Descartes, Spinoza and the New Philosophy, 1904 by James Iverach
Descartes, 1596-1650 In Breda from army circa 1617 (1633 he learned of the condemnation of Galileo, (upsetting him about his views’ getting heard)
1648 Treaty of Westphalia, gave Breda back
(Velazquez, 1635, The Surrenda of Breda; through Wiki…) This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less.
La rendicion de Breda/The Surrender of Breda, also known as Las lanzas — The Lances) is a painting by the Spanish Golden Age painter Diego Velázquez. It was completed during the years 1634–35, inspired by Velázquez’s visit to Italy with Ambrogio Spinola, the Genoese general who conquered Breda on June 5, 1625. It is considered one of Velázquez’s best works. Jan Morris has called it “one of the most Spanish of all pictures”.
The capture of Breda in 1625 was one of the major successes of Spanish arms in the latter stages of the Eighty Years’ War. The Spanish general, Genoese aristocrat Ambrogio Spinola, conquered Breda against the instructions of his superiors. Before its capture, the Spanish government had decided that siege warfare against heavily defended towns of the Low Countries was too wasteful and that they would concentrate instead on an economic blockade of the Dutch Republic. The bulk of Spanish forces were diverted to the unfolding Thirty Years War.
Breda, a city near the frontier of Holland proper had been occupied in 1567 by the Duke of Alba, ten years afterwards recovered by Holach, and again seized by Haultepenne. The town was the seat of the Orange family, who had a castle there.
In 1624, the suspension of hostilities in Germany enabled the Spanish to concentrate their forces towards Breda. Although attacking such a formidable fortress was widely considered to be unwise, Ambrogio Spinola made the bewildering executive decision to march on Breda, accompanied by the Marquis de Leganés and Carlos Coloma. Spinola had made a military reputation for himself in 1604 and been rewarded with the Golden Fleece for conquering Ostend in Flanders. Consequently, the siege of Breda was not only a clash between the Netherlands and Spain, but a “decisive contest between two famous generals, [Spinola and Dutch general Nassau], both well versed in the arts of fortification, who had their renown at stake”.
Defending the Dutch, Maurice of Nassau led hostilities against Spinola but died before the end of the siege. His successor, Frederick Henry, unsuccessfully attempted to revive Dutch momentum, but ultimately surrendered in May. The terms of defeat at Breda were some of the most honorable and lenient of the time. Spinola died in the autumn of 1630, only a year after Velazquez had sailed with him on the voyage to Italy. In 1637 Breda was recaptured by Frederick Henry after a four-month siege, and in 1648 it was finally ceded to the Dutch Republic by the Treaty of Westphalia.
Velázquez painted The Surrender of Breda as an emblem of Spanish nationalism and as a tribute to Ambrogio Spinola. Diego Velázquez and Ambrogio Spinola had been thrown closely together “During the voyage from Barcelona to Genoa, in 1629… The artist must also have been more deeply affected than others by the tragic result of the siege of Casale, which occurred soon after the voyage – how Spinola was shamefully sacrificed; and how, mortified at the slur cast on his military honor, he soon after sank with gloomy thoughts into the grave.”
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There’s a whole lot to this Netherlands business that seems to be all obscured. My “take” on all this goes back to what I always try to stress is that the Autists’-system had made a base camp around the Siberian-Mongol border and then found ways to get over to the “others” by making boat trips up the Yenisey and Ob rivers to the Arctic seas and then working their way west and south and conquering places and holing up in those as “cells,” like what I figure they’d done in Krakow. Then they built themselves into the Netherlands and along the coasts to France and over to Scotland and eventually over to the Hudson Bay and then the Saint Lawrence River that got them down into what became New York, Detroit and Chicago as bases they made for themselves, etc., causing that 1776 “revolution” and wars like that all along their way to today and here and now.) Also by Velazquez, one of my favorites for trying to describe that when they’d learned how to “grow” people from disembodied ovaries they’d gone through a long time of experimentation with implanting the fertilized ovae into males for doing the “growing;” there are alot of Dutch paintings of guys that look like they’re carrying and I’ll be looking for examples but this one’s my favorite,) and now I read it’s titled that he’s a famous actor, Pablo de Valladolid, but I’d thought it’s titled Pablito:
|Medium||oil on canvas|
|Dimensions||209 cm × 123 cm (82 in × 48 in)|
|Location||Museo del Prado, Madrid|
This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. ( — Check, Iglesia de San Pablo too in Valladolid, where Columbus was said to have died, maybe his son there also. It’s likely on the route to Santiago de Compostela and the Finisterre area, where then I think Castro, Fidel, had come from or slightly north of there in the Basque country.)
2/5/19, there’s an odd thing with one of the fraud-uncles, the eldest brother of the fraud-parent. He’d had what was called a “pot belly,” a peculiar shape and now I’m thinking that it was from being of Dutch real background and carrying embryos back when. Then it’s seeming like he might have been more connected to this “Armageddon Program’s” being done to me than I’d heretofore considered.