When spectators in the Middle Ages examined images of Christ's crucifixion on Mount Calvary, did they ever consider them as representations of capital punishment? This work argues that they did, and traces connections between religious devotion, physical pain, criminal justice and judicial spectatorship, to explain why.

Christ's Crucifixion is one of the most recognized images in Western culture, and it has come to stand as a universal symbol of both suffering and salvation. But often overlooked is the fact that ultimately the Crucifixion is a scene of capital punishment. Mitchell Merback reconstructs the religious, legal, and historical context of the Crucifixion and of other images of public torture. The result is a fascinating account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience. Merback compares the images of Christ's Crucifixion with those of the two thieves who met their fate beside Jesus. In paintings by well-known Northern European masters and provincial painters alike, Merback finds the two thieves subjected to incredible cruelty, cruelty that artists could not depict in their scenes of Christ's Crucifixion because of theological requirements. Through these representations Merback explores the ways audiences in early modern Europe understood images of physical suffering and execution. The frequently shocking works also provide a perspective from which Merback examines the live spectacle of public torture and execution and how audiences were encouraged by the Church and the State to react to the experience. Throughout, Merback traces the intricate and extraordinary connections among religious art, devotional practice, bodily pain, punishment, and judicial spectatorship. Keenly aware of the difficulties involved in discussing images of atrocious violence but determined to make them historically comprehensible, Merback has written an informed and provocative study that reveals the rituals of medieval criminal justice and the visual experiences they engendered.

Christ's Crucifixion is one of the most recognized images in Western visual culture, and it has come to stand as a universal symbol of both suffering and salvation. But often overlooked in this symbolic language is the fact that ultimately the Crucifixion is a scene of capital punishment. In The Thief, the Cross and the Wheel, Mitchell Merback reconstructs the religious, legal, and historical context of the Crucifixion and of other images of public torture. The result is an account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience.

The story of a rope, a symbol, and rough justice in America. The hangman's knot is a simple thing to tie, just a rope carefully coiled around itself up to thirteen times. But in those thirteen turns lie a powerful symbol, one that is all too deeply connected to America's past -- and present. The last man to be hanged in the United States was Billy Bailey, who was executed in Delaware in 1996 for committing a double murder. Even today, hanging is still legal, in certain situations, in New Hampshire and Washington. And the noose remains a potent cultural symbol. An incident in Jena, Louisiana, in 2006, in which nooses were used to menace black students, made national news. Yet little has changed: according to author Jack Shuler, there have been nearly 100 "noose incidents" just in the last two years. The Thirteenth Turn unravels these stories, from Judas Iscariot, perhaps the most infamous hanged man, to the killing of Perry Smith and Richard Hickock, the murderers at the heart of Truman Capote's In Cold Blood, and beyond. In his travels across America, Shuler traces the evolution of this dark practice. As he investigates the death of John Brown, or the 1930 lynching that inspired the song "Strange Fruit," he finds that the very places that perpetrated these acts now seek to forget them. Shuler's account is a kind of shadow history of America: a reminder that vigilantes and hangmen play a crucial role in our national story. The Thirteenth Turn is a courageous and searching book that reminds us where we come from, and what is lost if we forget.

A new look at the way in which medieval European literature depicts torture and brutality.

Set against the framework of modern political concerns, Treason: Medieval and Early Modern Adultery, Betrayal, and Shame considers the various forms of treachery in a variety of sources, including literature, historical chronicles, and material culture creating a complex portrait of the development of this high crime.

The practice and the representation of flaying in the middle ages and after are considered in this provocative collection.