forced from the victims’ lips. We identify with the “witches”; it is the alien world that ferrets them out and burns them that wants explaining.

Major Weir unnervingly turns the tables on such voyeurs as your correspondent. He steps without warning out of a forgotten mass of long-gone peoples, his confession not merely voluntary but insistent against skepticism — and suddenly we grapple for our bearings not in sociology but in abnormal psychology: here is a man very much of his society who has unexpectedly rejected it, boasts of rejecting it all along, and does so not craving after reconciliation to his people but in order to die (as does his sister) obstinate in that rejection. We can perhaps identify less readily with this individual than with his crestfallen friends.

Whether or not the Weirs really did anything that would count as a crime today — although one is practically forced to agree that at a minimum, the siblings violated a sexual taboo still enforced now — we have a template for this man not in the McCarthy hearings but straight from the evening news: the unassuming neighbor revealed to be a serial killer; the trusted rector who turns out to have been a pedophile.

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1905: Fou Tchou-Li, by a thousand cuts

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On this date in 1905, Fou Tchou-Li suffered the last execution by lingchi in Beijing, for the murder of a Mongolian prince.

Lingchi, or slow slicing, involved the public dismemberment of the victim. As such, it became iconic to westerners as an image of exotic Chinese cruelty — albeit iconic in a mythicized form, the accounts conflicting, undependable, Orientalist. (Many different ones are collected at the Wikipedia page.)

Lingchi is especially notable — apart from fathering the phrase “death by a thousand cuts” in the English lexicology — for its overlap with the era of photography.

Fou Tchou-Li’s death was captured on film, and the images famously captivated Georges Bataille for the expression of seeming ecstasy on the face of the dying (or dead) man.

Bataille was said to meditate daily upon the image below in particular — “I never stopped being obsessed by this image of pain, at the same time ecstatic and intolerable.”

Agony and ecstasy? A sequence of images, strong stuff in spite of their low quality, describing Fou Tchou-Li’s execution can be viewed here. Notice, however, that it’s not the one pictured here — the scholar who maintains this page claims the man’s identity became confused by western interlocutors. The different, unnamed man who as “Fou Tchou-Li” riveted Bataille is pictured here.

In Regarding the Pain of Others, Susan Sontag explained the mystical nexus of pleasure and pain Fou Tchou-Li’s torture suggested to the French theorist, aptly comparing it to graphic but pre-photographic exaltations of torture in the western artistic tradition, such as Saint Sebastian:

To contemplate this image, according to Bataille, is both a mortification of the feelings and a liberation of tabooed erotic knowledge — a complex response that many people must find hard to credit. … Bataille is not saying that he takes pleasure in the sight of this excruciation. But he is saying that he can imagine extreme suffering as a kind of transfiguration. It is a view of suffering, of the pain of others, that is rooted in religious thinking, which links pain to sacrifice, sacrifice to exaltation — a view that could not be more alien to a modern sensibility.

It’s no idle point to say that all this reads quite a lot into a single frame that may not be all that representative of the moment, though that wouldn’t necessarily diminish Bataille’s gist. More, these are western interpretations of — projections upon — an image marked as fundamentally outside in a tableau irresistibly blending the colonizer and the colonized.

The execution was ordered in the last days of the Qing Dynasty, which had long been substantially beholden to European states, especially the British; the prisoner was apparently administered opium to numb the pain, the very product Britain had gone to war to force China to accept.

Taiwanese video artist Chen Chieh-jen interpreted the photography that so captivated Bataille, and its colonial context, in Lingchi: Echoes of a Historical Photograph (review).

Two weeks after this date, China abolished the punishment for good.

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1857: Mangal Pandey, rebellious sepoy

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On this date in 1857, ten days before the scheduled date for his execution, Mangal Pandey was hanged at Barrackpore, India, for mutiny against his British officers — a death sentence at the intersection of technology, faith and empire that would prefigure India’s first large-scale rebellion against English authority.

For a man of whom much is written and ponderous historical weight is imputed, Mangal Pandey is a mysterious character. Little is known of his life save the very end of it; its significance, as is so often the case, derives from the larger history that preceded and followed it on the subcontinent.

The march of industry was driving better and better ways to kill people, and to this end the British were upgrading old smoothbore firearms with more accurate rifled weapons. Early in 1857, Indian forces got the Pattern 1853 Enfield.

Soldiers of the day loaded their guns by biting open a paper cartridge, which Indian troops had been doing for years. But the Enfield cartridge, coated with a waterproofing grease, smelled or tasted different to many — and rumors spread that it was manufactured with pork lard (which would be an affront to Muslims) or beef tallow (which would be an affront to Hindus).

Controversially, this book says Pandey “is part of that imagination of historians. He had no notion of patriotism or even of India.”

The British didn’t take seriously the potential implications of this postulate among a population already resentful of aggressive Christian proselytizing. When a general petitioned for the expediency of switching back to the old cartridge paper, he got a characteristic response:

“Concessions made to the murmurs and threats of an ignorant race only increase their perversity and folly.”

On March 29, Pandey — possibly high — went on a protracted rampage on the parade grounds. The Indian soldiery resisted orders to restrain him, although it also did not answer Pandey’s incitement to mutiny, leaving the sepoy to a solitary performance in which he fought off in melee two British officers. Only the arrival of a general — the one who had wanted to replace the cartridges — mastered the situation.

The verdict was a foregone conclusion, but the criminality of Pandey’s outburst from the standpoint of the British military is a much easier matter to establish than the chain of events elevating him into national hero. Pandey lived his life forward, but his noteworthiness derives from retrospection.

A month after he hanged, the Indian Rebellion of 1857 broke out, an event (debatably) construed as an Indian War of Independence, dramatically recontextualizing the Barrackpore hanging. His exhortations about the cartridges, about “our religion”, suggest him as a like-minded martyr, but there is almost nothing to firmly establish why he did what he did. He even declined to defend himself at trial.

None of this undermines his place in India’s national pantheon, and perhaps Pandey’s own blank backstory facilitate his mythological adoption. A 2005 Indian film, Mangal Pandey: The Rising, recently placed it on the silver screen, drawing criticism both for naive Indian nationalism and for insufficient reverence for the title character.

Its rendition of Pandey’s conviction and hanging are here:

Update: BBC radio’s In Our Times takes on the 1857 mutiny.

* A weapon widely used by both sides in the U.S. Civil War.

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1757: Robert-Francois Damiens, disciplined and punished

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On this date in 1757, Robert-Francois Damiens became the last Frenchman to suffer the dreadful punishment of drawing and quartering.

Damiens attempted to assassinate King Louis XV, inflicting, however, only a slight dagger wound.

He may be best-known today as the subject of the jarring opening passage of Foucault’s Discipline and Punish, in which the full flower of this medieval torture* is described in detail by way of contrasting it with the regimented penal institutions that would sprout up in a few decades’ time. Here’s Foucault’s rendering of the scene:

On 1 March 1757 Damiens the regicide was condemned “to make the amende honorable before the main door of the Church of Paris”, where he was to be “taken and conveyed in a cart, wearing nothing but a shirt, holding a torch of burning wax weighing two pounds”; then, “in the said cart, to the Place de Grève, where, on a scaffold that will be erected there, the flesh will be torn from his breasts, arms, thighs and claves with red-hot pincers, his right hand, holding the knife with which he committed the said parricide, burnt with sulphur, and, on those places where the flesh will be torn away, poured molten lead, boiling oil, burning resin, wax and sulphur melted together and then his body drawn and quartered by four horses and his limbs and body consumed by fire, reduced to ashes and his ashes thrown to the winds” (Pièces originales…, 372-4).

“Finally, he was quartered,” recounts the Gazette d’Amsterdam of 1 April 1757. “This last operation was very long, because the horses used were not accustomed to drawing; consequently, instead of four, six were needed; and when that did not suffice, they were forced, in order to cut off the wretch’s thighs, to sever the sinews and hack at the joints…

“It is said that, though he was always a great swearer, no blashemy escaped his lips; but the excessive pain made him utter horrible cries, and he often repeated: ‘My God, have pity on me! Jesus, help me!’ The spectators were all edified by the solicitude of the parish priest of St Paul’s who despite his great age did not spare himself in offering consolation to the patient.”

Bouton, an officer of the watch, left us his account: “The sulphur was lit, but the flame was so poor that only the top skin of the hand was burnt, and that only slightly. Then the executioner, his sleeves rolled up, took the steel pincers, which had been especially made for the occasion, and which were about a foot and a half long, and pulled first at the calf of the right leg, then at the thigh, and from there at the two fleshy parts of the right arm; then at the breasts. Though a strong, sturdy fellow, this executioner found it so difficult to tear away the pieces of flesh that he set about the same spot two or three times, twisting the pincers as he did so, and what he took away formed at each part a wound about the size of a six-pound crown piece.

“After these tearings with the pincers, Damiens, who cried out profusely, though without swearing, raised his head and looked at himself; the same executioner dipped an iron spoon in the pot containing the boiling potion, which he poured liberally over each wound. Then the ropes that were to be harnessed to the horses were attached with cords to the patient’s body; the horses were then harnessed and placed alongside the arms and legs, one at each limb.

“Monsieur Le Breton, the clerk of the court, went up to the patient several times and asked him if he had anything to say. He said he had not; at each torment, he cried out, as the damned in hell are supposed to cry out, ‘Pardon, my God! Pardon, my Lord.’ Despite all this pain, he raised his head from time to time and looked at himself boldly. The cords had been tied so tightly by the men who pulled the ends that they caused him indescribable pain. Monsieur le [sic] Breton went up to him again and asked him if he had anything to say; he said no. Several confessors went up to him and spoke to him at length; he willingly kissed the crucifix that was held out to him; he opened his lips and repeated: ‘Pardon, Lord.’

“The horses tugged hard, each pulling straight on a limb, each horse held by an executioner. After a quarter of an hour, the same ceremony was repeated and finally, after several attempts, the direction of the horses had to be changed, thus: those at the arms were made to pull towards the head, those at the thighs towards the arms, which broke the arms at the joints. This was repeated several times without success. He raised his head and looked at himself. Two more horses had to be added to those harnessed to the thighs, which made six horses in all. Without success.

“Finally, the executioner, Samson, said to Monsieur Le Breton that there was no way or hope of succeeding, and told him to ask their Lordships if they wished him to have the prisoner cut into pieces. Monsieur Le Breton, who had come down from the town, ordered that renewed efforts be made, and this was done; but the horses gave up and one of those harnessed to the thighs fell to the ground. The confessors returned and spoke to him again. He said to them (I heard him): ‘Kiss me, gentlemen.’ The parish priest of St Paul’s did not dare to, so Monsieur de Marsilly slipped under the rope holding the left arm and kissed him on the forehead. The executioners gathered round and Damiens told them not to swear, to carry out their task and that he did not think ill of them; he begged them to pray to God for him, and asked the parish priest of St Paul’s to pray for him at the first mass.

“After two or three attempts, the executioner Samson and he who had used the pincers each drew out a knife from his pocket and cut the body at the thighs instead of severing the legs at the joints; the four horses gave a tug and carried off the two thighs after them, namely, that of the right side first, the other following; then the same was done to the arms, the shoulders, the arm-pits and the four limbs; the flesh had to be cut almost to the bone, the horses pulling hard carried off the right arm first and the other afterwards.

“When the four limbs had been pulled away, the confessors came to speak to him; but his executioner told them that he was dead, though the truth was that I saw the man move, his lower jaw moving from side to side as if he were talking. One of the executioners even said shortly afterwards that when they had lifted the trunk to throw it on the stake, he was still alive. The four limbs were untied from the ropes and thrown on the stake set up in the enclosure in line with the scaffold, then the trunk and the rest were covered with logs and faggots, and fire was put to the straw mixed with this wood.

“…In accordance with the decree, the whole was reduced to ashes. The last piece to be found in the embers was still burning at half-past ten in the evening. The pieces of flesh and the trunk had taken about four hours to burn. The officers of whom I was one, as also was my son, and a detachment of archers remained in the square until nearly eleven o’clock.

“There were those who made something of the fact that a dog had lain the day before on the grass where the fire had been, had been chased away several times, and had always returned. But it is not difficult to understand that an animal found this place warmer than elsewhere” (quoted in Zevaes, 201-14).

Among the throngs in attendance that day was Casanova who, according to his memoirs, rented out a windowed flat to watch that stomach-churning torture for four hours with some male friends and female companions.

One of the legendary libertine’s friends found this moment, serenaded by the prisoner’s “piercing shrieks”, opportune for an altogether different adventure of the flesh:

The three ladies packing themselves together as tightly as possible took up their positions at the window, leaning forward on their elbows, so as to prevent us seeing from behind. The window had two steps to it, and they stood on the second; and in order to see we had to stand on the same step, for if we had stood on the first we should not have been able to see over their heads. I have my reasons for giving these minutiae, as otherwise the reader would have some difficulty in guessing at the details which I am obliged to pass over in silence.

…

Tiretta kept the pious aunt curiously engaged during the whole time of the execution, and this, perhaps, was what prevented the virtuous lady from moving or even turning her head round.

Finding himself behind her, he had taken the precaution to lift up her dress to avoid treading on it. That, no doubt, was according to the rule; but soon after, on giving an involuntary glance in their direction, I found that Tiretta had carried his precautions rather far, and, not wishing to interrupt my friend or to make the lady feel awkward, I turned my head and stood in such a way that my sweetheart could see nothing of what was going on; this put the good lady at her ease. For two hours after I heard a continuous rustling, and relishing the joke I kept quiet the whole time. I admired Tiretta’s hearty appetite still more than his courage, but what pleased me most was the touching resignation with which the pious aunt bore it all.

Casanova’s Complete Memoires are available free online; this episode is recounted in the first chapter of “Paris and Holland”.

* Damiens’ punishment was in fact already archaic at the point when it was inflicted. Somewhat unsure of itself, the court sought precedent in the last regicide executed — Francois Ravaillac, who in 1610 was also the most recent person to suffer this horrific penalty. The clumsiness of the Damiens’ execution can surely be attributed to the art being a century and a half out of practice.

On this day..

1556: Thomas Cranmer, architect of Anglicanism

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[audio:John_Merbecke_Creed.mp3]
(Part of John Merbecke‘s plainsong rendition of the Book of Common Prayer, as performed by the Virginia Theological Seminary motet choir. Via.)

Good Friday falls early this year, and gives pause to recollect the burning this date of Thomas Cranmer, Henry VIII’s Archbishop of Canterbury, author of this gentle prayer for Holy Week:

Almighty and everliving God, who, of thy tender love towards mankind, hast sent thy Son our Savior Jesus Christ to take upon him our flesh, and to suffer death upon the cross, that all mankind should follow the example of his great humility: Mercifully grant that we may both follow the example of his patience, and also be make partakers of his resurrection; through the same Jesus Christ our Lord, who liveth and reigneth with thee and the Holy Spirit, one God,for ever and ever. Amen.

Thomas Cranmer was an obscure middle-aged priest when happenstance acquainted him with the circle then endeavoring to engineer Anne Boleyn‘s elevation from Henry VIII‘s enamored to Queen of England.

Cranmer enthusiastically supported Henry’s position that his first marriage to Catherine of Aragon should be annulled, and the perspicacity of the doctrinal case he developed to that effect saw him admitted into the inner circle of royal theologians.

The papal case foundered because Catherine’s kinsman Charles V happened, in the course of politics on the Italian peninsula, to be holding the pope a virtual hostage in Rome. On such accidents of history do faiths arise — and the faithful burn.

The Break With Rome

The 16th century, yeasty with religious disputation widely circulated by the printing press, is thick with folk who are one sect’s martyrs and the other sect’s villains.

Cranmer is just such a character.

One could charge him — and Catholic partisans have, many times — with blowing with the wind, granting theological license to the whims of his sovereign. Henry pressed through Cranmer’s appointment as Archbishop of Canterbury in 1533, just in time for Cranmer to annul Henry’s marriage to Catherine and validate the secret vows he had taken with Anne, earning both bishop and king excommunication.

That Cranmer rose with Anne but was ready to hold against her when she fell from favor, that he authorized the king’s famous pattern of discarding his past wives, that he signed off on the crown’s seizure of monasteries — that, in the end, he navigated Henry’s bloody reign with his position intact and even enhanced puts the whiff of opportunism about him. As Cranmer expert Ashley Null says (the link is a .pdf):

Like his first royal master, Cranmer did not make himself easy to love. In an era noted for the fervent courage of many martyrs for faith, Cranmer’s very survival under a king as unprincipled, or at least unpredictable, as Henry VIII has made him suspect. His late vacillation under Mary has only seemed to confirm the image of a man ruled more by the grip of fear than the assurance of the faith.

Whatever kernel of truth one might discern in such a charge, the fact remains that the church Cranmer built has by the test of centuries proven itself far more spiritually significant than mere opportunism could have admitted.

The Archbishop truly came into his own after Henry’s death.

For six years during the regency of Henry’s sickly, doomed son Edward VI, Cranmer hammered together the Anglican liturgy, wrote prolifically and beautifully, and assembled the Book of Common Prayer, a text which still guides Anglican services to this day.

His words still retain their power, and in some cases, their recognizability:

One can read Cranmer, especially in this mature stage, through many prisms — the competing threads of Catholicism, Lutheranism and Calvinism in his developing thought; the attempt to steer his institutional church towards his vision of the Reformation; and certainly as an inconstant individual — for his recantation when the Catholic Mary Tudor took the throne shows us a man as prone as any to folly and weakness.*

It is not the headsman’s purpose, and certainly not on this day, to render judgment on Cranmer’s soul; still less to unpack his theology. If we find him a man of flaws to compensate his genius, we must do him the justice of remembering also his firmness at the last hour, dramatically abjuring the recantation that had been forced upon him and thrusting the offending right hand that had signed it first into the flames.

* Cranmer had endorsed Mary’s rival Lady Jane Grey in the contentious succession that followed Edward VI; for this, he was convicted of treason in a trial managed by his old friend and fellow-survivor Thomas Howard. (Source) The Queen spared him execution on this charge in order to have him up on heresy instead, and it was this that Cranmer attempted to avoid by submission to the pope.

On this day..