Category Archives: Artists

1936: Vladimir Mutnykh, Bolshoi director

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On this date in 1937, the director of Moscow’s famed Bolshoi Theater was shot in the Gulag … even as Uncle Joe mangled his greatest commission.

Vladimir Ivanovich Mutnykh is the man whose suffering occasions this post but as with the Terror itself he will for us be a footnote to a different story.

Mutnykh ultimately fell prey to the chill that Stalin cast over Soviet arts — where come the 1930s the only fare liable to pass muster with the censors (or indeed, with the executioners) were creations of turgid doctrinal correctness or cautious revivals from the pre-Revolutionary literary canon.

The strictures on artists also reflected Moscow’s abiding preoccupation with the cultural preeminence of Russia and of Communism.

Among the USSR’s many and varied exertions towards the latter end during the 1930s, not least was a project to induce a return to the motherland by genius (and homesick) composer Sergei Prokofiev, who had been mostly living and working Europe since the Bolshevik Revolution.*

In the mid-1930s, Stalin’s cultural ambassadors finally got their man.** And one of the plums that secured Prokofiev’s permanent repatriation was a commission to create for Mutnykh’s Bolshoi Theater a ballet version of the Shakespeare classic Romeo and Juliet.

Today, Prokofiev’s Romeo and Juliet is one of the best-known and most widely performed of all his considerable output.

Some might even call Romeo and Juliet Prokofiev’s magnum opus. But Prokofiev wouldn’t have called it that.

Having gone to such great trouble to lure back a revolutionary artist, Soviet cultural officers were predictably aghast to discover that he produced a revolutionary reimagining of the Bard. In Prokofiev’s original composition, the star-crossed lovers get a happy ending and escape together instead of dying in the tomb. “Living people can dance, the dead cannot,” Prokofiev explained, unavailingly. The idea is that their love transcends the shackles of their family rivalry; even, that they had transcended the backwards political order that made them enemies. But Soviet bureaucrats were positively hidebound when it came to fiddling with the classics, and the director was forced to return to the tragic ending.

Nor was this the end of the meddling.

In 1936, joyless cultural commissar Platon Kerzhentsev ransacked the Bolshoi leadership, including Mutnykh — who had given the initial green light to Prokofiev’s first, heretical version.

For the next several years, the ballet with the checkerboard floor was twisted into shape by the Soviet bureaucracy, wringing change after change out of a frustrated but powerless Prokofiev. By the time it finally premiered — at the Kirov, not the Bolshoi — Prokofiev’s collaborator dramatist Sergei Radlov disgustedly wrote to friends that “I take no responsibility for this disgrace.”

“The version that’s known and loved around the world is completely incorrect,” said Simon Morrison, a Princeton professor. “There’s an act missing. There are dances orchestrated by people against Prokofiev’s wishes, and other stuff he was forced to put in there against his will.”

In the course of researching his 2010 book on Prokofiev, The People’s Artist, Morrison amazingly dredged up the original Prokofiev composition and documentary trails showing that the composer was forced to scrap three too-exotic dances, to “thicken” the orchestration, and to add elements like a group dance number and solos to show off the Kirov’s talent.† The ballet didn’t debut at the Bolshoi until 1946, when Stalin himself signed off it.

“Once the work was performed, Prokofiev was dismayed at a lot of things, including the sound of the orchestra. He wrote a long letter of protest but none of the changes were made to the score,” Morrison told the London Independent. “It became the canonic version, a reorganised, torn-up work. It’s a testament to how great the melodic writing is – it still became a great classic despite this mangling of it.”

A few books by Simon Morrison on Prokofiev and his world

* Prokofiev was neither an exile nor a refugee; his departure from the USSR in 1918 was voluntary and legally blessed. He had had no problem in the intervening years coming back to Russia and leaving again.

** One immediate product of Prokofiev’s return was the beloved 1936 children’s production Peter and the Wolf.

He also in 1938 gloriously scored Eisenstein’s Alexander Nevsky.

† Morrison in 2008 staged performances of Prokofiev’s original version of Romeo and Juliet.

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1937: Panfiliya Tanailidi, Azerbaijani actress

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On this date in 1937, Azerbaijani actress Panfiliya Tanailidi (various other transliterations are possible) was purged during Stalin’s terror.

Born in a tsarist governorate to Greek emigres, Tanailidi (English Wikipedia entry | Azerbaijani) was treading the Caucasus boards as a teenager in the pregnant century’s first decade.

She became an accomplished stage and screen actress, starring in 1930s silents Ismet and Almaz.

Come the Stalin years when any pretext was enough to destroy a body, the pretext against Tanailidi was apparently her affiliations with an Iran then taking a concerted anti-Soviet line: the actress had toured Iran in 1917 and had friends like Govhar Aliyeva who had fled the Soviet Union for Iran. This was more than enough to cast the pall of espionage about her.

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c. 1560: Dominique Phinot, queer composer

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Jacob Bonfadius, a man otherwise not in the last place among the erudite, because of copulation with boys (a most vile and sordid thing), was beheaded in prison and publically burned. The French Dominique Phinot, a distinguished musician, was also killed in the same way for a very similar folly.

–Gerolamo Cardano

This throwaway remark by the Italian Renaissance man Cardano is our only clue to the fate — indeed, to the very biography — of the composer Dominique Phinot. Based on the volume’s publication in 1561, it is thought that Phinot suffered for his folly around 1557-1560. We don’t even know the place.

Whatever damnatio memoriae obscured him in death, Phinot (English Wikipedia entry | French) was a prominent and highly regarded musician in his working life, acclaimed an expert in polychoral motets. Some 90 exemplars, and dozens of other compositions, survive; the 17th century Italian musicologist Pietro Cerone credited Phinot’s innovations with opening the way for Palestrina.

He emerges for posterity through those compositions; the earliest surviving date to 1538 and his publication locales (and the powerful men to whom they were dedicated) suggest a man for whom patrons in northern Italy (and across the Alps in Lyons) eagerly competed in the 1540s and 1550s. It is known that Phinot was retained by the Duke of Urbino for a period.

It is surely topical to notice that our correspondent Cardano was himself widely whispered to enjoy the same folly, too: a Venetian whose deep interest in music led him to “adopt” into his wifeless** household a number of boys with musical gifts, Cardano could hardly fail to court suspicion. “The rumor was being circulated everywhere that I was using my boys for immoral purposes,” Cardano reports autobiographically of one instance where he was threatened with exposure. Cardano appears never to have been formally charged as a sodomite, but it is remarkable — and even, he admits, “foolishness” — that his brushes with danger never caused him to reconsider the boy-keeping policy.†

As a proper Renaissance man, Cardano’s interests stretched far beyond pederasty and a good tune. He was, in the backhanded compliment of Sir Thomas Browne, “a great Enquirer of Truth, but too greedy a Receiver of it” and treatised profusely on philosophy, law, geology, astronomy, pedagogy, medicine, and mathematics. The latter two fields brought him his fame, but his musings flashed intermittent prescience across disciplines. Cardano argued for the full mental capacity of the deaf, and correctly inferred that mountains had once been underwater from the presence of seashell fossils upon them. A cryptographic technique, a puzzle, and a gear mechanism all bear the Cardano name. His mathematician’s sure grasp on probability also made him a deft gambler — and he published yet another volume on this subject as a young man.

Cardano the physician’s most famous patient was the Archbishop of St. Andrews, whom Cardano in 1553 cured of a debilitating asthma that had stricken the prelate speechless and was thought untreatable by contemporaries. Thanks to Cardano, Archbishop Hamilton became spry enough to get hanged for murder in 1571.

Yet Cardano the man had a still closer acquaintance with the executioner’s office through the person of his firstborn son … a topic for another day’s post.

* Opera Omnia, vol. 2, p. 354 (Theonoston seu de tranquilitate) Translation via Clement Miller in “Jerome Cardan on Gombert, Phinot, and Carpentras,” The Musical Quarterly, July 1972. The aforementioned Gombert was another composer who got busted for same-sex contact; he caught a term in the galleys.

** Cardano’s wife Lucia died in 1546.

† For more see Guido Giglioni, “Musicus Puer. A note on Cardano’s household and the dangers of music,” Bruniana & Campanelliana, vol. 11, no. 1 (2005).

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1783: William Wynne Ryland, court engraver

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On this date in 1783, British engraver William Wynne Ryland hanged at Tyburn* before a throng of gallows-voyeurs such as “had not been seen on a like occasion since the execution of Dr. Dodd.” (Morning Chronicle and London Advertiser, Aug. 30, 1783)

“[H]is evil genius prompted him, for gold, to debase his talents in engraving,” the Newgate Calendar opined. “By one fatal act, he entirely ruined his reputation as a man: but his name as an artist will ever stand in the highest estimation.”

French- and Italian-trained, Ryland was a premier court artist in his day, noted for importing stipple engraving from the continent to England. He earned a royal pension for his portraits of Hanoverian elites.


Some Ryland portraiture, from the National Portrait Gallery: King George III and his queen, Sophia Charlotte.

Although Ryland’s first attempt to parlay his draftsmanship into a print-selling business had gone bankrupt in 1771, he does not seem to have been entirely neglected by the muse of business acumen, either. Over the subsequent decade he had discharged all his previous debts and stockpiled assets to the amount of £10,000. “I am rich beyond temptation,” he protested to the jurors who tried him for his life. The Crown could produce little in the way of an immediate motive for the forgery. (“It is impossible for us to penetrate so far into the heart of man as to know what his inducements are.”)

But lucre is its own motivation, and the facts of the case weighed heavily against Ryland.

He had come into (legitimate) possession of £200 bill of exchange issued by the East India Company and dated October 5, 1780. Somehow it transpired that Ryland then exchanged two copies of this bill — one on September 19, 1782 with the banker Sir Charles Asgill, and then once again on November 4, 1782 to a banking firm with the Dickensian name of Ransom & Co.

Both bills were identical to every inspection, with the same amount, date, and cheque number, and Ryland the expert engraver could give no convincing account of the second note’s provenance. In the public’s mind, the fact that he had fled the indictment and then dramatically attempted suicide when his capture was imminent surely cinched the case.

Ryland’s attempts to inspire in the jurors a sufficient doubt as to whether the East India Company might not have accidentally circulated two identical bills was fatally undone when it turned out that a difference between the two bills could be found after all — by the paper manufacturer, who proved to the court that the second bill was inscribed on paper whose watermark established that did not exist on its purported date of issue.

this sheet of paper was made at the mill, on that particular mould, it has a defect on it; on the 21st of January, 1782, of the same mould of which this note is now shewn me, I made this sheet of paper; there is a defect of the mould, either by an injury it has received, or in consequence of the quantity of paper made on it, the bill has the same defect; and there is likewise a defect which the bill has not, so that the sheet of paper on which the bill was written, was made from that mould. This could not happen in the same places, and situations in any two moulds.

The jury needed only half an hour to convict him.

By the Morning Chronicle and London Advertiser‘s account, he was London’s star attraction on his hanging day.

At half past nine a man on the steps of newgate called out, “Mr. Ryland’s coach,” upon which a mourning-coach, that was standing opposite the Sessions-house, drew up to the door of the prison, and in about two minutes after the unhappy man walked down the steps at a brisk pace, and entered the vehicle; presently after which [fellow condemned prisoner John] Lloyd went into another mourning coach. The Ordinary of Newgate, another clergyman, a gentleman in mourning, (said to be a relation of he convict’s) and a sheriff’s Officer, went in the coach with Mr. Ryland …

These coaches, which immediately followed the Sheriffs’ carriages, having drawn a few yards from the door of the prison, two carts were drawn up; [James] Brown, [Thomas] Burgess, and [John] Edwards were tied in the first, as was [James] Rivers in the last cart …

The gallows was fixed about 50 yards nearer the park wall than usual. About five minutes before 11 o’clock, Ryland’s coach drew on the right of the gallows, as did Lloyd’s on the left; and between them the cart; soon after which a violent storm of thunder, lightning, and rain came on, when the Sheriffs gave orders for a delay of the execution. When the storm had subsided, and some time had been employed in prayer, Rivers was lifted from one into the other cart, which backing to Lloyd’s coach, he alighted therefrom, and entered the vehicle, and after the ropes had been fixed about the necks of these unfortunate men, Ryland stepped from the coach to join his unhappy fellow sufferers. After a conversation of at least ten minutes between Ryland and Mr. Villette, Ordinary of Newgate, and the same time employed in an earnest discourse between Lloyd and Burgess, all the malefactors joined in singing the hymn, called, “The Sinners Lamentation”


Editor’s note: I’m not certain whether this is the hymn alluded to.

Ryland was the object that attracted the general attention, from Newgate to Tyburn, the sound that reverberated from every quarter, amidst the immense multitude was, “Which is ryland? There, that is Ryland in the first coach!” Exclusive of the usual accommodations, a vast number of temporary stages were erected; and gentlemens and hired carriages were innumerable. Some rooms, for accommodating private companies, were actually let at the enormous rate of from six to ten guineas.

Notwithstanding the vast press of the crowd, amidst the astonishing number of horsemen, carriages, and people on foot, we have not heard that any body was materially hurt, though many were forced down and trod on.

Ryland was in mourning, and wore a tail wig … Through the whole of this trying scene [he] conducted himself with remarkable serenity and fortitude, strongly indicating that he was prepared for, and perfectly reconciled to his fate.

The wheel of fortune turning against the mighty — especially when they should hazard their lives for a needless pittance — being irresistible to other artists, Ryland is the title character of a a comedic play.

* One of the very last hangings at Tyburn.

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1792: Barnabé Farmian Durosoy, royalist journalist

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Litterateur Barnabé Farmian Durosoy was guillotined in Paris on this date in 1792.

Playwright, poet, and (most problematically) journalist, Durosoy‘s newspaper Gazette de Paris took issue with the French Revolution’s radical and anti-clerical turn — incurring the dangerous denunciation of Marat.

Durosoy had the boldness to denounce in print the 10 August coup whereby Georges Danton and the Paris Commune* toppled the monarchy.

“If these rebels dare to degrade the king then they dare to judge, and if they judge then their verdict is death!” Durosoy thundered.

He would not even live long enough to see his prophecy fulfilled: the Gazette was immediately suppressed and Durosoy brought to trial as “cashier of all the Anti-revolutionists of the interior.” (Carlyle)

He was the first journalist guillotined in revolutionary France — noting that he died as a royalist ought on the feast day of St. Louis.

* No, not that Paris Commune.

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1355: Filippo Calendario and Bertuccio Isarello, Doge stooges

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This date in 1355 was the morning after the failed coup of Venetian Doge Marino Faliero. And it was the first date that vengeance began to fall upon the plotters.

Faliero, voted power by the fellow-noblemen who bossed the Serene Republic, intended to displace the patrician class with commoner support. The scheme called for Faliero’s supporters secretly to mobilize hundreds of men who on April 15 would gather at the Piazza San Marco and mount their surprise takeover. But the plot sank like a stone on the big day, with anticipated adherents turning out sparsely or flatly declining and word soon reaching aristocratic ears of trouble afoot. The would-be masters of Venice were soon rounded up without resistance by the real masters of Venice.

In this misfired drama, Faliero’s henchmen — the men upon whom fell the task of orchestrating the cells who would summon the traitor militia — were Filippo Calendario and Bertuccio Isarello. And on this, the following day, they were tried, sentenced, and by evening hung from upper windows of the Ducal Palace. Both men were gagged: one last precaution against the sort of popular exhortation that they had not managed when it counted.

“The earth was set in motion,” one chronicler recorded of the Venetian establishment’s reaction to the menace. (Source) Faliero would die the next day; in all, eleven gibbeted corpses festooned the palace as a warning against the next aspirant.

Isarello was the captain of a Venetian galley who had been appointed by Faliero — controversially bypassing the usual noble prerogatives — and had rewarded his prince by expertly harrying Genoese merchantmen.

Calendario (English Wikipedia entry | the more detailed German), Isarello’s father-in-law, was a stonemason, sculptor and architect who actually worked on the very palace he was hanged from.


Column capital of Drunken Noah dating from the period of Calendario’s work on the Venetian Ducal Palace. (cc) image from Honza Beran.

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1801: Four entrapped Jacobins

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On this date in 1801, four Jacobins were executed in Paris after Napoleon’s secret police entrapped them into a plot against the First Consul.

After seizing power on the 18th Brumaire (November 9, 1799) the new man on horseback needed to consolidate power against the opposition of both royalist and Jacobin opposition. It would prove to be the case that the latter were the declining force and the royalists were the ones in it for the long haul.

But it had not been many years since the Jacobins were the power in Paris, and Napoleon was a proactive type; his 18th Brumaire coup had been effected on the pretext of a phony Jacobin conspiracy. So instead of just waiting around for the attentats aimed at his person, Napoleon set his police chief — Joseph Fouche, the onetime “Executioner of Lyons” — to spin them up himself by the offices of agents provocateur.

The so-called Conspiration des poignards — Conspiracy of Daggers — was one of Fouche’s triumphs.

Here, a police plant named Harel goaded several radicals into kind of supporting (or at least not resisting) his plot to dagger the Corsican at the opera in October 1800. “It was agreed to exaggerate the danger to which it was appropriate to the First Consul to have been exposed,” wrote the French diplomat Bourienne in his memoirs. Harel himself had to distribute the weapons.

Though the daggers conspirators would probably have been happy to see Napoleon dead, they were so little inspired to achieve that death by their own hands that most of them quailed to appear at the scene where the trap would be sprung. They ended up being arrested in their homes.

Four of the seven Jacobins were guillotined on January 30, 1801 (all these links are to French Wikipedia pages):


The Death of Caius Gracchus, by Jacobin artist Francois Topino-Lebrun (1798). The painting’s contemporary allusion was to Gracchus Babeuf, recently executed (after an unsuccessful suicide attempt in the courtroom) for the Conspiracy of Equals.

The artists implicated were both associates of Jacques-Louis David (and the opera being staged was one inspired by David’s The Oath of the Horatii). David had already by this time proved himself a willing lackey of the new regime, but the resulting brush with police scrutiny (David had to testify at the trial) surely underscored to the opportunistic painter that his own revolutionary past could be dropped on his head like Damocles’ sword at any moment Napoleon should choose.

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1937: Titsian Tabidze, poet

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On this date in 1937, the Georgian poet Titsian Tabidze was executed in Stalin’s purges.

“Titsiani”, who co-founded the “Blue Horns” symbolist circle in 1916, is the addressee of fellow dissident litterateur Boris Pasternak’s Letters to a Georgian Friend.

“There is as much soul in his poetry as there was in him, a reserved and complicated soul, wholly attracted to the good and capable of clairvoyance and self-sacrifice,” Pasternak would remember of his comrade. “The memory of Tabidze puts me in mind of the country; landscapes rise in my imagination, the waves of the sea and a vast flowering plain; clouds drifting in a row and, behind them in the distance, mountains rising to the same level.”

The problem was their decidedly less sentimental countryman in the Kremlin.

Georgian security chief Lavrenty Beria put the screws to the Georgian writers’ association, driving fellow Blue Horns alum Paolo Yashvili to suicide when he was pressured to denounce Tabidze.

But of course the only difference that made was for Yashvili’s soul.

Arrested as a traitor a bare two months before his death, Tabidze defiantly betrayed to his interrogators the name of only a single fellow-traveler: 18th century Georgian poet Besiki.

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1936: Jose Antonio Primo de Rivera, Falange founder

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On this date in 1936, the Spanish Republicans shot Don José Antonio Primo de Rivera y Sáenz de Heredia, 1st Duke of Primo de Rivera, 3rd Marquis of Estella, Grandee of Spain.

The son of Spain’s 1920s dictator, Primo de Rivera founded in 1933 the Falange, Spain’s native fascist movement.

At the October 29 founding convention that year at Madrid’s Theatre of Comedy, Primo de Rivera scathingly pilloried the wan democratic rituals that coming years’ conflict would sweep aside. “The most ruinous system of wasted energy,” he jeered at liberal democracy, where men with leadership waste their talents in hollow electoral hustling and parliamentary rigmarole while the nonsensical ephemeral whims of a formless plurality pass for the vision he attributed to the time before Rousseau ruined everything. “What alone mattered to the liberal state was that a certain number of gentlemen be sitting at the polling station, that the voting start at eight o’clock and end at four, that the ballot boxes not get smashed — when being smashed is the noblest aspiration of all ballot boxes.” (The full speech is available in Spanish here.)

Primo de Rivera espoused for Falangismo the same impulses — of unity, of destiny, of national rebirth, of the triumphant collective — that animated Europe’s similar extreme right stirrings in those years. Only 35 years before, Spain had lost her empire, near enough in memory to inform an acute ache of loss.

In a poetic sweep we will raise this fervent devotion to Spain; we will make sacrifices, we will renounce the easy life and we will triumph, a triumph that — you know this well — we shall not obtain in the upcoming elections. In these elections vote the lesser evil. But your Spain will not be born out of them, nor does our frame for action reside there. That is a murky atmosphere, spent, like a tavern’s after a night of dissipation. Our station is not there. I am a candidate, yes, but I take part in these elections without faith or respect. And I say this now, when so doing may cost me every vote. I couldn’t care less. We are not going to squabble with the establishment over the unsavory left-overs of a soiled banquet. Our station is outside though we may provisionally pass by the other one. Our place is out in the clear air, beneath a moonlit sky, cradling a rifle, and the stars overhead. Let the others party on. We stand outside vigilant; earnest and self-confident we divine the sunrise in the joy of our hearts.

Unlike the Naziism in Germany or Fascism in Italy, Falangism never grew into a force capable of conquering state power itself. Just thirty-three months after Primo de Rivera’s founding address, the Spanish Civil War erupted. The Falangists’ alliance with Francisco Franco — after the war, they would be combined with the Carlists into the only legal political association* in Francoist Spain — spelled great gains for their membership rolls but it was still the General who called the shots.**

Primo de Rivera’s share in this alliance was a voluptuous cult of personality as Spain’s preeminent right-wing martyr, fine posthumous work if you can get it mitigated only by the necessity of undergoing the martyrdom. The fascist prophet was already in prison at the time Franco struck the first blow of the war: he’d been arrested in Madrid on weapons charges. From his cell he carried on a brazen correspondence with Nationalists conniving to subvert the hated Spanish Republic, and when his activities were discovered and prosecuted that autumn in light of Franco’s July revolt they could scarcely have been better framed to incur the utmost measure of judicial wrath.

In consequence of his martyrdom, November 20 remains down to the present a hallowed day for the far right in Spain.


“Cara al Sol” (“Facing the Sun”) is the Falangist anthem; the lyrics are generally credited to Primo de Rivera.

* The Falange Española Tradicionalista y de las Juntas de Ofensiva Nacional-Sindicalista, or “Spanish Traditionalist Phalanx of the Assemblies of National-Syndicalist Offensive” (FET y de las JONS) — or less exhaustingly, the Movimiento Nacional (National Movement).

** Primo de Rivera and Franco didn’t like each other much personally, either.

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1943: Red Orchestra members, in the Nazi Paradise

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From 7 to 8 p.m. on the evening of August 5, 1943 the Fallbeil at Plotzensee Prison destroyed 17 members of the Berlin Red Orchestra resistance circle.

We have touched previously on Die Rote Kapelle in the context of the first 11 executions that claimed its leadership on December 22, 1942.

But the Gestapo had a much wider network than that to break up; ultimately, there would be nearly 50 death sentences associated with Red Orchestra, for activities ranging from outright espionage to merely dissident leafletting, and other rounds of executions had taken place over the preceding months.

The executions this date were more of the sad same, and noteworthy for some sincere and ordinary citizens so sympathetic that even the Reich Military Court recommended mercy for some. Adolf Hitler refused it across the board. The victims, predominantly women who had been moved to Plotzensee for execution that very morning, included —

  • Cato Bontjes van Beek, an idealistic 22-year-old ceramicist.
  • Liane Berkowitz. Two days short of her 20th birthday when she was beheaded, Berkowitz had given birth to a child while awaiting execution.
  • Eva-Maria Buch, who translated propaganda leaflets destined for illicit distribution to the forced laborers employed in German munitions factories.
  • Else Imme, an anti-fascist whose sister had emigrated to the Soviet Union.
  • Ingeborg Kummerow.
  • Anna Krauss, a 58-year-old businesswoman.
  • Klara Schabbel, a Comintern agent who in her youth had fought against the French occupation of the Ruhr after World War I.
  • Rose Schlosinger.
  • Oda Schottmuller, a dancer and sculptor who used her arts-related trips to act as a courier.
  • Writer Adam Kuckhoff. His widow Greta would go on to head the East German central bank.
  • Emil Hubner, an 81-year-old retiree, along with his daughter Frida Wesolek and her husband Stanislaus.

Besides the above, at least three others among the condemned in this group paid with their lives for an arts activism attack on Das Sowjetparadies (The Soviet Paradise), a Reich exhibition in May-June 1942 that used photographs and captured artifacts from the war’s eastern front to depict “poverty, squalor and misery” in the USSR. This associated propaganda film gives a taste of the vibe:

The Orchestra orchestrated an “attack” littering the exhibition with counter-propaganda


“Permanent Exhibition
The NAZI PARADISE
War Hunger Lies Gestapo
How much longer?”

This act of wehrkraftzersetzung was a factor in the sentences of —

  • Hilde Coppi, one of the circle’s principal members and the wife of the previously executed Hans Coppi. Like Liane Berkowitz, she was spared the first rounds of executions to bear and nurse her child.
  • Maria Terwiel, a Catholic barrister with a Jewish mother.
  • Ursula Goetze.

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