Have you noticed how torture museums have changed? First there were dusty collections of objects, the ‘DO NOT TOUCH’ notices bigger than the typed explanatory labels. Then the objects would be arranged in tableaux, with wax dummies posed to illustrate their use. There might be atmospheric lighting and sound effects. Some, very expensive, museums employ out-of-work actors to demonstrate one or two of the exhibits, such as the rack or the guillotine.
All of this is old fashioned, though, because the visitors are being treated as a passive audience, just being shown things. The buzz-words for the modern museum are interactivity and participation. The objects are exact reproductions rather than the real thing, and are designed to be touched. Visitors are encouraged to take part, to experience the exhibits with all their senses, rather than just looking at them.
And so, a new, contemporary museum is proposed – the Museum of Torture and Execution – MTE. Its appeal is to men, particularly in the 18-35 age group - a section of society characteristically fascinated by pain and death, eager for new experience, willing to demonstrate their individual machismo, and often with a sense of the purposelessness and futility of life. It is also a demographic for which society now has least need, and which is present in unsustainable numbers. It is therefore anticipated that the Government would license MTE to undertake an annual cull of males, subject to the victims’ agreement.
The MTE is a very educational institution. Traditional museums show you the object, and have a written note or a static tableau to explain how it was used. But what was the actual sensation of being stretched on the rack really like? And how did it feel to be the executioner, running your hand down the sweating, quivering flank of the young man trapped in the guillotine, seconds before you chop off his head? You can see an iron pear, and imagine its use from the written description, but nothing compares with the experience of it being forced up your anus and expanded deep inside your guts, while visitors watch and learn from the reactions of your body, to understand the true nature of the torture.
There’s no pressure on visitors to commit themselves to a very terminal experience. It’s all about opportunity. There’s something very persuasive, though, about being able to touch the instruments of pain and death. On their first visits, men feel the weight and sharpness of the headsman’s axe, and pose with their neck resting on the stained and chipped block. They look round inside the gas chamber and try the chair for size. They pick up the sample nooses – piano wire, leather clad eyelet noose, the American 13 coil 1” hemp – trying them for size and understanding the different sensations which each would give. They run their hands over the slick timber sedile on a cross, worn smooth by the writhing of countless victims. They smell the smoky leather scent of the straps on an electric chair, and think, perhaps, of themselves straining against those straps, the brass and wet sponge electrodes cold against their shaved head and leg, waiting for the jolt that will fry them.
There will be announcements to let visitors know when exhibits are to be demonstrated. The bull of Perilus would be the first to be put into action in the morning. This is a lifelike bronze sculpture with a hollow compartment in its stomach for the victim, and a brazier beneath. Visitors can open the hatch in the side of the bull, to see the very constrained, slightly sooty and oily space. A diagram on the wall shows how fresh air is admitted from the top of the sculpture, to keep the victim alive, and how the compartment has a complex series of sounding tubes leading forward to the bull’s mouth. Ducts lead up from the lower belly, designed to spread the heat from the brazier evenly around the compartment.
The demonstration begins with a burly leather-clad executioner carrying in the trussed, naked victim, and arranging him in the tight space within the cold bronze bull. The victim has to be five foot six inches or less tall, and slim, in order to fit. Although a volunteer, he knows he has to struggle and protest, to demonstrate the purpose of Perilus’s bull, which is to transform the human noises of begging, whimpering, and screaming into bovine sounds. To be honest, it’s not entirely successful, although closing and sealing the hatch does make some difference. Once the fire is lit and glowing, however, the shrieks of pain from the burning boy are still recognisably the sounds of human agony, but with a reverberant quality.
The bull is effectively designed for extended torture, and the cries of its victim, slowly weakening, echo around the museum for some hours as an atmospheric sound track for the other exhibits. Eventually, of course, the young man is cooked in the bull’s stomach, roasted to tender perfection, and is served with appropriate dressings as the main course at the evening meals in the museum restaurant.
The meals at the restaurant are used to dispose of many of the day’s carcasses, but the museum also does a good trade in longpig to other restaurants and the public. Many visitors will stop off at the butchery section of the museum shop to pick up a joint for Sunday lunch. A nice touch is that each sale of meat comes with a picture of the man it came from, so that customers can be assured of the quality of the flesh.
Throughout the day there are other demonstrations to view, and visitors tend to spend many hours, sometimes all day, at the museum.
For some, one visit is enough. The majority, however, want to come back. After two or three visits the mental pressure to take part in the demonstrations is almost irresistible. Some are attracted to the role of torturer or executioner. They like the idea of being clad in the threatening leather clothing, of wearing the executioner’s mask, of watching a helpless body buck as they inflict calculated pain, of hearing the futile whimpered requests for mercy and the full throated screams of agony, and of feeling the warm body of a man, quivering with its last breath, pressed against theirs. More, though, ache for the experience of victim. This may not, at first, be a wish to die.
The gibbet cage, just inside the Museum entrance, is rarely without an occupant, naked but for brief speedos. Even on only their second visit, many cannot resist the appeal of the uncomfortable restraint of the cold iron, the exposure to the crowds of visitors, swinging gently above their heads. There is a mixture of shame, helplessness and excitement in the situation that ensures a steady flow of volunteers.
There is similar demand for the stocks. A man in the stocks is not only open to be pelted with the wet sponges provided, but he is also vulnerable to the strokes, slaps and tweaks of the other visitors. Occasionally, to the cheers of onlookers, a guy will pull down the victim’s briefs and screw his arse. The pain, the helplessness, and the humiliation is all part of the undeniable attraction of the stocks.
Experiences like this, however, usually only make executioners and victims want to go further, to experience the more serious exhibits.
The guillotine stands tall and tempting. Its timber bascule, worn smooth by the movement of many bodies, stands upright, waiting for a naked victim to be tied to it.
A volunteer is readied for a face-up execution. The leather clad executioner stands close to the victim, who feels the leather against his rising erection, the leather gloves playing with his nipples, the hot breath of the man who is about to kill him sweet against his face. Then the bascule is tipping backwards, the executioner’s gloved hands are sliding down the victim’s body, and then stroking his erection. The victim is laying back, looking up to the blade of the guillotine, far above him, his neck now trapped by the upper part of the lunette. He moans with pleasure as the executioner works his cock with his gloves and his lips. He feels the ropes pleasurably chafing his body as he writhes. He glances at the expectant crowd, knowing they are waiting eagerly for his head to spring free from his body. His back arches as the pressure in his balls grows irresistibly. He looks up as his orgasm explodes and his mouth opens to cry out as he sees and feels the heavy blade start to fall, but he makes no sound as his view spins. He feels an intense sense of peace and satisfaction as he floats upwards, not knowing it is the executioner lifting his head from the basket. With his last fading sight, he looks down on his still twitching body, cock still stiff and dribbling cum, blood pumping from his neck and streaming over the guillotine.
Visitors will often pair up to use an exhibit. The garrotte is popular because it allows the executioner fine control over the strangulation of the victim. The museum has an early example without the later spike designed to separate the neck vertebrae and ensure rapid death. The garrotte (shown in an attached picture) has only a rope which is tightened by a windlass behind the upright. This allows the victim to be strangled almost to unconsciousness, and then, if desired, to be revived for the process to be repeated. Men will discuss with their executioner beforehand the intensity of the experience they seek, and the garrotte allows a non-lethal experience of execution. As the notice behind the chair indicates, however, the intensity of feeling for the victim is often so overwhelming that they eventually ask their executioner to take them all the way to death. The opportunity to closely watch a young man expire, the power of extinguishing his life, and the chance of playing with a limp, floppy, unresisting corpse before it is taken away for butchering, usually persuades the executioner to agree to such a request.
Another much-used exhibit is the iron maiden, a legendary medieval torture device. The other attached photo shows it in use.
A 20 year old man has stepped into the maiden, pressing himself hard against the spikes in the back of the device. The face of the maiden has already been closed. With his head pressed against spikes hard on his skull, he had watched the three large spikes on the interior of the face slowly moving towards him. As the metal folded down from its top hinge two spikes first pressed against, and then entered his soft eyeballs. As he opened his mouth in the sudden darkness to scream, the third spike entered his mouth and skewered the soft tissue of his tongue pressing it to the back of his throat. The blinded victim’s head is now clamped by the spikes, and he is held immovably by the maiden.
The museum visitors see the slim body shuddering and shaking, and hear the rasping gurgle of the victim’s laboured breathing. Blood trickles down the victim’s smooth chest.
In a moment the arms of the maiden will be closed, completing her embrace. Sharp, rusty iron spikes will first press and then impale the helpless body. The ingenious design avoids any deep, immediately fatal, puncture. The tapering spikes minimise blood loss. Vital organs – the heart and lungs – are protected, spikes entering the back and pectoral muscles no more than an inch. Longer spikes impale the limbs, belly and buttocks. One particularly cruel spike skewers the man’s cock to his pelvis. Dying can be a matter of hours, immobile and in unimaginable agony from every nerve in his body.
To volunteer for the maiden shows that you’re a real man.
So, MTE, the Museum of Torture and Execution, is the future of museums: interactive and participative. It is educational, and it provides a very real social benefit, reducing the number of young unemployed and unemployable young men. Apart from a small public grant to set up the museum, it is expected that it will be self-sufficient from entrance fees and the sale of longpork. What is needed is a nation with an enlightened government ready to sponsor this valuable institution.
All of this is old fashioned, though, because the visitors are being treated as a passive audience, just being shown things. The buzz-words for the modern museum are interactivity and participation. The objects are exact reproductions rather than the real thing, and are designed to be touched. Visitors are encouraged to take part, to experience the exhibits with all their senses, rather than just looking at them.
And so, a new, contemporary museum is proposed – the Museum of Torture and Execution – MTE. Its appeal is to men, particularly in the 18-35 age group - a section of society characteristically fascinated by pain and death, eager for new experience, willing to demonstrate their individual machismo, and often with a sense of the purposelessness and futility of life. It is also a demographic for which society now has least need, and which is present in unsustainable numbers. It is therefore anticipated that the Government would license MTE to undertake an annual cull of males, subject to the victims’ agreement.
The MTE is a very educational institution. Traditional museums show you the object, and have a written note or a static tableau to explain how it was used. But what was the actual sensation of being stretched on the rack really like? And how did it feel to be the executioner, running your hand down the sweating, quivering flank of the young man trapped in the guillotine, seconds before you chop off his head? You can see an iron pear, and imagine its use from the written description, but nothing compares with the experience of it being forced up your anus and expanded deep inside your guts, while visitors watch and learn from the reactions of your body, to understand the true nature of the torture.
There’s no pressure on visitors to commit themselves to a very terminal experience. It’s all about opportunity. There’s something very persuasive, though, about being able to touch the instruments of pain and death. On their first visits, men feel the weight and sharpness of the headsman’s axe, and pose with their neck resting on the stained and chipped block. They look round inside the gas chamber and try the chair for size. They pick up the sample nooses – piano wire, leather clad eyelet noose, the American 13 coil 1” hemp – trying them for size and understanding the different sensations which each would give. They run their hands over the slick timber sedile on a cross, worn smooth by the writhing of countless victims. They smell the smoky leather scent of the straps on an electric chair, and think, perhaps, of themselves straining against those straps, the brass and wet sponge electrodes cold against their shaved head and leg, waiting for the jolt that will fry them.
There will be announcements to let visitors know when exhibits are to be demonstrated. The bull of Perilus would be the first to be put into action in the morning. This is a lifelike bronze sculpture with a hollow compartment in its stomach for the victim, and a brazier beneath. Visitors can open the hatch in the side of the bull, to see the very constrained, slightly sooty and oily space. A diagram on the wall shows how fresh air is admitted from the top of the sculpture, to keep the victim alive, and how the compartment has a complex series of sounding tubes leading forward to the bull’s mouth. Ducts lead up from the lower belly, designed to spread the heat from the brazier evenly around the compartment.
The demonstration begins with a burly leather-clad executioner carrying in the trussed, naked victim, and arranging him in the tight space within the cold bronze bull. The victim has to be five foot six inches or less tall, and slim, in order to fit. Although a volunteer, he knows he has to struggle and protest, to demonstrate the purpose of Perilus’s bull, which is to transform the human noises of begging, whimpering, and screaming into bovine sounds. To be honest, it’s not entirely successful, although closing and sealing the hatch does make some difference. Once the fire is lit and glowing, however, the shrieks of pain from the burning boy are still recognisably the sounds of human agony, but with a reverberant quality.
The bull is effectively designed for extended torture, and the cries of its victim, slowly weakening, echo around the museum for some hours as an atmospheric sound track for the other exhibits. Eventually, of course, the young man is cooked in the bull’s stomach, roasted to tender perfection, and is served with appropriate dressings as the main course at the evening meals in the museum restaurant.
The meals at the restaurant are used to dispose of many of the day’s carcasses, but the museum also does a good trade in longpig to other restaurants and the public. Many visitors will stop off at the butchery section of the museum shop to pick up a joint for Sunday lunch. A nice touch is that each sale of meat comes with a picture of the man it came from, so that customers can be assured of the quality of the flesh.
Throughout the day there are other demonstrations to view, and visitors tend to spend many hours, sometimes all day, at the museum.
For some, one visit is enough. The majority, however, want to come back. After two or three visits the mental pressure to take part in the demonstrations is almost irresistible. Some are attracted to the role of torturer or executioner. They like the idea of being clad in the threatening leather clothing, of wearing the executioner’s mask, of watching a helpless body buck as they inflict calculated pain, of hearing the futile whimpered requests for mercy and the full throated screams of agony, and of feeling the warm body of a man, quivering with its last breath, pressed against theirs. More, though, ache for the experience of victim. This may not, at first, be a wish to die.
The gibbet cage, just inside the Museum entrance, is rarely without an occupant, naked but for brief speedos. Even on only their second visit, many cannot resist the appeal of the uncomfortable restraint of the cold iron, the exposure to the crowds of visitors, swinging gently above their heads. There is a mixture of shame, helplessness and excitement in the situation that ensures a steady flow of volunteers.
There is similar demand for the stocks. A man in the stocks is not only open to be pelted with the wet sponges provided, but he is also vulnerable to the strokes, slaps and tweaks of the other visitors. Occasionally, to the cheers of onlookers, a guy will pull down the victim’s briefs and screw his arse. The pain, the helplessness, and the humiliation is all part of the undeniable attraction of the stocks.
Experiences like this, however, usually only make executioners and victims want to go further, to experience the more serious exhibits.
The guillotine stands tall and tempting. Its timber bascule, worn smooth by the movement of many bodies, stands upright, waiting for a naked victim to be tied to it.
A volunteer is readied for a face-up execution. The leather clad executioner stands close to the victim, who feels the leather against his rising erection, the leather gloves playing with his nipples, the hot breath of the man who is about to kill him sweet against his face. Then the bascule is tipping backwards, the executioner’s gloved hands are sliding down the victim’s body, and then stroking his erection. The victim is laying back, looking up to the blade of the guillotine, far above him, his neck now trapped by the upper part of the lunette. He moans with pleasure as the executioner works his cock with his gloves and his lips. He feels the ropes pleasurably chafing his body as he writhes. He glances at the expectant crowd, knowing they are waiting eagerly for his head to spring free from his body. His back arches as the pressure in his balls grows irresistibly. He looks up as his orgasm explodes and his mouth opens to cry out as he sees and feels the heavy blade start to fall, but he makes no sound as his view spins. He feels an intense sense of peace and satisfaction as he floats upwards, not knowing it is the executioner lifting his head from the basket. With his last fading sight, he looks down on his still twitching body, cock still stiff and dribbling cum, blood pumping from his neck and streaming over the guillotine.
Visitors will often pair up to use an exhibit. The garrotte is popular because it allows the executioner fine control over the strangulation of the victim. The museum has an early example without the later spike designed to separate the neck vertebrae and ensure rapid death. The garrotte (shown in an attached picture) has only a rope which is tightened by a windlass behind the upright. This allows the victim to be strangled almost to unconsciousness, and then, if desired, to be revived for the process to be repeated. Men will discuss with their executioner beforehand the intensity of the experience they seek, and the garrotte allows a non-lethal experience of execution. As the notice behind the chair indicates, however, the intensity of feeling for the victim is often so overwhelming that they eventually ask their executioner to take them all the way to death. The opportunity to closely watch a young man expire, the power of extinguishing his life, and the chance of playing with a limp, floppy, unresisting corpse before it is taken away for butchering, usually persuades the executioner to agree to such a request.
Another much-used exhibit is the iron maiden, a legendary medieval torture device. The other attached photo shows it in use.
A 20 year old man has stepped into the maiden, pressing himself hard against the spikes in the back of the device. The face of the maiden has already been closed. With his head pressed against spikes hard on his skull, he had watched the three large spikes on the interior of the face slowly moving towards him. As the metal folded down from its top hinge two spikes first pressed against, and then entered his soft eyeballs. As he opened his mouth in the sudden darkness to scream, the third spike entered his mouth and skewered the soft tissue of his tongue pressing it to the back of his throat. The blinded victim’s head is now clamped by the spikes, and he is held immovably by the maiden.
The museum visitors see the slim body shuddering and shaking, and hear the rasping gurgle of the victim’s laboured breathing. Blood trickles down the victim’s smooth chest.
In a moment the arms of the maiden will be closed, completing her embrace. Sharp, rusty iron spikes will first press and then impale the helpless body. The ingenious design avoids any deep, immediately fatal, puncture. The tapering spikes minimise blood loss. Vital organs – the heart and lungs – are protected, spikes entering the back and pectoral muscles no more than an inch. Longer spikes impale the limbs, belly and buttocks. One particularly cruel spike skewers the man’s cock to his pelvis. Dying can be a matter of hours, immobile and in unimaginable agony from every nerve in his body.
To volunteer for the maiden shows that you’re a real man.
So, MTE, the Museum of Torture and Execution, is the future of museums: interactive and participative. It is educational, and it provides a very real social benefit, reducing the number of young unemployed and unemployable young men. Apart from a small public grant to set up the museum, it is expected that it will be self-sufficient from entrance fees and the sale of longpork. What is needed is a nation with an enlightened government ready to sponsor this valuable institution.
