German bombing of Rotterdam in World War II

The German bombing of Rotterdam in World War II, also known as the Rotterdam Blitz, was the aerial bombardment of Rotterdam by the "Luftwaffe" on 14 May 1940, during the German invasion of the Netherlands in World War II. The objective was to support the German troops fighting in the city, break Dutch resistance and force the Dutch army to surrender. Almost the entire historic city centre was destroyed, nearly 900 people were killed and 85,000 more were left homeless.
The psychological and physical success of the raid, from the German perspective, led the "Oberkommando der Luftwaffe" (OKL) to threaten to destroy the city of Utrecht if the Dutch command did not surrender. The Dutch surrendered in the late afternoon of 14 May, signing the capitulation early the next morning.
Prelude.
During the Second World War, the Netherlands' strategic location between Great Britain and Germany made it ideal for the basing of German air and naval forces to be used in attacks on the British Isles. The Netherlands had firmly opted for neutrality throughout the First World War and had planned to do the same for the Second World War. It had refused armaments from France, making the case that they wanted no association with either side. While armament production was slightly increased after the invasion of Denmark in April 1940, the Netherlands possessed only 35 modern wheeled armoured fighting vehicles, five tracked armoured fighting vehicles, 135 aircraft, and 280,000 soldiers, while Germany committed 159 tanks, 1,200 modern aircraft, and around 150,000 soldiers to the Dutch theatre alone.
With a significant military advantage, the German leadership intended to expedite the conquest of the country by first taking control of key military and strategic targets, such as airfields, bridges, and roads, and then using these to gain control of the remainder of the country. The first German plans to invade the Netherlands were articulated on 9 October 1939, when Hitler ordered that "Preparations should be made for offensive action on the northern flank of the Western Front crossing the area of Luxembourg, Belgium, and the Netherlands." This attack was to be carried out as quickly and as forcefully as possible. Hitler ordered German intelligence officers to capture Dutch army uniforms and use them to gain detailed information on Dutch defensive preparations.
The "Wehrmacht" launched its invasion of the Netherlands in the early hours of 10 May 1940. The attack started with the Luftwaffe crossing through Dutch airspace, giving the impression that Britain was the ultimate target. Instead, the aircraft turned around over the North Sea and returned to attack from the west, dropping paratroopers at Valkenburg and Ockenburg airfields, near the Dutch seat of government and the Royal Palace in The Hague, starting the Battle for the Hague. While Germany had planned to take control swiftly using this strategy, the assault on The Hague failed. However, bridges were taken at the Moerdijk, Dort and Rotterdam, allowing armoured forces to enter the core region of the Fortress Holland on 13 May.
Battle for Rotterdam.
The situation in Rotterdam on the morning of 13 May 1940 was a stalemate as it had been over the previous three days. Dutch garrison forces under Colonel P.W. Scharroo held the north bank of the Nieuwe Maas river, which runs through the city and prevented the Germans from crossing; German forces included airlanding and airborne forces of General Student and newly arrived ground forces under General Schmidt, based on the 9th "Panzer" Division and the "Leibstandarte Adolf Hitler", a motorized SS regiment.
A Dutch counterattack led by a Dutch marine company had failed to recapture the Willemsbrug traffic bridge, the key crossing. Several efforts by the Dutch Army Aviation Brigade to destroy the bridge also failed.
General Schmidt had planned a combined assault the next day, 14 May, using tanks of the 9th "Panzer" supported by flame throwers, SS troops and combat engineers. The airlanding troops were to make an amphibious crossing of the river upstream and then a flank attack through the Kralingen district. The attack was to be preceded by artillery bombardment, while Gen. Schmidt had requested the support of the "Luftwaffe" in the form of a "Gruppe" (about 25 aircraft) of Junkers Ju 87 dive-bombers, specifically for a precision raid.
Schmidt's request for air support reached the staff of "Luftflotte" 2 in Berlin. Instead of precision bombers, Schmidt got carpet bombing by Heinkel He 111 bombers besides a "Gruppe" of Stukas focussing on some strategic targets. The carpet bombing had been ordered by Hermann Göring, to force a Dutch national capitulation.
Bombing.
The bombing was initially scheduled for the 13th May, however; the Germans were unable to carry out the operation due to low cloud. Instead, they were to bomb the city on the following day. At roughly 10:30 on the 14th General Rudolf Schmidt issued an ultimatum to the Dutch commander, Colonel Scharroo:To the Commander of Rotterdam
To the Mayor and aldermen and the Governmental Authorities of Rotterdam
The continuing opposition to the offensive of German troops in the open city of Rotterdam forces me to take appropriate measures should this resistance not be ceased immediately. This may well result in the complete destruction of the city. I petition you - as a man of responsibility - to endeavour everything within your powers to prevent the town of having to bear such a huge price. As a token of agreement I request you to send us an authorised negotiator by return. Should within two hours after the hand-over of this ultimatum no official reply be received, I will be forced to execute the most extreme measures of destruction.
The commander of the German troops.The Mayor of Rotterdam, Pieter Oud consulted with his aldermen and concluded that there was simply not enough time to evacuate the city within the two hour period the Germans had set. Mayor Oud pleaded with Scharroo to surrender. However, Scharroo was not happy with the integrity of the letter as it had not been signed by anyone on the German side; therefore, he refused to seriously consider the surrender. He replied asking for further details:To the commander of the German troops.
I am in receipt of your letter. Subject letter has not been duly signed and did not mention name and rank of its originator. Prior to seriously considering your proposal, the letter should be duly signed and mention your name and rank.
Colonel, commander of the Dutch troops in Rotterdam, P.W. ScharrooOn receipt of Scharroo's letter, Schmidt sent a telegram to the 2nd "Luftflotte" (responsible for the air raid) stating:Airstrike postponed due to ongoing negotiations. Return to stand-by status.This was received by the 2nd "Luftflotte" at 12:42, but the message was not given to the bombers.
As Schmidt was handing over his second signed ultimatum to the Dutch negotiators, the sound of aircraft engines was heard overhead. Schmidt was shocked, however, it had also been arranged that red flares were to be shot into the sky by the Wehrmacht if the negotiations had begun. If the bombers saw the red flares, they would know to turn back. However, there were two groups of bombers flying towards the city. One group - the larger of the two - had 54 Heinkel He 111s flying in from the northeast, while the smaller group (36 He-111s) was flying in from the south. As the Germans had only captured the southern parts of the city, there were no flares fired in the north. In addition, there was a large smoke cloud obscuring the southern part of the city - making it harder to see the flares. The smaller group saw the flares and most of their planes turned back, while the larger group never saw the flares and proceeded to destroy the city. General Schmidt exclaimed, "My God, this is a catastrophe!" In total, 1,150 50-kilogram (110 lb) and 158 250-kilogram (550 lb) bombs were dropped on the city, mainly in the residential areas of Kralingen and the medieval city centre. Most of them struck buildings which immediately went up in flames. The fires across the city centre spread uncontrollably and in the subsequent days they were aggravated as the wind grew stronger, merging to become a firestorm. Although the exact number of casualties is not known, nearly 1,000 people were killed and 85,000 were made homeless.[""] Around 2.6 square kilometres (1.0 sq mi) of the city were levelled. 24,978 homes, 24 churches, 2,320 stores, 775 warehouses and 62 schools were destroyed. Schmidt sent a conciliatory message to the Dutch commander General Winkelman, who surrendered shortly afterwards at Rijsoord, a village southeast of Rotterdam. The school where the Dutch capitulated was later turned into a small museum.
Responsibility.
The telegraphed message from Schmidt to halt the bombers and put them on standby was confirmed as received by the 2nd "Luftflotte" at 12:42. The commander of "Luftflotte 2", Field Marshal Kesselring was interviewed about this event during the Nuremburg trials by Leon Goldensohn. Goldensohn recalls:Kesselring admitted that the conditions were such that an attack could have been called off, but still clung, rather unreasonably, to the idea that it was tactically indicated because he had been ordered to do so, and he was not a politician but a soldierKesselring states that he hadn't known about the capitulation, but this is contradicted by the evidence that his headquarters had received the message at 12:42, roughly 40 minutes before the bombs started to fall. Yet, at Nuremburg both Goring and Kesselring of the Luftwaffe defended the bombing on the grounds that Rotterdam was not an open city but stoutly defended by the Dutch. In his memoirs, written whilst he was in prison for war crimes, Kesselring gave his account:On the morning of 13 May, Student kept calling for bomber support against enemy strongpoints inside Rotterdam and the point of main effort at the bridges where the parachutists were held up. At 14:00 hours the sortie in question was flown, and its success finally led to the capitulation of Holland on 14 May 1940General Student only requested strikes against enemy strongpoints, not to carpet bomb the city. Kesselring also states in his memoirs that he spent hours in heated argument with Goring on how the attacks were to be carried out, if at all. The arguments happened before the bombers took off, so this can't be used as an excuse for why he didn't get in contact with the bombers.
The fact was that he had already admitted at Nuremburg that he was for the attack because he wanted 'to present a firm attitude and secure an immediate peace' or take 'severe measures'. Kesselring further states:As a result I repeatedly warned the bomber wing-commander to pay particular attention to the flares and signals displayed in the battle area and to keep in constant wireless contact with the Air-landing Group.With this in mind, it is unlikely that the bombers would have reeled in their antennas until a few minutes before releasing their bombs. The argument that the antennas were reeled in is also contradicted by the fact that Kesselring quotes "Oberst" Lӓckner (the commander of the bombers) in his memoirs:Shortly before the take-off a message came through from Air command saying that Student had called upon Rotterdam to surrender and ordering us to attack an alternative target in case Rotterdam should have surrendered in the meantime (during the approach flight) ― "Oberst" LӓcknerThis invalidates the argument that the bombers had reeled in their antennas because the bombers hadn't taken off. This indicates that Kesselring must have made the decision to attack Rotterdam regardless of the negotiations.
Aftermath.
The Dutch military had no effective means of stopping the bombers (the Dutch Air Force had practically ceased to exist and its anti-aircraft guns had been moved to The Hague), so when another similar ultimatum was given in which the Germans threatened to bomb the city of Utrecht, the Dutch supreme command in the late afternoon decided to capitulate rather than risk the destruction of another city. Dutch and British sources informed the public through Allied and international news media that the raid on Rotterdam had been on an open city in which 30,000 civilians were killed (the real number was around 900) "and character[ised] the German demolition of the old city as an act of unmitigated barbarism". The number of casualties was relatively small, because thousands of civilians had fled to safer parts of Rotterdam, or to other cities, during the previous four days of bombing and warfare. The German weekly "Die Mühle" ("The Windmill") stated that the Dutch government was to blame for turning Rotterdam into a fortress, despite multiple summons to evacuate. It also claimed that the old city was ignited by Dutch bombs and incendiary devices.
The United Kingdom had had a policy of bombing only military targets and infrastructure such as ports and railways which were of military importance. While it was acknowledged that bombing of Germany would cause civilian casualties, the British government renounced the deliberate bombing of civilian property outside combat zones (which after the fall of Poland, meant German areas east of the Rhine) as a military tactic. This policy was abandoned on 15 May 1940, one day after the Rotterdam Blitz, when the RAF was directed to attack targets in the Ruhr, including oil plants and other civilian industrial targets which aided the German war effort, such as blast furnaces that at night were self-illuminating. The first RAF raid on the interior of Germany took place on the night of 15/16 May 1940.
Reconstruction.
Due to the extent of the damage from the bombardment and the resulting fire, an almost immediate decision was taken to demolish the entire city centre with the exception of the Laurenskerk church, the Beurs (trade centre), the Rotterdam old city hall () and the Rotterdam old central post office (). Despite the disaster, the city's destruction was regarded as the perfect opportunity to redress many of the problems of industrial pre-war Rotterdam, such as crowded, impoverished neighborhoods, and to introduce broad-scale, modernising changes in the urban fabric which had previously been too radical in the built-up city. There seemed to be no thought of nostalgically rebuilding the old city, as it would be at the expense of a more modern future. This ran counter to the decision taken in other European cities destroyed during WWII, such as Warsaw where the Polish government spent considerable resources on reconstructing historical buildings and quarters and restoring them to their pre-war appearance.
W.G. Witteveen, director of the Port Authority, was instructed to draw up plans for the reconstruction within four days of the bombing, and presented his plan to the city council in less than a month. This first plan essentially used most of the old city's structure and layout, but it integrated them into a new plan, with widened streets and sidewalks. The largest and most controversial change in the layout was to move the main dike of the city alongside the riverbank, so as to protect the low-lying Waterstad area from flooding. This was met with criticism from the newly formed Inner Circle of the Rotterdam Club, which promoted integrating the city with the Maas (Meuse), and claimed that the dike would create a marked separation from it.
A number of new or previously incomplete projects – such as the Maastunnel and Rotterdamsche bank – were to be completed in accordance with Witteveen's plan, and these projects kept the Dutch people in work during the German occupation of the city, until all of the construction was halted. Herman van der Horst's 1952 documentary "Houen zo!" presents a vision of some of these projects.
During this time, Witteveen's successor Cornelius van Traa drafted a completely new reconstruction plan – the "Basisplan voor de Herbouw van de Binnenstad" – which was adopted in 1946. Van Traa's plan was a much more radical rebuild, doing away with the old layout and replacing them with a collection of principles rather than such a rigid structural design. The "Basisplan" placed a high emphasis on broad open spaces and promoted the river's special integration with the city through two significant elements; the Maas Boulevard, which re-imagined the newly moved dike as an 80m wide tree-lined street; and the Window to the River, a visual corridor running from the harbour to the centre of the city. Both were meant to show the workings of the harbour to the city's people.
Because reconstruction work began so rapidly after the bombing, by 1950 the city had again retained its reputation as the fastest loading and unloading harbour in the world.
Around the same time, the city centre of Rotterdam had shifted north-west as a result of temporary shopping centres which had been set up on the edge of the devastated city, and new shopping centre projects like the Lijnbaan were expressing the radical new concepts of the "Basisplan", through low, wide open streets set beside tall slab-like buildings. Rotterdam's urban form was more American than other Dutch cities, based on US plans, with a large collection of high-rise elements and the Maas boulevard and Window to the River functioning primarily as conduits for motor vehicles. In later years, Rotterdam architect Kees Christiaanse wrote:
This larger-scale, 'wholesale-quantity' approach was equally used for hospitals and parks (such as Dijkzigt Hospital and Zuider Park) as retail centres, but close attention was still paid to creating human-scale, walkable promenades, especially that of the Lijnbaan, which presented broad sunny walkways for shoppers and spectators, and tried new retail techniques such as open glass walls to blend interior and exterior.
While urban reconstruction can be fraught with complexity and conflict, Rotterdam's status as a 'working' harbour city meant it did not receive the same resistance to rebuilding as a cultural or political centre (as Amsterdam or The Hague) might have. However, there was still significant movement of people away from the city centre during Rotterdam's reconstruction to purpose-built neighbourhoods such as De Horsten and Hoogvliet, which are now inhabited by mainly lower-income households.
Today, van Traa's "Basisplan" has been almost completely replaced with newer projects. For example, The Maritime Museum blocks the Window to the River, and Piet Blom's Cube Houses create another barrier between the city and the river, where in the Basisplan there was to be a connection between them. The Euromast tower which was built in 1960, is a related attempt to create a visual link between the city and the port, seemingly one of the last architectural structures which is related to van Traa's "Basisplan" before later attempts like the Boompjes Boulevard in 1991.


Acergy

Acergy S.A. was an international offshore seabed to surface engineering and construction company previously known as Stolt Offshore and Stolt Comex Seaway and was part of the Stolt-Nielsen Group until 2005. The company was registered in Luxembourg and had its headquarters in London in the United Kingdom as well as offices in Stavanger, Norway; Aberdeen, United Kingdom; Suresnes, France; Houston, United States; Rio de Janeiro, Brazil; Perth, Australia; St. John's, Canada and Singapore. The company was listed on the Oslo Stock Exchange and NASDAQ. In 2011 the firm merged with Cayman Islands-based Subsea 7, Inc. to create Subsea 7 S.A.
History.
The company started as the Haugesund based Stolt Nielsen Seaway and offered divers for the exploration of the North Sea in 1970. The company was part of the Stolt-Nielsen Group. In 1989 the company expanded to Aberdeen and in 1992 the company acquired the French diving company Comex Services. In 1997 the company won its first ultra-deepwater contract off West Africa, resulting in the acquisition of Houston based Ceanic Corporation, Danish NKT Flexibles and ETPM of France.
In 2000 the company changed its name to Stolt Offshore. In 2005 the Stolt-Nielsen Group sold its ownership in the company and listed it on the Oslo Stock Exchange and NASDAQ. As of 1 March 2006 the company changed its name to Acergy.
On 21 June 2010 the combination of Acergy S.A. and Subsea 7 Inc. was announced and was completed on 7 January 2011. The new entity took the Subsea 7 name while retaining Acergy's Luxembourg domicile and operational headquarters in London. The chairman and chief executive roles were filled by Kristian Siem and Jean Cahuzac, who had previously held the same roles at Subsea 7 and Acergy respectively.
Operations.
The company had four main operational areas: Subsea Umbilical Risers and Flowlines (SURF); Inspection, Maintenance and Repair (IMR) and Conventional Field Development.
Joint ventures.
Main Joint Ventures included: Seaway Heavy Lifting in Netherlands, NKT Flexibles in Denmark, SapuraAcergy in Malaysia, Global Oceon Engineers in Nigeria.
Assets.
Ships: Acergy Condor, Acergy Discovery, Acergy Eagle, Acergy Falcon, Acergy Harrier, Acergy Hawk, Acergy Legend, Acergy Osprey, Acergy Petrel, Acergy Viking, Far Saga (time charter), Skandi Acergy (time charter), Pertinacia, Polar Queen, "Polarbjørn" (time charter), Sapura 3000 (owned by SapuraAcergy Joint Venture), Stanislav Yudin (owned by Seaway Heavy Lifting Joint Venture), Oleg Strashnov (newbuild, owned by Seaway Heavy Lifting Joint Venture), Acergy Havila (Newbuild), Acergy Borealis (newbuild), Seven Waves (newbuild 2013)
Barges: Acergy Polaris, Antares, Acergy Orion


Haarlemmertrekvaart

The Haarlemmertrekvaart [ˌhaːrlɛmərˈtrɛkfaːrt] (Haarlem's Tow-Canal) is a canal between Amsterdam and Haarlem in the province of North Holland, the Netherlands. It was dug in 1631, making it the oldest tow-canal in Holland. Travel on such canals was historically done by barges (or "trekschuit" in Dutch) which were towed by animals (and sometimes by man-power) on a path along the canal's edge (towpath).
History.
Until the beginning of the 17th century, the primary waterway between Amsterdam and Haarlem was the IJ, a bay of the Zuiderzee. The land route was over the twisty dike along this bay. In 1631 construction began and the canal was dug in a virtually straight line to guarantee the shortest route. It shortened the waterway from Haarlem to Amsterdam considerably. Until that time, boats needed to travel up the Spaarne river to pass the narrow sluice gate at Spaarndam, to reach the IJ. Similarly, the towpath shortened the route considerably for land traffic. Prior to this route, coaches traveling by land would leave Haarlem over the Oude Weg up to the Liede, where they would cross at Penningsveer (a ferry for a penny), to Spaarnwoude and along the IJdijk (on older maps, Spaarndammerdijk) to Amsterdam.
The first trekschuit 'sailed' in 1632 between Amsterdam and Haarlem, and could carry 30 passengers. Because of the sluice gate between the Haarlem Lake and the IJ, the canal was not continuous. The passengers needed to disembark and change boats at this point, which was halfway, and where the town of Halfweg (meaning "halfway") formed. Commercial freight was not allowed to use the canal, and a complicated tax system on water transport kept the trekschuit system a stable means of passenger transport for centuries. The success of the Haarlemmertrekvaart led to the extension of the canal from Haarlem to Leiden by means of the Leidsevaart in 1657. When the Haarlem Lake became a polder in 1852, the former sluice gate became a steam-driven drainage pump, which is now a museum.
A railway parallel to the canal was built in 1839 which rendered passenger transport on the Haarlemmertrekvaart obsolete. While there is no longer any shipping on the canal, it is still being used for water management.


Hans Dirk de Vries Reilingh

Hans Dirk de Vries Reilingh (Groningen, August 22, 1908 - Naarden, April 18, 2001) was a Dutch geographer and professor.
Personal life.
Hans Dirk de Vries Reilingh, often shortened to Reilingh, was born into a family of doctors in Groningen. His father and his grandfather were both postgraduate doctors. After the death of his father, Reilingh moved to The Hague. This was where he completed his HSB-b final exams. He then enrolled in social geography studies at the University of Amsterdam. In 1932 he earned his master's degree. His friend, Hendrick van der Wielen (in 1930 promoted by Sebald Rudolf Steinmetz) asked him to teach c courses at Allardsoog, the first Volkshogeschool in the Netherlands.
In 1938, Reilingh moved to Markelo, where he founded the volkhogeschool Diependaal. During the Second World War, his work at the volkshogeschool was shut down. Reilingh worked in the war years as a teacher in Almelo and also as a researcher for ISONEVO in Twente. He also finished his thesis during this period. He was awarded cum laude by Steinmetz on November 11, 1945.
After the Second World War, Reilingh worked for the Ministry of Education, Arts and Sciences. In 1947, he founded the volkshogeschool Eerbeek.
In 1949 Henri Nicolaas ter Veen died. Reilingh was his successor of the same department: Social Geography and Land Description. He retired in 1971.
The Volkshogeschool.
In the preface of his thesis 'De Volkshoogeschool', Reailinh writes that his study came about at the insistence of his professor Steinmetz. Steinmetz has much sympathy for the ideas that underlie the work at the Volkshogeschool.
After a short introduction where the goals and methods of the Volkshogeschool as an instrument for community development is outlined, followed by seven chapters about the development of Volkshogeschools in Scandinavia, Germany, Switzerland and the Netherlands. The development in Denmark receives the most attention because this country was the home of volkhogeschool work of Nikolaj Frederik Severin Grundtvig and Christen Mikkelsen Kold. In the second part of his thesis, the various goals, systems and methods of volkhogeschool work are compared with each other.
Sociography and Social Geography.
The Reilingh's views regarding sociology and social geography differed from those of his predecessor Ter Veen. Ten Veen had always developed more to a form of applied Sociology, but Reilingh emphatically studied social phenomenon in the spatial context. In his eyes geographical sociology must remain. See Also Sociale geografie UvA 1950- 1970.
Not only did Reilingh have to examine the strong emerging field of sociology but he also had to determine also his own position in the field. In his eyes, social geography was like that in Utrecht and Groningen, where it was concentrated on the field's economic aspects. Large attention was given to the pursuit of human prosperity by the Groningse social geographer Hendrik Jacob Keuning leading Reiling to geographical materialism, causing him to believe that the mental and cultural factors were underexposed.
Because of the cultural and political aspects of the study of the relation between the people and the surrounding space received more attention, the meaning of the physical environment received less. For Reilingh the social space, also known as territorial cohabitation, was central. Reilingh explained various emphases in Social Geography and because of that could develop his use of the political and cultural forms of geography at the University of Amsterdam.
The Inner City of Amsterdam.
Until he was appointed as a professor in 1949, Reilingh was highly focussed on the analysis of rural issues. He published, among other things in 1949 a twosome of country monographs for Weerselo and Markelo. In the fifties he continued to regularly publish works about issues of rural character as he researched the regional cultural situation in the province of North-Holland.
However, his scientific staff urged him to do more research in urban areas, more relevant to the particular problems of districts, neighbourhoods and inner cities. The postwar housing shortage was for Reilingh and his staff (de Sociografische Werkgemeenschap (Sociographic Work Community)) a stimulus to investigate problems in neighborhoods. One started with field studies of the living conditions in a number of neighbourhoods in the district Bos en Lommer.
In the beginning of the sixties the municipality of Amsterdam struggled with the problems of decay and loss of function in the inner city. There was an alderman Joop den Uyl appointed by a municipal commission who invited Reilingh to participate. That was the beginning of an extensive research project under the leadership of Reilingh, Willem Heinemeyer and Michel van Hulten. The research reported on, among other things, land prices, image, accessibility and monuments in ‘Het Centrum van Amsterdam, een sociografische studie (The Center of Amsterdam, a sociographic study)’ (1968). During this research many national and international contributors were contacted. During 1966, the involved experts brought together a study week 'Urban Core and Inner City'. The discussions there contributed heavily to the meaning of development in Amsterdam.
Terrareeks (Terra Series).
Reilingh was also active in the publication of geographical books for a wide public. He catered three parts of the Terra Series, that were started by his predecessor, Ter Veen. He wrote the sections on Denmark, Belgium (together with M. Van Haegendoren) and Austria (together with J. Wartha).
Editorial Activities.
Reilingh even edited the magazine Het Gemenebest (The Commonwealth) and he was a co-founder of the Belgian-Dutch magazine Volksopvoeding (People's Education). During the fifties he was a member of the editorial office of Folia Civitatis. He was also a member and later chairman of the magazine Aardrijkskundig Genootschap (Geographical Society). He was also vice president of the editorial office of the Geografisch Tijdschrift (Geographic Magazine).


Dola de Jong

Dola de Jong (10 October 1911 - 12 November 2003) was a Jewish Dutch-American writer. She is most well-known for her publication of "The Tree and the Vine" in 1954, which depicts a lesbian relationship.
Personal Life and Education.
Dola de Jong was born Dorothea Rosalie de Jong in 1911 in Arnhem, The Netherlands, to a wealthy Jewish father, Salomon Louis de Jong, and a German mother, Lotte Rosalie Benjamin.
de Jong had two brothers. She owes her name to her older brother Hans, who changed Dorothea (or Dora) into Dola. Her mother, German by birth, was in poor health, so Dola often stayed with an ‘aunt Mathilde’ in Haarlem. Her mother died when Dola was five years old.
As a young woman, she aspired to become a ballet dancer, but her conservative father viewed ballet as “one step away from prostitution,” as she told "HetParool" in a 1982 interview. Her father wanted to send her to a finishing school in Lausanne, “but I was a rebel,” she said, “I always have been.”
Instead, she took a job at a local newspaper, "Nieuwe Arnhemsche Courant." When the newspaper went bankrupt, de Jong moved to Amsterdam in the early 1930s where she started taking dance lessons. She became a member of the Royal Dutch Ballet for eight years and toured the Netherlands with the Yvonne Georgi. To fund her dance lessons, De Jong started working as a freelance journalist, writing under the pseudonym Sourit Ballon. During this time, she also published some children's books.
While many around her were in denial of the growing threat to the east, de Jong was quick to realize that the Netherlands was no longer safe for Jewish people. She fled the country for Tangier, Morocco in April 1940, weeks before the Nazis invaded Holland. Her father, stepmother, and one brother, whom she could not convince to leave with her, were killed by the Nazis.
In Tangier, de Jong married the painter Jan Hoowij in 1941. In the same year, the two moved to New York City. de Jong became an American citizen in 1947. She later divorced Hoowij and married her second husband, Robert Joseph. Together they had one son, Ian, in 1951.
In 1970, she separated from Robert Joseph and started a relationship with Oscar Van Leer. The couple moved to The Netherlands, where she lived until their breakup. In 1978, she returned to New York, where she began started studying psychology and literature at the Empire State College of the State University of New York. After graduating in 1983, at 72, Dola worked as a teacher at the same institution until she was 78.
In the late eighties she started painting, and wrote for "De Nieuwe Amsterdammer."
Career.
Dola de Jong published her first adult novel in 1939. In 1945, she published a novel about war refugees, "The Field is the World", which was inspired by her stay in Tangier. Two years later, the novel was published in Dutch as "En de akker is de wereld", and was awarded the City of Amsterdam’s Literature Prize in 1947. Dola was nominated for the Edgar Allan Poe Award for the thriller "The House on Charlton Street" (1962), and later won the Edgar Allan Poe Award for the mystery novel "The Whirligig of Time" (1964), which she later translated into Dutch.
Along with her writing, de Jong worked as a literary agent for publishing houses, resulting in the U.S. publications of Anne Frank, Hugo Claus, Jan Cremer, etc.
"The Tree and the Vine" is one of de Jong's most prominent works. It was originally published in Dutch in 1954, and translated to English in 1961. It is set in the Netherlands in the 1930s, and describes a love between two women. It is candid in its depiction of queer desire. The relationship is complicated, and explores many aspects of love and life in the Netherlands during the Nazi occupation. The lesbian subject matter is surprising, considering the time in which the book was published. It fits into the tradition of American lesbian pulp fiction books, and like many of those books, the story does not end happily for the lesbian relationship. Instead, it normalizes the characters’ unhappinesses, showing them to be just as complicated as anyone else’s, despite sexuality. Because of its setting, it's possible de Jong drew on her own life to write this novel. Before its publication in the Netherlands, it was rejected as “unpublishable” and “shameless.” To publish in America, it took the intervention of distinguished friends abroad, including de Jong’s American editor, Maxwell Perkins, to get the novel into print. When it first appeared in English in 1961, reviewers likewise misread this subtle character study, bizarrely, as trash about “compulsive sin” and “the world of the sexual pervert,” Lillian Faderman noted in a later reissue.
"The Tree and the Vine" was reissued by the Feminist Press in 1996.
Death.
Dola de Jong started to have heart problems in the 1980s, and was diagnosed with cancer of the bone marrow in 1995. She left New York in 1995 to live in a nursing home in Laguna Woods, California, not far from her son Ian.
Dola died in California on November 12, 2003, at 92.


Henry Casimir I of Nassau-Dietz

Henry Casimir I of Nassau-Dietz (21 January 1612 – 13 July 1640) was count of Nassau-Dietz and Stadtholder of Friesland, Groningen and Drenthe.
Life.
He was born in Arnhem, the eldest son of Ernst Casimir of Nassau-Dietz and Sophia Hedwig of Brunswick-Lüneburg, and, like his father, died in battle.
Henry Casimir was christened at Arnhem. The English representative, Sophia Hedwig being the niece of the queen Anne of Denmark, was Sir Edward Cecil. He brought gifts of a cupboard of gilt plate, a diamond necklace with a locket, horses, and an embroidered petticoat for Sophia Hedwig.
On 12 July 1640, he was wounded in Sint Jansteen at the battle of Hulst. He died the next day. Hendrik Casimir is buried in Leeuwarden, and was succeeded in his titles by William Frederick, Prince of Nassau-Dietz. His death at Hulst, aged 28, caused a series of memorials to his name and the battle in which he died. The Rijksmuseum keeps a blood-stained shirt in the collection supposedly worn by him when he was wounded. Similarly, the bullet hole in his father's hat is also kept there for posterity.


Xan de Waard

Xan de Waard (born 8 November 1995) is a Dutch field hockey player.
De Waard has played 150 international matches for the Netherlands women's national field hockey team. She was a member of the Dutch team that won the 2014 Women's Hockey World Cup.
De Waard was a member of the Netherlands team that won a silver medal at the 2016 Summer Olympics.


Mstislav II of Kiev

Mstislav II Izyaslavich (; ) (died 19 August 1170) was the prince of Pereyaslav and Volodymyr-Volynsky and grand prince of Kiev (Kyiv, 1158-1159, 1167–1169, 1170).
Mstislav was the son of Grand Prince Iziaslav II of Kiev. Along with his father, he participated in the wars against Yury Dolgoruky and the Chernigov princes. After an initial victory against the Cumans in 1153, Mstislav was defeated by the Cumans at the Psyol river. Yury Dolgoruky forced him to flee to Poland in 1155, but the next year Mstislav returned with a new army and defeated Dolgoruky at Volodymyr-Volynsky. Dolgoruky died in 1157, and Mstislav had himself crowned at Volodymyr-Volynsky.
In 1169, Kiev was sacked by Andrey Bogolyubsky who removed Mstislav as grand prince. Mstislav passed his exile in Byzantium and during the reign of Emperor Manuel I Komnenos, was rewarded the district of Otskalana.
In 1151 Mstislav married Agnes, the daughter of Duke Bołeslaw III of Poland. They had three sons:
His death is reported in 1172 in the book "Heraldry of the Royal Families of Europe", Jiri Louda and Michael Maclagan. Clarkson N Potter, New York 1981 in Table 135


Jantine van der Vlist

Jantine van der Vlist (born 1985) is a Dutch beach volleyball player. She has previously played indoor volleyball.
Beach Volleyball.
As of 2015, she plays with Sophie van Gestel. They have qualified for 2016 Summer Olympics in Rio de Janeiro. The pair played in Pool-E and were eliminated with a set win/loss of 1W/6L.


Zagreb Jewish Film Festival

The Zagreb Jewish Film Festival (JFF) is an annual film festival held in Zagreb, Croatia which is dedicated to preservation of memories on Holocaust and on raising public awareness about the importance of tolerance.
JFF was originated for the first time in 2007 under license and in collaboration with UK Jewish Film Festival. Festival is organized by the NGO also called Jewish Film Festival headed by Academy-Award-winner Branko Lustig. The festival takes place at the Zagreb Cinema Europa, one of the most beautiful and oldest art-cinemas in the area.
Festival sections.
Film program.
Zagreb Jewish Film Festival's film programme, which includes feature films, documentaries and short films, is held at Cinema Europa.
Educational mornings.
Since 2009 the festival has organised educational mornings about The Holocaust for students of different age groups.
Support.
The Jewish Film Festival Zagreb is funded by the Austrian Cultural Forum and the city of Zagreb as the main sponsor. Among others, the sponsors of the festival in previous years were also Jutarnji list, Školska knjiga, Sheraton Hotels and Resorts, Atlantic Grupa, Mirko Ilić, McCann Erickson, Austrian Cultural Forum, Diners Club International, Erste Group, UNHCR, Jadran Film...


De Haar Castle

De Haar Castle (Dutch: "Kasteel de Haar") is located in Utrecht, Netherlands.
Original site.
The oldest historical record of a building at the location of the current castle dates to 1391. In that year, the De Haar family received the castle and the surrounding lands as a fiefdom from Hendrik van Woerden. The castle remained in the ownership of the De Haar family until 1440, when the last male heir died childless. The castle then passed to the Van Zuylen family. In 1482, the castle was burned down and the walls were destroyed, except for the parts that did not have a military function. These parts probably were incorporated into the castle when it was rebuilt during the early 16th century. The castle is mentioned in an inventory of the possessions of Steven van Zuylen from 1506, and again in a list of fiefdoms in the province Utrecht from 1536. The oldest image of the castle dates to 1554 and shows that the castle had been largely rebuilt by then. After 1641, when Johan van Zuylen van de Haar died childless, the castle seems to have gradually fallen into ruins. The castle escaped total destruction by the French during the "Rampjaar" 1672.
In 1801 the last Catholic van Zuylen in the Netherlands, the bachelor Anton-Martinus van Zuylen van Nijevelt (1708–1801), bequeathed the property to his cousin Jean-Jacques van Zuylen van Nyevelt (1752–1846) of the Catholic branch in the Southern Netherlands.
1892 restoration.
In 1887, Jean-Jacques' grandson, Etienne Gustave Frédéric Baron van Zuylen van Nyevelt van de Haar (1860–1934), married Baroness Hélène de Rothschild, of the Rothschild family. When Etienne inherited the ruined castle in 1890 from his grandfather, the couple set about rebuilding the castle, fully financed by Hélène's family. For the restoration of the castle, they contracted famous architect Pierre Cuypers. He would work on this project for 20 years (from 1892 to 1912). The castle has 200 rooms and 30 bathrooms, of which only a small number on the ground floor have been opened to be viewed by the public. Cuypers placed a statue of himself in a corner of the gallery on the first floor.
The castle was equipped by Cuypers with the most modern gadgets, such as electrical lighting with its own generator, and central heating by way of steam. This installation is internationally recognized as an industrial monument. The kitchen was for that period also very modern and still has a large collection of copper pots and pans and an enormous furnace approximately 6 metres long, which is heated with peat or coals. The tiles in the kitchen are decorated with the coats of arms of the families De Haar and Van Zuylen, which were for this purpose especially baked in Franeker. Cuypers emphasized the difference between the old and new walls by using different kinds of bricks. For the interior Cuypers made extensive use of cast iron.
Many details in the castle refer to the Rothschild family, such as the Stars of David on the balconies of the knight's hall, the motto of the family on the hearth in the knight's hall ("A majoribus et virtute") and the coat of arms of the family right underneath on the hearth in the library.
Interior.
The interior of the castle is decorated with richly ornamented woodcarving, reminiscent of the interior of a Roman Catholic church. This carving was made in the workshop of Cuypers in Roermond, who even designed the tableware. The interior is furnished with many works from the Rothschild collections, including beautiful old porcelain from Japan and China, and several old Flemish tapestries and paintings with religious illustrations. The centrepiece is a carrier coach of the wife of a Japanese "shōgun", which reportedly is only one of two worldwide, the other one being exhibit in Tokyo. Japanese tourists come to De Haar to admire this coach, which was donated from the Rothschilds' collections.
Park and gardens.
Surrounding the castle there is a park, designed by , for which Van Zuylen ordered 7,000 grown trees. Because these could not be transported through the city of Utrecht, Van Zuylen bought a house and demolished it. The park contains many waterworks and a formal garden reminiscent of the French gardens of Versailles. During the Second World War many of the gardens were lost, because the wood was used to light fires, and the soil was used to grow vegetables. Today most are restored to their original state.
For the decoration of the park, the village Haarzuilens, except for the town church, was demolished. The inhabitants were moved to a place a kilometre away, where a new Haarzuilens arose and where they lived as tenants of the lord of the castle. This new village was also built in a pseudo-medieval style, including a rural village green. The buildings were for the most part designed by Cuypers and his son Joseph Cuypers. Since 2000, the estate is partly owned by Natuurmonumenten.
Arms.
The colours of the family Rothschild are red and white. The coat of arms consists of three red columns on a white field. The different branches of this family differ slightly on these colours. This coat of arms does not only live on in the colours of the castle, but also in nearly all of the houses of Haarzuilens, even in the newly constructed ones.
Current ownership.
In 2000, the family Van Zuylen van Nyevelt passed ownership of the castle and the gardens (45 ha) to the foundation Kasteel de Haar. However, the family retained the right to spend one month per year in the castle. In the same year, the Dutch society "Natuurmonumenten" bought the surrounding estate of 400 ha. An extensive restoration programme of the castle and the gardens was initiated in 2001 and was completed in 2011.
After the death in 2011 of the last male heir, Thierry van Zuylen, his daughters also sold the castle's art collection and furnishings to the new owners.
Fairs.
The castle terrain is regularly used for fairs and markets, such as the Elf Fantasy Fair.


Paul J. H. Schoemaker

Paul J. H. Schoemaker, Ph.D. (born 1949) is an academic, author, and an expert in the fields of strategic management and decision making.
He is listed among the most highly cited scholars globally (top 1%) as measured by academic publications in leading journals of business and economics.
Schoemaker is the founder and executive chairman of a consulting and training firm specializing in strategic management, Decision Strategies International and also the chairman of two family companies (Public Salt Inc in Ohio and Vaessen-Schoemaker BV in the Netherlands). He also serves on the advisory board of the Decision Education Foundation, a philanthropic organization aimed at improving the decision making and judgment skills of adolescents, in associations with high schools around United States.
He currently lives in on the East Coast of USA with his wife, Joyce; they have two children.
Early life and education.
He was born and raised in the Netherlands, and he started his studies in physics and mathematics at the University of Groningen, Netherlands. He graduated magna cum laude from the University of Notre Dame with a B.S. in physics in 1972. Later, he received an M.B.A. in Finance, an M.A. in Management and a Ph.D. in Decision Sciences, all three degrees from the Wharton School at the University of Pennsylvania.
Professional life.
In 1975, he started his professional life as a Lecturer of Management at the Wharton School and later in 1977 served there as an assistant Professor of Management. For over twelve years "(starting 1979)", he served as a full-time professor in the Graduate School of Business at the University of Chicago, specializing in strategy and decision sciences.
In the 1980s he took an extended sabbatical with the strategic planning group of Royal Dutch Shell in London, where he helped pioneer scenario planning.
Prof. Schoemaker has served as Research Director of the Mack Institute for Innovation Management at the Wharton School of the University of Pennsylvania, where he remains as a senior fellow.
He is also the founder and Executive Chairman of Decision Strategies International, a consulting and training firm specializing in strategic management, executive development and multi-media software.
Paul Schoemaker is also an active private investor in new technology-based ventures and served on the Board of Directors of the Decision Education Foundation, a philanthropic organization aimed at improving the decision making and judgment skills of adolescents, in associations with high schools around United States.
Personal life.
He lives with his wife Joyce in Villanova, Pennsylvania and Delray Beach, Florida; they have two children. His hobbies include tennis, golf and piano.
His brother Hubert Schoemaker was a co-founder and the president of the biotech company Centocor.
Publications.
Schoemaker’s articles have appeared in the Harvard Business Review, The Journal of Economic Literature and the Journal of Mathematical Psychology, as well as numerous other journals. A selection of articles and books can be found below:


Joris van der Haagen

Joris Abrahamsz. van der Haagen (c. 1615 – The Hague, 23 May 1669 (buried)) was a Dutch Golden Age painter specialized in landscapes.
Biography.
It is unclear where Joris van der Haagen was born, either in Arnhem or Dordrecht, but archival evidence shows that he started his drawing career in Arnhem. He probably learned to paint from his father, the painter Abraham van der Haagen. When his father died he moved in 1639 to the Hague, where he joined the Guild of St. Luke in 1643. A year later he became honorary citizen of The Hague. In 1656 he was one of the founding members of the Confrerie Pictura, which was located on the Princessegracht in the Hague. The painting he made of the Princessegracht at this time probably shows the original building, which has since been renovated beyond recognition.
Legacy.
He is known for his landscapes, and especially his "views" of various cities in the eastern part of the Netherlands. Sometimes he collaborated with other painters, who painted figures in his landscapes. Evidence shows he worked with Dirck Wyntrack, Paulus Potter, Ludolf Leendertsz de Jongh, Jan Wijnants and Nicolaes Berchem.
According to Houbraken he used blue ash to make the color green, and this had faded by 1715, when he saw his paintings in Amsterdam. Despite this problem, the paintings were sold for high prices. He has few paintings in few British institutions the exception being Derby Art Gallery who have a landscape which is "after" him.


Pieter Langendijk

Pieter Langendijk (Haarlem, 25 July 1683 – Haarlem, 9 or 18 July 1756) was a damask weaver, city artist, dramatist, and poet.
Life.
Pieter was the son of Arend Kort, a mason born in Langedijk. His father died in 1689 so he temporarily came under the protection of the Amsterdam poet William Sewell. In 1695, they moved to The Hague and his mother began a linen business. Pieter became a weaver and pattern draughtsman and joined artist circles, where he began to write poetry.
Around 1708 Pieter took a course in drawing and painting with Frans van Steenwijk. On his 28th birthday his "Don Quichot op de Bruiloft van Kamacho" appeared. It proved a success and began a permanent run at the Schouwberg of Van Campen. The farces "De zwetser" and "The mutual marriage-deception" appeared the next year.
Pieter wrote yet more comedies in the style of Molière, who he also translated and wrote about. With Hermanus Angelkot, he wrote "Cato", dedicated to the mayor Nicolaes Witsen. "Quincampoix, or the gamblers on the Stock Exchange" became very famous, written in the notorious year 1720 that John Law ruined many investors in Paris. "Arlequin Actionist" was a commedia dell'arte farce on the stockjobbery, one act long, with a real fight, dance and music.
In 1721 he became "Factor" of the Haarlem Society Trou Moet Blycken and he moved back to Haarlem with his mother in 1722. In the same year he was appointed as city-artist to Haarlem, and wrote yearly poems for the city from 1724-1744. He had a house outside the city, while he could still get out the city. After his mother died in 1727, he married a sickly and moody woman who died eleven years later. In 1747, he had to sell a large part of its books and possessions. Pieter lived in Haarlem's Proveniershuis, where he was given free accommodation in return for writing a history of the city. The previous description of the city was from 1628, written by Samuel Ampzing. On his sickbed he wanted to be baptized at home, and "only five days did Pieter survive after this religious performance..."
Works.
Pieter wrote five pieces of comparable length, in which symmetry played a role. With exposition, intrigue and crisis, he respected the unities of time, place and action, using this classicist form to hold a mirror up to the bourgeoisie. Nowhere did the tone become moralizing, but was more a "comedy of manners" (comédies des moeurs), showing the hypocrisy of those in the higher positions (i.e., the higher bourgeoisie or the impoverished middle-classes). Pieter wrote only a single tragedy, at the end of his life.
"Het wederzijds huwelijksbedrog" (The Mutual Marriage Deception).
In this comedy, Lodewijk meets Charlotte. Lodewijk is an aristocrat, in great financial difficulties but acting as if he is a rich Polish count. He has a friend called Jan, who proposes to act out one of his barons, so to flirt with the maid of Charlotte: Klaartje. Jan served under Karel in the army, but left as a traitor. Charlotte also comes from the impoverished aristocracy, and acts as if her situation is more prosperous as well. It is very comical to see how both sides try to convince the other that they are extremely wealthy. This 'mutual marriage deception' comes to light when Karel, the brother of Charlotte, unmasks everybody at the theatre. Charlotte and Lodewijk get married anyway, because they have fallen in love with each other. As for Klaartje and Jan, she is disgusted with Jan for lying to her, so she breaks up with him. After that, she tries to get back with her former lover, Hans (who she broke up with when Jan started flirting with her) but he wants nothing of her. In the end, the traitor Jan takes flight from the group, as to avoid punishment from his captain: Karel.
"De spiegel der vaderlandse kooplieden" (The Mirror of Dutch Merchants).
This work also holds up a mirror to the audience. Two generations are placed opposite each other: those born in the 17th and 18th centuries. Ernst and Hendrik are conscientious seventeenth-century merchants who, through hard work, gain position. Their sons represent the following, 18th century generations, and are called Lichthart (light heart), husband to Kwistgoed, and Losbol (loose-liver), husband of Zoetje. They waste all the money that their fathers have made and the whole family fortune is lost.
"De Graaven van Holland, in jaardichten beschreven".
Bundle of his yearly poems for the city of Haarlem, which formed a series on the Counts of Holland, were compiled with engravings by his nephew Hendrik Spilman in 1745.
His work on the history of Haarlem was never published, but his manuscript was used by Gerrit Willem van Oosten de Bruyn in 1765.


Judith Tielen

Judith Zsuzsanna Cornélie Maria Tielen (born 2 April 1972 in Arnhem) is a Dutch politician, serving in the House of Representatives of the Netherlands for the People's Party for Freedom and Democracy (Volkspartij voor Vrijheid en Democratie) since 31 October 2017. Between 2014 and 2017, she served on the Utrecht City Council.


Cherepakha Islet

Cherepakha or Cherepashka (literally "The Turtle") was a small artificial islet, which was man-made on a sand bank in the Gulf of Taganrog on Azov Sea in about 2 kilometers from the Taganrog Fortress. Its sole purpose was to support the fortification with cannons thus creating additional defense for the Azov Flotilla.
History.
The islet was built by the personal order of Peter the Great in 1701-1706 of rock fill held by oak piles. It was oval-shaped and measured 59 by 38 meters. There was a citadel, which had an area of 1200 square meters with 127 cannons. In the middle stood a wooden izba for garrison, which was later replaced by a stone building. The part of the islet above water level was covered with white limestones. The name "Cherepakha" (the Turtle) is due to the many seashells laid in its foundation when the sand bank was being raised.
After a defeat suffered by Russian troops from Ottoman Empire during Pruth River Campaign, the Russian tsar had to sign Treaty of the Pruth, returning Azov to Turkey and destroying both Taganrog Fortress and Cherepakha Islet. On September 19, 1711 by the order of Peter the Great, Taganrog was demolished and in February 1712 Russian troops left the town.
After the next Russo-Turkish war, the Treaty of Niš was signed stipulating the return of the territory to Russia but without the right to reconstruct the Taganrog Fortress. In 1746 a Russian customs post was established on the cape Tagan-Rog and a patrol was placed on Cherepakha Islet.
In the late 18th century the city of Taganrog lost its military and strategic importance and the citadel was not reconstructed. In 1776 a temporary quarantine control was established on the islet.
In 1845 a wooden lighthouse was mounted on Cherepakha, which was in its turn replaced by a metal lighthouse in 1894.
In the present days, when the tide is low and blows East wind, the islet emerges from the water. It is known to be one of the favorite fishing spots in the Gulf of Taganrog. During the latest examination of islet in 1981, the remains of old oak piles were still present.
In November 1992 the islet was entered into the Rostov Oblast's register of protected architectural monuments.


Jan Kan

Jan Kan (18 May 1873 – 8 May 1947) was a Dutch writer. His work was part of the literature event in the art competition at the 1932 Summer Olympics.


Jekuthiel Sofer

Jekuthiel Sofer was a prolific Jewish Sephardic scribe in Amsterdam in the 18th century.


Hugo van den Eynde

Hugo van den Eynde (1488 – around 1566) was a Dutch statesman, and Pensionary of Delft. He was succeeded in this position by his son Jacob van den Eynde.
Van den Eynde was born in Delft to Jacob Dircksz. van den Eynde. His father was an alderman of Delft. He married Lysbeth Jansdochter van der Sluys (or van Zijl), also known as Elisabeth van der Sluys, the daughter of an alderman of Rotterdam. He beget several children, including Jacob van den Eynde.
On April 20, 1520, Van den Eynde was received as "advocaat" by the Federal Court of Holland. Shortly afterwards, he returned to his native Delft, where he became secretary. In 1526 he succeeded Aert van der Goes as Pensionary of Delft, a position he held until 1552. From 1544 until 1552, he acted as Pensionary with the assistance of his son Jacob.
His son Jacob later became Grand pensionary of Holland, the highest official in the County of Holland. His grandson was Jhr. Jacob van den Eynde, governor of Woerden, father of the poet Jacobus Eyndius (or Jacob van den Eynde), Lord of Haamstede, and captain under Maurice, Prince of Orange.
References.


Sint Jansbrug

Sint Jansbrug (lit. "Bridge of Saint John") is a student fraternity in the city of Delft in the Netherlands, founded in 1947. , it has roughly 650 members, and owns two buildings in the , a street in the centre of Delft. Both are official monuments.
The fraternity is considered smaller and therefore more accessible than other student fraternities in Delft, while retaining its traditions and mores. It offers cheap student dinners for both members and non-members, as well as coffee and tea in a coffee-bar called Oele which becomes a bar on Friday evenings.
Jaarclubs.
Each year's new members of Sint Jansbrug form "jaarclubs" (year groups), which usually meet weekly. There are men's, women's, and mixed jaarclubs, with approximately 11–15 members each.
Gilden.
Sint Jansbrug also has 13 recognised "gilden" (guilds). Although the name is derived from the historical craft guild, within Sint Jansbrug a gilde consists of members from different years who share similar interests. Membership is by invitation and open only to those in the second year or above. Not every member of Sint Jansbrug is invited to join a gilde, and not everyone invited becomes a member of the gilde.
In books and film.
The fraternity's history has been summarized in the 1997 book "Broederlijcken Liiefde" and the 2007 documentary film "Liieve Leden".


Harm de Blij

Harm J. de Blij (see IJ (digraph); closest pronunciation: "duh blay") (1935–2014) was a geographer. He was a geography editor on ABC's "Good Morning America" and an editor of "National Geographic" magazine and the author of several books, including "Why Geography Matters".
De Blij received his early schooling in Europe, his college education in Africa, and his higher degrees in the United States (Ph.D. Northwestern, 1959). He published more than 30 books and over 100 articles and has received five honorary degrees. Several of his books have been translated into foreign languages. He was the editor of Oxford's "Atlas of North America". A native of the Netherlands, he was a professor of geography and viticulture at Michigan State University and the University of Miami and a visiting professor at the Colorado School of Mines.
Dr. de Blij was a Distinguished Professor of Geography at Michigan State University. He held the George Landegger Chair in Georgetown University's school of Foreign Service and the John Deaver Drinko chair of geography at Marshall University; he also taught at the Colorado School of Mines and the University of Miami.


Rudolf Lucieer

Rudolf Lucieer (born 10 November 1942) is a Dutch actor. He has appeared in 36 films and television shows since 1966. He starred in the 1967 film "Paranoia", which was entered into the 17th Berlin International Film Festival. In 1992 he won the Golden Calf for Best Actor for his role in the movie The Northerners.


Khutyn Monastery

Khutyn Monastery of Saviour's Transfiguration and of St. Varlaam () is an Orthodox monastery situated on the right bank of the Volkhov River some 10 km north northeast of Novgorod, in the village of Khutyn. It used to be one of the main Christian shrines of the medieval Novgorod Republic.
The cloister was founded in 1192 by the monastery's first hegumen, the former Novgorodian boyar Oleksa Mikhailovich, whose monastic name was Varlaam. The main church of the monastery was consecrated by Archbishop Gavril of Novgorod the following year, the same year Varlaam died. He is buried in the main church of the monastery, the Church of the Transfiguration, to the right of the altar. He was the patron saint of Novgorod and the patrilineal ancestor of many families of Russian nobility, including Chelyadnins and Pushkins, of which Alexander Pushkin was a member.
According to Varlaam's saint's Life, Ivan III visited the cloister and wished to see the relics of Saint Varlaam in 1471. When they opened the saint's tomb, it was full of smoke and fire. Afraid of inflicting divine wrath, Ivan III fled the monastery and Novgorod altogether, leaving his staff as a curiosity to local monks. This staff was exhibited at the cloister's sacristy for centuries to come.
Ivan's son Vasily III ordered the old main church of the monastery demolished and replaced with a noble six-pillared edifice. The new church, completed by 1515 and consecrated by Metropolitan Varlaam (the archiepiscopal office in Novgorod was vacant from 1509-1526), was evidently patterned after the Assumption Cathedral in Rostov. It was the first piece of Muscovite architecture in the Russian North-West and a venerated model for many subsequent churches in the region.
The annex of St. Gabriel, added to the cathedral in 1646, received its present name after the poet Gavrila Derzhavin had been interred here in 1816. The refectory with St Varlaam Church was built on behest of Ivan IV in 1552. The Neoclassical belltower dates from the reign of Catherine the Great.
The vicar of the Novgorodian diocese was, at times, titled Archbishop of Khutyn and lived in the Khutyn Monastery. For example, Archbishop Aleksei (Simansky) was Archbishop of Khutyn from 1926-1932. He administered the diocese while Metropolitan Arsenii was imprisoned and in exile in Central Asia. Aleksei was briefly Archbishop of Novgorod (in 1933) and then Patriarch of Moscow and All Rus' (1945-1970).
During the first decades of Soviet rule the monastery housed a lunatic asylum. It was later a vacation home or hostel for visitors to the area. It was restored to the church in 1993. While for most of its history it was a male monastery, it is currently a women's convent.


Theodorich Canisius

Theodorich Canisius (1532 in Nijmegen – September 27, 1606 in Ingolstadt) was a Jesuit academic.
Biography.
Canisius was a half-brother of St. Peter Canisius. After winning, at the age of twenty-two, the highest academic distinction at Louvain, he decided to follow his stepbrother and enter the Society of Jesus, and was sent to St. Ignatius of Loyola in Rome, who received him into the Society.
On the completion of his novitiate, Theodorich was appointed professor of theology in Vienna, but was soon after appointed rector of the Jesuit College at Munich. Here, in 1562, one of the first productions in Germany of the morality play "Homulus" (corresponding to the English "Everyman" or the Dutch "Elckerlijc") was given in Latin by the students under his direction. From Munich, where he was succeeded in 1565 by the celebrated Paul Hoffaeus, he was transferred to Dillingen, where for twenty years he presided over the college and the academy and laboured with zeal and success for the improvement of studies and for the religious training of the students. From 1565 to 1582 he held the office of chancellor of the university.
In company with his distinguished brother, he attended the first provincial congregation of the Society of Jesus in Upper Germany, and furthered important reforms in the teaching of philosophy. In 1585 he was made rector of the Jesuit College of Ingolstadt, and in this capacity became a member of the German commission which tested in practice the first draft of the Ratio Studiorum.
At length, having spent thirty years at the head of three of the foremost colleges of Germany, he was sent to Lucerne in Switzerland to enjoy a period of rest; but soon again, at the age of sixty-three, he had to undertake the government of the college of Ingolstadt. Two years later, on the advice of his physician, he was relieved of the burden and allowed to return to Lucerne. A fortnight after his arrival the death of St. Peter Canisius was announced; the shock deprived Theodorich of memory and speech, an affliction which he bore with exemplary patience for seven years. For his amiable disposition and spotless purity of life he deservedly received the surname of "Angelus" 'angel'. In 1604, he was transferred again to Ingolstadt, where he died, and was interred in the church of the Holy Cross.


Bronze Horseman

The Bronze Horseman (, literally "copper horseman") is an equestrian statue of Peter the Great in the Senate Square in Saint Petersburg, Russia. It was opened to the public on 7 (18) August 1782. Commissioned by Catherine the Great, it was created by the French sculptor Étienne Maurice Falconet. The name comes from an 1833 poem of the same name by Alexander Pushkin, which is widely considered one of the most significant works of Russian literature. The statue is now one of the symbols of Saint Petersburg.
The statue's pedestal is the enormous Thunder Stone, the largest stone ever moved by humans. The stone originally weighed about 1500 tonnes, but was carved down during transportation to its current size.
Statue.
The equestrian statue of Peter the Great is situated in the Senate Square (formerly the Decembrists Square), in Saint Petersburg. Catherine the Great, a German princess who married into the Romanov line, was anxious to connect herself to Peter the Great to gain legitimacy in the eyes of the people. She ordered its construction, and had it inscribed with the phrases Petro Primo Catharina Secunda MDCCLXXXII in Latin and Петру перьвому Екатерина вторая, лѣта 1782 ("Petru pervomu Ekaterina vtoraya, lěta 1782") in Russian, each meaning 'Catherine the Second to Peter the First, 1782', an expression of her admiration for her predecessor and her view of her own place in the line of great Russian rulers. Having gained her position through a palace coup, Catherine had no legal claim to the throne and wanted to represent herself as Peter's rightful heir.
In correspondence with Catherine the Great, Denis Diderot suggested French sculptor Étienne Maurice Falconet, a friend of his, for the commission. The empress followed his advice and Falconet arrived in Russia in 1766.
In 1775 the casting of the statue began, supervised by caster Emelyan Khailov. At one point during the casting, the mould broke, releasing molten bronze that started several fires. All the workers ran except Khailov, who risked his life to salvage the casting. After being remelted and recast, the statue was later finished. It took 12 years, from 1770 to 1782, to create the Bronze Horseman, including pedestal, horse and rider.
The tsar's face is the work of the young Marie-Anne Collot, then only 18 years old. She had accompanied Falconet as an apprentice on his trip to Russia in 1766. A student of Falconet and Jean-Baptiste Lemoyne, Collot was called "Mademoiselle Victoire" (Miss Victory) by Diderot. She modelled Peter the Great's face on his death mask and numerous portraits she found in Saint Petersburg. The right hand of the statue was modelled from a Roman bronze hand, found in 1771 in Voorburg in the Netherlands at the site of the ancient Roman town Forum Hadriani.
On 7 August 1782, fourteen years after excavation of the pedestal began, the finished statue was unveiled in a ceremony with thousands in attendance. Conspicuously absent was Falconet, as a misunderstanding between him and the empress turned into a serious conflict. As a result, he was forced to leave Russia four years before the project was completed. Catherine largely forgot about him afterwards, and came to see the "Bronze Horseman" as her own oeuvre.
The statue portrays Peter the Great sitting heroically on his horse, his outstretched arm pointing towards the River Neva. The sculptor wished to capture the exact moment of his horse rearing at the edge of a dramatic cliff. His horse can be seen trampling a serpent, variously interpreted to represent treachery, evil, or the enemies of Peter and his reforms. The statue itself is about 6 m (20 feet) tall, while the pedestal is another 7 m (25 feet) tall, for a total of approximately 13 m (45 feet).
Thunder Stone.
For the pedestal, an enormous rapakivi granite monolith boulder known as the Thunder Stone () was found at Lakhta, inland from the Gulf of Finland in 1768. The Thunder Stone gained its name from a local legend that thunder split a piece off the stone. Falconet wanted to work on shaping the stone in its original location, but Catherine ordered it be moved before being cut. As it was embedded to half its depth in the ground and the area was marshy terrain, the Russians had to develop new methods to dig up and transport the colossal stone. Marinos Carburis (Μαρίνος Χαρμπούρης), a Greek from the Island of Kefallonia and serving as lieutenant-colonel in the Russian Army, offered to undertake the project. Carburis had studied engineering in Vienna and is considered to be the first Greek to hold a diploma in engineering.
Carburis directed workmen to wait for winter, when the ground was frozen, and then had them drag the large stone over the frozen ground to the sea for shipment and transport to the city. He developed a metallic sledge that slid over bronze spheres about 13.5 cm (6 inches) in diameter, over a track. The process worked in a way similar to the later invention of ball bearings. Making the feat even more impressive was that the labour was done entirely by humans; no animals or machines were used in bringing the stone from the original site to the Senate Square. After Carburis devised the method, it took 400 men nine months to move the stone, during which time master stonecutters continuously shaped the enormous granite monolith. Catherine periodically visited the effort to oversee their progress. The larger capstan was turned by 32 men, this just barely moving the rock. A further complication was the availability of only 100 m of track, which had to be constantly disassembled and relaid. Nevertheless, the workers made over 150 m of progress a day while on level ground. Upon arrival at the sea an enormous barge was constructed exclusively for the Thunder Stone. The vessel had to be supported on either side by two full-size warships. After a short voyage, the stone reached its destination in 1770, after nearly two years of work. A medal was issued to commemorate its arrival, with the legend "Close to Daring".
According to the fall 1882 edition of "La Nature", the stone's dimensions before being cut were 7 × 14 × 9 m. Based on the density of granite, its weight was determined to be around 1500 tonnes. Falconet had some of this cut away shaping it into a base, so the finished pedestal weighs considerably less.
Siege of Leningrad.
A 19th-century legend states that while the "Bronze Horseman" stands in the middle of Saint Petersburg, enemy forces will not be able to conquer the city. During the 900-day siege of Leningrad by the invading Germans during the Second World War (Leningrad being the city's name from 1924 to 1991), the statue was covered with sandbags and a wooden shelter. Thus protected it survived 900 days of bombing and artillery virtually untouched. True to the legend, Leningrad was never taken.
Poem.
"The Bronze Horseman" is the title of a poem written by Aleksandr Pushkin in 1833, widely considered to be one of the most significant works of Russian literature. Due to the popularity of his work, the statue came to be called the "Bronze Horseman". A major theme of the poem is conflict between the needs of the state and the needs of ordinary citizens.
In the poem, Pushkin describes the fates of the poor man Evgenii and his beloved Parasha during a severe flood of the Neva. Evgenii curses the statue, furious at Peter the Great for founding a city in such an unsuitable location and indirectly causing the death of his beloved. Coming to life, the horseman chases Evgenii through the city. The poem closes with the discovery of the young man's corpse in a ruined hut floating at the edge of the river.
In 1903 the artist Alexandre Benois published an edition of the poem with his illustrations, creating what was considered a masterwork of Art Nouveau.
The poem has inspired works in other genres: Reinhold Glière choreographed a ballet based on it, and Nikolai Myaskovsky's 10th Symphony (1926–7) was inspired by the poem. The statue itself has been seen as the inspiration or model for a similar statue which appears in Joseph Conrad's 1904 political novel "Nostromo", thus implicitly linking the political events in "Nostromo" with Conrad's 1905 essay "Autocracy and War" on the subject of Russia and his eventual 1912 novel "Under Western Eyes" (and also with the Pushkin poem and with the political issue of Poland).


Jan Damesz de Veth

Jan Damesz de Veth (1595 in Gouda – 1625 in Gouda), was a Dutch Golden Age portrait painter.
Biography.
Houbraken listed him with the Gouda painters Jan Franse Verzijl, and Jan and Pieter Donker as noteworthy artists that he intended to include in his book of biographies. His source was "Beschrijving der stad Gouda" by Ignatius Walvis.
According to the RKD he died in Gouda where he painted three schutterstukken dated 1615, 1619, and 1622 that hang today in the Gouda museum.


Henk Kersken

Hendrik "Henk" Kersken (January 6, 1880, Bergen op Zoom – December 3, 1967, Harlingen) was a sailor from the Netherlands, who represented his native country at the 1928 Summer Olympics in Amsterdam. Kersken, as crew member on the Dutch 8 Metre "Hollandia", took the 2nd place with helmsman Johannes van Hoolwerff and fellow crew members: Lambertus Doedes, Cornelis van Staveren, Gerard de Vries Lentsch and Maarten de Wit.


List of mayors of Rotterdam

This is a list of mayors of Rotterdam.


Katholikon of the Antoniev Monastery

The Church of the Nativity of the Theotokos is a katholikon (main church) completed in 1122 in the Monastery of St. Antony, Veliky Novgorod. Dedicated to the Nativity of the Theotokos, it is one of the few buildings surviving in Russia from the early 12th century.
History.
The Church of the Nativity of the Theotokos was the major church in the Monastery of St. Antony. It is the oldest building in the monastery's complex. Building started in 1117, soon after the monastery had been established in 1106.
The church is quite different from typical Novgorodian churches of the period. It was originally made of brick which contrasts with other Novgorodian churches of the 12th century, which were initially built with wood and were rebuilt in brick afterwards. It has three domes, that is the defining feature of a "princely" church. But the construction was funded by a private individual with no relation to the royal dynasty. This makes it exceptional compared to similar major churches of that time.
The construction was executed in two stages. In 1117-1119 the square-shaped nave with three apses, and the main dome were built. The original interior was well-lighted thanks to the large number of windows. This modest size was perceived as surprisingly holistic: the lateral aisles were fused with the space under the dome by means of the columns which stand close to the walls. The western couple of the columns was octahedron-shaped to contrast with the eastern couple which were square-shaped.
Immediately after completion, the construction of the narthex with the choirs from the west-side was arranged in 1119-1122. The reason why the original plan was changed is unclear. During the second stage, the former western wall was totally disassembled, and its corner-ends was turned into a new pair of columns; this isolated the lateral sides of the choir loft from the nave by the walls with the windows preserved from the previous design. The narthex was added with the round-shaped stair tower from the north-west corner: it provides access to the choir loft on the second floor. The tower is crowned by the dome. In ancient times the narthex in honour of Onuphrius and St. Peter of Athos was arranged under the dome. To balance the design, the building is complemented with the third dome on the south-east corner; it also serves to provide extra light. The outbuilding makes the design to be close to other Novgorodian churches of the period; the closest analog is the Cathedral of St. George in the monastery of St. George as it has a stair tower (but that one is square-shaped) and also has three domes as well.
Over the years, the church has been encompassed by other outbuildings. In the 16th century by a little porch from the west side. In 1671 the narthex in honour of St. Antony, the founder of the monastery, was built; it was decorated in the same year. The narthex in honour of John the Apostle was erected from the north side in 1681. In 1699 a new, all-the wall-long narthex was constructed. All the mentioned outbuildings are joint with the interior by the broad arcs, hacked in the walls in the same period. The necessity to merge the mainspace with new outbuildings revealed a new problem: the old massive building was dipped under ground by its own weight, the level of floors in the old building and outbuildings were different. The solution was radical: the old building's level of floor was raised by 1 meter.
The described exterior has been preserved till the present day. The original look was distorted by making the windows more broad, as well as by turning the eaves into straight-shaped ones rather than the original arc-shape.
Decorations.
In 1125 the church was decorated with frescoes. In the 17th century the frescoes were renovated for the first time. In 1837 the most part of the ancient frescoes was removed from the walls due to decrepitude, a year after the church was decorated with new frescoes. New decorations are executed in a style typical for Russian culture of the 19th century and differ greatly from canons of the orthodox iconography.
Small fragments of the original paintings dated by 1125 were revealed in the altar part in 1989 for the first time. The systematic analysis was started in 1919 and was continued through the 1990s. Now almost all the survived fragments of the frescoes are cleaned and renovated. This makes it possible to make conclusions about the stylistic features as well as about the originality of the chosen iconographic themes.
Hereinafter, the ancient decorations are considered.
Fragments of the ancient paintings at all the apses as well as narrow stripes of the fragments at the lateral walls of the altar are kept. The frescoes on the eastern columns are well preserved. as they were hidden behind the tall iconostasis.
The scheme of painting follows the patterns of Byzantine art, but has some original features at the same time. No doubt, that the subjects of painting were offered by the monastery's founder.
The numerous saints are illustrated on the 2 bottom levels of the central apse - this is the Novgorodian tradition. Between the saints, in the bottom of the central arc of the altar, Moses and Aaron are pictured: the trajectory of a person who goes to the altar lies between these figures. These figures are believed to take part in a church service on a par with bishops. It also emphasizes the idea of the Old Testament tabernacle to be a prototype for the church in the New Testament. This pattern in decorating was quite rare in Byzantium, but diffused quite broadly in ancient Russia. One more feature is numerous reverends painted full-length on all the sides of altar columns: the quantity of pictures is surprisingly good. Also unusual was the fact of painting the saint monks in the eastern part of the church itself (traditionally these paintings are further from the altar part).
The frescoes on the northern apse (a prothesis) were dedicated to the seed of the woman, i.e. the tale about the birth and the childhood of the Virgin. The best-preserved composition there is the one called "Presentation of the Virgin in the Temple" and the bathing scene of Our Lady. The last is chosen to be shown separately (that is, to be emphasized). Bringing this scene in the middle of the apse is intended to signify the preparation of the Holy Sacrament for the liturgy. The Virgin herself is treated here as the gift to the Father by her parents.
On the opposite apse (a sacristy), John the Baptist’s lifeline is shown. The story is finished with the scenes of his martyrdom and the three findings of his head. Some part of the scene showing Herod's feast is preserved, and the figure of seated Herodias while presented the severed head of the Prophet. Below, one of the 3 findings of the head is shown - the picture of a digging boy's head is preserved. The saint deacons are painted on the entrance arc of the apse.
Small fragments on the southern and northern walls allows one to get some idea about how the mainspace was decorated. The decorations are likely to continue the tradition and to show gospel themes. Emphasizing the scene of Christmas on the northern wall along with the scene of Dormition of the Mother of God on the northern wall is a traditional approach for ancient Russian churches. Thus, the material birth and raising here is opposed to the birth after death. Even the small retained fragment imply that Dormition was represented in some special, extended variant: it shows the apostles who are moving from clouds towards the Our Lady's deathbed.
The decorations at western sides of the eastern columns (i.e. the frescoes which were turned towards the congregation in the mainspace) are the best preserved in all the church. The Annunciation is shown on the top of the columns. According to the tradition, the figures of Gabriel and Our Lady are painted on separate columns: that is supposed to create an impression of the scene to take place in the church's space. The figures of the Holy Unmercenaries (Florus and Laurus, Cyrus and John) are placed under the picture of the Annunciation. While one pair of the unmercenaries holds in hands vessels that look like ciboriums, another one has scrolls in their hands. This is to draw a parallel between body healing and soul healing according to the Christian doctrine. Moreover, the figures are flanked near the altar, that points to the congregation where this healing is likely to be found.
The altar screen's templon was placed below these frescoes. The iconostasis is likely to originally include 2 icons only, which illustrate the Saviour and Our Lady. The altar was hidden behind a curtain fastened to the templon - the painter used the special art device to drop a hint on that by painting the edges of a curtain.
Art features of the frescoes weren't interpreted properly by scholars for a long time. Incomplete disclosure of the ancient frescoes was the barrier for the scholars to perceive the style in an adequate manner. It gave life to the point of view about the decorations to be heterogeneous to all the ancient Russian art, and to be related with Romanesque art directly. Nowadays, the decorations are quite evidential to fall within the context of other Novgorod monuments of the period, but to have some features. The painters are likely to come from Kiev, not from Novgorod. The frescoes reflect many patterns of church decoration typical for Novgorod of the early 12th century; there are a lot of common things between these frescoes and the frescoes in the St. Sophia Cathedral and St. Nicolas cathedral. Figures are big and look heavy; they seem to be static. The pattern to model volumetric faces, but to paint clothes which seem to be flat is common for the frescoes in all the mentioned churches. At the same time, the characters in the Church of the Nativity look much more dynamic and active due to detailed and intensively-drawn faces. The figures make the impression of emotional openness and some exaltation: these are the new trends in Byzantine art of the period, which will be well-implemented in Novgorod culture afterwards. This contrasting between the static figures and the inner dynamism of their characters is indicated in colours too: dark blue backgrounds are combined with bright yellow haloes, and dark clothes of monks are complemented with pink, azure and lime coloured ones
Stair tower.
The stair tower jointed with the church was multi-functional in ancient times. It provided climbing at the choir loft, but furthermore it had the narthex in honour of Onuphrius and St. Peter of Athos sanctified in 1122. In the tower walls' the thick tiny cells for praying are preserved. St. Antony spent his last years in the tower, thus likening himself to the stylites. The last architectural renovation has revealed the tower to have 3 spaces to place bells there. The pictures retained at the interior walls are of much more interest as they are made by monks themselves and don't form some holistic composition. They are formed by simple lines of red ocher, and not well-preserved. Their theme is typically symbolical, allegorical and didactic. For instance, the picture of a lion with sad human face and a tail tied in a knot refers to the 2 main virtues of a monk: repentance and humility.


Hugo Koch

Hugo Alexander Koch (9 March 1870, Delft – 3 March 1928, Düsseldorf) was a Dutch inventor who conceived of and patented an idea for machine encryption — the rotor machine, although he was not the first to do so. He is sometimes erroneously credited as the originator of the Enigma machine, although this has been shown to be the work of German engineer Arthur Scherbius.
Koch filed for his rotor machine patent on 7 October 1919, and was granted Netherlands patent 10,700 (equivalent to ), held by Naamloze Vennootschap Ingenieursbureau Securitas in Amsterdam. No machine was built from his patents, and, in 1927, he assigned the rights to Arthur Scherbius, the inventor of the Enigma machine. Scherbius had developed the idea of rotor machine encryption independently from Koch, and had filed for his own patent in 1918. Bauer (1999) writes that Scherbius bought Koch's patents "obviously not because he did not own patents before; presumably he wanted to protect his patents".


Johannes Arnoldi Corvinus

Johannes Arnoldi Corvinus born Joannes Arnoldsz Ravens (c.1582, Leiden – 2 January 1650, Amsterdam) was a Dutch Remonstrant minister and jurist.
Life.
He was born in Leiden, and in 1606 was a Calvinist preacher there. A pupil of Jacobus Arminius, he took up the Arminian views, he was a public supporter of them by 1609, and in 1610 signed the Five Articles of Remonstrance. Subsequently, as a consequence of the Synod of Dort, he lost his church office in 1619. He left the country, being abroad until 1630. Studying law, he then had a career as advocate in Amsterdam.. In 1629 he converted to Roman Catholicism.
Works.
Corvinus had been quite close to Grotius, in the 1610s, and from around 1632 taught the law. With Gerard de Wassenaer and Pieter de la Court he was one of a group of legal writers with Remonstrant sympathies who commented on reason of state; Corvinus did this in an edition of the "De arcanis rerumpublicarum" of Arnoldus Clapmarius (1641). Other works were:
Family.
His son Arendt became a professor of law at Mainz.


Gurza-class boat

The "Project 58150 Gurza" (Levant viper) class is a series of small armored artillery boats built for the Uzbek Frontier Service. The whole class is produced by the Kuznya na Rybalskomu (Kyiv).
The original and modernized classes are developed by the State Research and Design Shipbuilding Center (Mykolaiv).
There were only 2 ships of Project 58150 Gurza in 2004 for the Uzbek Border Guard and were financed by the United States.
The modernized Project 58155 Gurza-M for the Ukrainian Navy started to be built at the Leninska Kuznya in October 2012. Originally it was planned to build nine such vessels by 2017. In December 2013 the Ministry of Defense withdrew its contract.
In summer of 2014 construction of Gurza-M was revived and the first two vessels were expected to be completed in fall of 2015. In December 2016 the first two Gurza-M officially joined the Ukrainian Navy. The new military contract is for 20 vessels that should be completed by 2020.


2002 Budapest Assembly election

The 2002 Budapest Assembly election was held on 20 October 2002, concurring with other local elections in Hungary.
Mayor.
Incumbent Gábor Demszky was directly elected mayor in a three-way race against Fidesz–KDNP supported independent candidate Pál Schmitt and MSZP candidate Erzsébet Gy. Németh with 46.70% of the vote.
Results.
List seats were distributed using the D'Hondt method.


HSwMS Neptun (Nep)

HSwMS "Neptun" (Nep) is the second of three s, built to operate in the Baltic. "Neptun" entered service in December 1980. The next year she was involved an international incident when the Soviet submarine "U 137" ran aground outside Karlskrona.
The "Näcken" class were among the first Swedish submarines to have onboard computers. Her task in the eventuality of war would have been to attack enemy shipping and surveillance duties.
"Neptun" was decommissioned in 1998 and laid up in Karlskrona. In 2008 she was donated to the Naval Museum Marinmuseum of Karlskrona, Sweden, where she is after restoration on display since 2014.


Frank Boeijen

Frank Boeijen (born 27 November 1957 in Nijmegen) is a Dutch singer and guitarist. His best known songs are "Kronenburg Park (Ga die Wereld Uit)" about a prostitute, "Zwart Wit" about the racial murder of Kerwin Duinmeijer in Amsterdam and "Twee gezichten" about a split personality. Having been in the music business for 25 years, he received the Edison award for his career achievements in 2005.
Biography.
Frank Boeijen Groep.
Boeijen grew up in a family of ten children; his older brothers introduced him to Bob Dylan and Neil Young.
In 1979 Boeijen released his first album, a joint effort with Wout Pennings produced by singer Rob de Nijs; Henk Wanders (drums) and Nels Busch (bass) were recruited as backing-musicians. Pennings left due to artistic differences; Will Theunissen (guitar) replaced him, and in November 1979 Frank Boeijen Groep played their first gig.
In 1981 FBG released their self-titled debut album to critical acclaim; "OOR" magazine was impressed by Boeijen's Herman van Veen-type voice. Leading single "Transport uit Bangkok" was about a prostitute from Thailand whose name translates as "Goldflower" (Dutch: "Gouden Bloem"). B-side "Verjaardagsfeest", telling that birthday-parties can be boring, received more airplay.
In 1982 the band released the aptly-titled second album "Twee"; keyboard-player Jos Haagmans expanded the line-up.
The breakthrough came in 1983 with the album "1001 Hotel", featuring the Motown-inspired singles "Het antwoord" en "Linda"; the latter reached top 10. 1984 began with the release of "Zwart Wit", originally intended to chronicle a white Romeo/black Juliet-relationship it became a statement against the racist murder of Kerwin Duinmeijer.
Theunissen left afterwards and was replaced by Maarten Peters for 1985's "Foto van een mooie dag". Second single was "Kronenburg Park" on which Boeijen revisited the prostitute-subject; R&B girl group Mai Tai supplied backing-vocals and released their own version twenty years later. "Kronenburg Park" (inspired by the Kronenburgerpark) was also released in English as "Round Midnight" with lyrics by Golden Earring-frontman Barry Hay ("You've always been the mistress of bad luck, making love for another lousy buck").
In 1986 FBG released "In Natura", the first in a trilogy of "In"-albums. Joined by new guitarist Ger Hoeijmakers, FBG went back to basics by using less synthesizers and adding the occasional sax and percussion to the mix. They also traded clubs for theatres, which was unusual at the time. The trilogy was completed by "Welkom in Utopia" and "Dans In Slow Motion".
1990 began with the chart-success of "Zeg Me Dat Het Niet Zo Is", a ballad about (not) coping with the loss of a beloved one. The same year FBG celebrated their 10th anniversary by releasing "Hier komt de storm", a live-retrospective with the added bonus of new studio-tracks including the Bob Dylan-tribute "Robert Zimmerman". A major tour followed which lasted till March 30 1991. FBG disbanded afterwards, as Boeijen felt that the group had reached the end of its potential.
Solo career.
Boeijen became a solo-artist; he continued to work with Hoeijmakers and recruited drummer Norman Bonink (now playing for BLØF) among others. He staged successful tours in both the Netherlands and Belgium. His 26th album was released in 2017.
Personal life.
Frank Boeijen has been married to Amanda Redington between 1990 and 1994.


Awakenings Techno parties

Awakenings is the collective name of techno parties that have been organized since 1997 by events agency Monumental Productions BV. The parties sometimes have a theme that has to do with techno music, such as minimal, Detroit, schranz, Drumcode or Kne'deep.
The place of action is normally the gashouder in Amsterdam, main venue, and the Spaarnwoude recreational area between Amsterdam and Haarlem for the festival.
The name Awakenings has to do with the resurrection of Jesus. The first party was around Easter and organizer Rocco Veenboer realized that he did not know what the Easter party meant. After he discovered that at Easter, among other things, the resurrection of Jesus is celebrated, the name Awakenings arose.
The cradle of Awakenings is located in the Gas holder of the Westergasfabriek, in the Westerpark in Amsterdam with its famous Acoustics. There, the very first edition started on March 30, 1997 with the DJs Angelo, Billy Nasty, Derrick May, Dimitri, Godard, and Nick Rapaccioli.
In 2000, the festival moved to the Now & Wow in Rotterdam because the Westergasfabriek was renovated. After that, the parties were held alternately in the Now & Wow and the NDSM in Amsterdam.
On February 18, 2005, the Westergasfabriek came back into use as a permanent location.
In October 2006, the Amsterdam police carried out checks at an Awakeningsfeest in the Gashouder in which 131 arrests were made. A second check at an Awakeningsfeest in November resulted in 82 arrests. The Awakeningsfeest at the NDSM wharf on December 31 was not granted a permit by the municipality due to a negative advice from the police and fire brigade. According to Awakenings organizer Rocco Veenboer, there was arbitrariness because similar parties at the same location were licensed. In a city council meeting on December 15, Mayor Job Cohen stated that on December 31, 2006, the police could not guarantee safety because too many hard drugs had been found in the last editions of Awakenings.
In 2008, the Klokgebouw in Eindhoven was the setting for the first time.
Since 2012, Awakenings organizes parties during Amsterdam Dance Event in the Gashouder.
Foreign expansion followed in 2014 with editions in London, New York, Manchester and Antwerp. In addition, events at other festivals were held in Australia, India, Brazil and in the United States.
In 2015, the organization behind Awakenings was taken over by SFX, now called LiveStyle.
In 2017, Awakenings' 20th anniversary was celebrated with the publication of the book Awakenings, 20 years of techno.
In 2020, due to the COVID-19 outbreak, Awakenings was organized as a free online event, with the DJ performances filmed at Gashouder and streamed live via social network channels.


Simrad Optronics

Simrad Optronics AS is the holding company of Simrad Optronics Group located in Nøtterøy, Norway. Simrad Optronics Group is a global niche supplier to the defence industry, with production facilities in Norway and Maine, United States. Daughter companies include Vinghøg AS at Nøtterøy, Norway and Vingtech Corporation in Maine, United States. The company was listed on Oslo Stock Exchange until July 2010. As of July 12, 2010 Rheinmetall AG is the company's sole shareholder; following a voluntary offer of May 12 to acquire all issued and outstanding shares in the company.
The company supplies products in four main product areas:
There are today three companies using the Simrad brand:
The reason for three different companies with different owners using the same brand name is the common history, as the name comes from the original SIMRAD company founded in Oslo, Norway in 1947, by Willy Christian Simonsen, making marine VHF radios and sonar application for the commercial fishery fleet. The name was an abbreviation of Simonsen Radio.


Guido Pieters

Guido Pieters (born 1948 in Maastricht) is a Dutch film director. After directing various large Dutch movie projects and successful TV series during the 1980s and early 1990s, Pieters became a productive director in the German TV world.
His films include:


John Kerstens

Johannes Wilhelmus Maria "John" Kerstens (born 20 January 1965) is a Dutch politician and former trade union leader. As a member of the Labour Party (Partij van de Arbeid) he was an MP between 20 September 2012 and 23 March 2017.
Kerstens was vice president of the Federation Dutch Labour Movement (Federatie Nederlandse Vakbeweging) and president of affiliate union FNV Construction (FNV Bouw).
Kerstens studied law at Tilburg University. He is married, has one daughter and a younger son and he lives in Arnhem.


Willem van der Veer

Willem van der Veer (26 May 1887 – 21 June 1960) was a Dutch film actor of the silent era. He appeared in 32 films between 1913 and 1937.