Oosterdijk Str - History

Oosterdijk Str - History

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(Str: dp. 11,900; 1. 450'4"; b. 55'; dr. 31'9"; s. 11.5 k. cpl. 107)

Oosterdijk (ID-2586) a cargo ship, was built for the Holland-America Line in 1913 by Irvine Shipbuilding and Drydock Co., Ltd., West Hartlepool, England. One of the first Dutch vessels seized under the President's Proclamation dated 20 March 1918, she was interned at Baltimore, Md. the next day and commissioned into NOTS 2 April, Lt. Comdr. Arthur H. Webber in command.

After refitting at Baltimore, Oosterdijk took Oll a cargo of general supplies. She next steamed to Norfolk, Va. to load naval stores, and thence proceeded to New York City where she joined a convoy destined for France. Departing in convoy 25 April, she called at Brest and then went on to discharge her general supplies and naval stores at St. Nazaire. After a twelve dav Atlantic crossing, she arrived Baltimore 21 June.

Oosterdijk underwent minor repairs at Baltimore, bunkered at Norfolk, and then departed New York 2 July for her second convoy transit to France. One week later she collided with the American steamshiu San Jacinto in the bleak North Atlantic. Both ships, seriously damaged, were forced to turn about to steam for the nearest port.

Despite the efforts of her crew to save her, Oosterdijk had to be abandoned 10 July and sank at 1530 that afternoon. San Jacinto carried Oo$terdijk's crew members to Halifax, Nova Scotia.

Enkhuizen, like Hoorn and Amsterdam, was one of the harbor-towns of the VOC, from where overseas trade with the East Indies was conducted. It received city rights in 1355. In the mid-17th century, Enkhuizen was at the peak of its power and was one of the most important harbor cities in the Netherlands. However, due to a variety of reasons, notably the silting up of the harbors, Enkhuizen lost its position to Amsterdam.

Enkhuizen has one of the largest marinas in the Netherlands. Zuiderzeemuseum is located in Enkhuizen. Architecturally, the Drommedaris is the oldest building in Enkhuizen, from 1540. Tourists take boat trips to and from the port to Medemblik. [4]

Industrially, Enkhuizen is home to a number of seed production companies, Enza Zaden, Syngenta, Monsanto, as well as a plastics factory. Tourism is a large part of the economy, too.

The municipality of Enkhuizen consists of the following cities, towns, villages and/or districts: Enkhuizen, Oosterdijk, Westeinde.

The municipal council of Enkhuizen consists of 17 seats, which are divided as follows:

    - 3 seats /D66 - 3 seats - 3 seats
  • Nieuw Enkhuizen - 3 seats - 2 seats /SGP - 1 seat
  • Lijst Quasten - 1 seat - 1 seat

Enkhuizen station offers direct rail service to Hoorn, Amsterdam and Maastricht/Heerlen, with the journey to Amsterdam Centraal of around an hour.

Furthermore, during summer ferries for pedestrians and cyclists operate between Enkhuizen and Stavoren between Enkhuizen and Medemblik and between Enkhuizen and Urk.

It is also possible to drive or cycle across the Houtribdijk to Lelystad, passing under a naviduct near the Krabbersgat lock.

Inside Simon Oosterdijk and Elizabeth Wilson's Home

Over the past century, Simon Oosterdijk and Elizabeth Wilson’s Newton apartment has been many things: a Sanitarium workroom, an animal shelter, a hat factory. Set off Upper Queen St, the elevated, industrial-style space is part of an enclave still known as “the pound” — a mural of a canine even appears on their courtyard wall when the vine leaves die off in winter.

But it’s too stylish to go to the dogs, a coterie of architects, designers and musicians has taken up residence in the surprisingly quiet street. “Well it’s quiet in the day time,” says Simon, who has lived here for six years.

Before the couple established their Ponsonby design studio at the back of Elizabeth’s store Eugenie, on Mackelvie St, the apartment served as Simon’s workspace for his graphic design business.

At the time he was wrapping up his studio, The Wilderness (a collaboration with Kelvin Soh), while establishing the art and science magazine Pie Paper with fellow graphic designer Markus Hofko. They’ve since expanded to include a collection of Pie books, and these days, he also helps Elizabeth with the fashion label.

“I used to live downstairs and look up and see these big doors open up into the courtyard,” he says. “There are not many places locally like that. They’ve either been pulled down or renovated to a point of being unattainable. It just had so much character.”

When Elizabeth moved in she used it as a base to launch Eugenie, first setting up her sewing machine in the alcove in the living room. But it was at the kitchen bench where she designed her first two collections, while gazing out over the shared leafy courtyard and that striking concrete wall completely covered in a green vine. Once a year it turns scarlet before the leaves drop off and the dog appears.

“It’s really nice to sit here in the morning and eat your breakfast, it’s like you’re outside,” says Elizabeth. “And I like that you get a bit of the atmosphere of the city but you’re not in the thick of it.”

Essentially, the two-storey rental (with mysterious subterranean levels adjoining the flat downstairs) is one big room, a kitchen-lounge space with a bathroom off it. The high ceiling, iron beams and original windows gives the space a New York loft feel, and the large mezzanine bedroom means there’s plenty of space to hang clothes.

Upstairs is accessed via a steep metal staircase that Elizabeth’s mum often warns her about, and which Simon can slide down in a couple of seconds. The only time he didn’t love living here was when he hurt his achilles tendon — it was just as tricky climbing the metal staircase to the front door.

For an “intense” period of about two years, both of the pair were living and working here. But they’re not the first couple to do so.

“We met an elderly couple who met working here [when it was a hat factory] 50 years ago,” says Simon. “The guy used to shovel coal into the generator.”

Though that piece of equipment has since been turned into the neighbour’s music studio, the apartment still has its original pot belly stove, which isn’t exactly a heat pump as it takes at least an hour to crank up. An old industrial crane is used to hang the couple’s cane swing chair out of the way when the grand red doors are thrown open on a sunny day, the chair can be lowered into the entranceway.

Before they moved in, a stainless steel kitchen was installed all they’ve added is a few pieces of retro furniture, (including an Eames chair replica they’re looking after), a handful of prints collected from here and overseas and their burgeoning plant collection. There’s no TV but at night, they pull the large blind down over the windows and project films on to it.

“More art would be good,” says Simon, “but plants are a nice thing I don’t get sick of.”

Although most of their creative work happens in the studio, the apartment still acts as a weekend workshop. Today there are plaster scraps around the edge of the kitchen from Simon’s 3D ceramics experiments over the long weekend. A little white elephant that lost its tusks in a fall sits among the display of cycads, monsteria and ferns.

“I want a jungle,” says Elizabeth, who loves pruning the bonsai trees on the front step.

As for this creative couple, there are no plans to downsize.

“I find I get claustrophobic in smaller houses,” says Simon. “Especially bedrooms. I’ve become used to a big open space. If I was to design my own home, it wouldn’t be too dissimilar to this.”


History Edit

Sneek was founded in the 10th century on a sandy peninsula at the crossing site of a dike with an important waterway (called the Magna Fossa in old documents). This waterway was dug when the former Middelzee silted up. The dike can still be traced in the current street pattern and street names like "Hemdijk", "Oude Dijk" and "Oosterdijk".

Sneek received several city rights in the 13th century, which became official in 1456. Sneek was now one of the eleven Frisian cities. This was also the beginning of a period of blooming trade for the city that would last until about 1550. In 1492 construction of a moat and wall around the city began. In those days Sneek was the only walled city in Friesland. The Waterpoort and the Bolwerk remain today.

Before 2011, the city was an independent municipality.

Sister city Kurobe Edit

Since September 10, 1970, Sneek and the Japanese city Kurobe have been sister cities. In 1970, Mayor L. Rasterhoff of Sneek visited the city of Kurobe and was named an Honorary citizen. Mayor H. Terade of Kurobe made a visit to Sneek in 1972. In 2000 delegations of both cities visited each other again. The Japanese showed the citizens of Sneek a "Sneekplein" which was built in Kurobe.

Language Edit

Sneek has its own dialect that dates back to the Dutch language before 1600. Snekers is part of the stadsfries dialects.

The clothing store C&A started in 1841 with a store in Sneek. The Candyfactory Leaf produces Peppermint under the name KING [nl] as well as chewing gum (Sportlife) and various other sweets. The name "KING" has nothing to do with the English word 'king' it stands for Kwaliteit in niets geëvenaard ("Quality equaled by nothing"). Sneek also has steel, machinery and rope factories. Since 1964 there is a factory of Yoshida YKK from Kurobe. Besides that, the supermarket branch Poiesz, clothing brand Gaastra and Frisian gin called beerenburg from Weduwe Joustra are products that have their roots in Sneek.

Sneek is well known as the center of watersports with over 130 watersport companies and 13 Marinas. It also has a historic inner city replete with houses of old upper-class families.

By road, Sneek is connected to the A7 motorway and N354

Buses and trains in the town are operated by Arriva.

Sneek is connected to other cities by four main waterways: Houkesloot, leading to the Prinses Margrietkanaal River de Geeuw, leading to IJlst de Zwette, leading to Leeuwarden Franekervaart, leading to Franeker.

Museums Edit

Podia Edit

Cultural Quarter Edit

In 2010 there will be a Cultural Quarter, The municipality has made plans to connect various Cultural areas into one big Cultural Quarter. The total costs of the plans are about €35,000,000 and include

  • The Noorderchurch will house a theatre and a Center of the Arts (CvdK - Centrum voor de Kunsten)
  • The Bolwerk will house another part of the CvdK
  • A new Theatre (Capacity of 600 people) at the location of the former postoffice-building
  • The connection between the Theatre and the Bolwerk with a walking bridge and a floating podium in the city canal. This part won't be constructed because of high costs.
  • The Public library and the Martinichurch will be linked to the Cultural Quarter

Silver Ball Edit

The Culture Award of Sneek is called The Silver Ball and has been awarded 11 times. The award is given annually to a person that has done an improvement/good job on the areas of Music and Culture for Sneek and its surroundings. Some of the winners are:

    , writer
  • 2005: Maaike Schuurmans, musical actress
  • 2006: Yede van Dijk, actor
  • 2007: Bennie Hoogstra, 25 years playing the Drum- & Showkorps Advendo

Events Edit

Sneek has eleven primary schools and three high schools.

Sports centres Edit

Sport Clubs Edit

    (SWZ), football club , one of the oldest football clubs in the Netherlands , football club , football club , football club , hockey club , volleyball club , water polo club , tennis club , baseball and softball club , football club

Sportevents Edit

    (ca. 1350-1436) , (ca. 1480 - 1529), Frisian freedom fighter, rebel and pirate 'Grutte Pier' (1730–1799), physician (1850–1930), architect (1866–1935), detective writer (1869–1954), theologian and historian (1872–1934), mathematician, physicist and astronomer (1885–1961), politician (1907–1999), pilot, discoverer of the Wissel Lakes in New-Guinea. (1895 - 1969), advocate of pseudoscience (Flat Earth) (1915–1993), singer, TV producer (1930–2008), teacher, politician (1944–2007), sociologist (1957), actress (1957), coach and manager (1961), politician (1963), television presenter (1963), international volleyball player (1966), international volleyball player (1967), model and television star (1968), volleyball player (1990), soccer player (died 2016), strongest man of Friesland 1982-1984 (1967), Tourist & Venidera in Bergondo (Galiza) (1995), Racing Driver

Sneek has around 14,000 houses. Half of those houses are rental houses. There are new projects in different neighbourhoods.

In 1519–1520, the Frisian warlord and freedom fighter Pier Gerlofs Donia spent his last days in Sneek. Donia died peacefully in bed at Grootzand (Sneek) [nl] 12 [2] on 18 October 1520. [3] Pier is buried in Sneek in the 15th-century Groote Kerk (also called the Martinikerk). [4] His tomb is located on the north side of the church. [5]

This quaint little city has a shopping center that is walker and biker friendly. There are high-end clothing stores, restaurants, bars, music stores, cafes, coffee shops, and an old-fashioned candy store.

How the story has changed and endured over time

As well as the changing interpretations of Mulan’s ethnicity over the centuries, the narrative has also changed over time. For around a thousand years, the story more or less stayed the same, a simple, easy-to-understand folk poem popular with the Chinese people. The first known adaptation was in the 16th century, by playwright Xu Wei. The Heroine Mulan Goes to War in Her Father’s Place dramatized several aspects of the original poem. It emphasized footbinding, which is not mentioned in the original, as the custom was not widely practiced during the Northern Wei dynasty. “But in the 16th century, that was the major marker of how a woman was different from a man,” says Kwa. “The 16th century play would emphasize that aspect in a way that the original poem would not, and the play transported the setting to the time that seemed relevant.”

The character was later included in a popular 17th-century novel about the Sui and early Tang dynasties, which was a marked departure from the poem. Here, Mulan commits suicide rather than live under a foreign ruler, meeting a tragic end. This emphasis on the ethnic portrayal of the character also came to the fore in portrayals of Mulan during China’s Republican period. Driven by China’s active moving picture industry and a growing nationalism, several film adaptations of the story were produced in the 1920s and 󈧢s, the most successful being 1939’s Mulan Joins the Army, made during the Japanese occupation of China. This version played on gender as well as ideas of national identity against a complicated political backdrop, and some have argued that the renewed interest it sparked in the Mulan story was partly due to its nationalistic overtones and critique of the occupation. “In addition to these funny scenes where Mulan is now dressing up in her guise as a male soldier, there&rsquos also a lot of playing on this idea of not just telling apart male from female, but telling apart a ‘barbarian’ from a Chinese person,” says Kwa. “That becomes just as important or maybe parallel to the question of other people not being able to tell that she’s a girl.”

Kwa says that looking back over how the character has evolved over the centuries is interesting in the context of today’s idea of what makes China ‘China,’ and the idea of a patriotic heroine who is fighting against invading outsiders. At different points in time, the story’s emphasis on a sense of belonging shifted, encompassing both themes of women’s liberation and feminism and divisions along more overt ethnic identifications. “[These adaptations] speak on a specific level at specific times to different needs from different audiences,” she says, adding that the fundamental appeal of the tale speaks to a universal desire to be recognized for who we are, and also an understanding that we can’t always control how others see us.

Pietje Heim Jan 26, 1924 - Sep 13, 2015

Born in Steenwijk, Holland to Pieter Oosterdijk and Dora Schuurmann, the seventh of eleven children. Pietje crossed the Atlantic to America with her family at the age 6, in 1930, only 6-months after the stock market crash of 1929. During a storm at sea, Pietje was nearly washed overboard with her brother Gerrett. She survived the trip and grew up in Mora, Minnesota where her parents bought and lived on an 80-acre farm.

She met her husband and life-long love, Roy Oliver Heim, in the Calvary Lutheran Church choir. They married on November 20th, 1944, while Roy was home on furlough. To this union, five children were born: Jerome, Randall, Dianne, Stephan, and Debbra. As a young mother, Pietje endured the loss of her eldest child, Jerry, to a brain tumor at the age of six.

In 1956, the Heim family moved to St. James, Minnesota, where Roy started a career with Lutheran Brotherhood, which later took them to Rochester, MN in 1959.They became members of Bethel Lutheran Church in 1960 and maintained a life-long membership there. Pietje taught Sunday school and enjoyed other activities with the larger congregation, which Roy was the president of for a period of time. The Heim children were all confirmed at Bethel Lutheran and were active with the church. As a family, they enjoyed camping, outings, music, and extensive travel. Pietje and Roy were very proud that all of their four children were able to get a college education. Their son Randy served in the military and spent a year in Vietnam. Over the years, Pietje and Roy have enjoyed meeting their 9 grandchildren and 7 great-grandchildren.

Pietje and Roy loved to travel and made several trips back to Europe to find relatives. Family connection was always very important to both of them. Roy was diagnosed with a form of muscular dystrophy, which influenced their lives in terms of moving to a new home, and eventually to Real Life Retirement Community to accommodate his needs. He passed away in 2009 and was buried at Mora, MN.

Pietje is survived by her four children: Randy, Dianne, Steve and Debbie, nine grandchildren: Chris, Andy, Jennifer, Erik, Alissa, Joe, Jon, Kathryn and Sean, and seven great-grandchildren: Emily, Thatcher, Grayson, Nola, Cassie, Chloe and Gabe.

Where is Henry VIII’s grave?

The instructions for the building of the tomb were left in Henry VIII’s will.

However, on Henry VIII’s death, the 16 executors of the will ignored almost every given instruction. These were men that lived in fear of upsetting the king. Just days after his death, it was as though he had never lived.

No tomb was ever built for the king.

Instead, Henry VIII was simply buried next to his favourite wife Jane Seymour in the middle of the quire of St George’s Chapel , Windsor Castle.

There wasn’t even a stone placed over the grave to mark his final resting place. This was an extraordinary end for a man so feared and so influential in his life.

With no marker, Henry VIII’s grave became forgotten.

Lifestyle changes

One example of a shop successfully mixing heritage with innovation is Liberty London, which regularly refreshes its range of products and services (and even its physical spaces) to encourage shopping. As a customer there, I do not feel I am always being “sold to”, but instead am inspired by the surroundings. As I admire the displays and check out the merchandise, the buying follows on naturally, but the process is subtle and enjoyable. I cannot say I have the same experiences when visiting House of Fraser or John Lewis.

Our research on perceived authenticity shows that brand survival can by no means be taken for granted. It requires a sophisticated strategy which combines convenience and continuity with the ability to survive new trends and look forward.

To survive and prosper in the long term, high street retailers cannot rely on quality, consistency and nostalgia (the known attributes of brand heritage). They need to be innovative, agile and responsive (or better still, pre-emptive) to change.

This is not about asking high street retailers to ditch or dismiss their hard won heritage. But it does mean critically rethinking the meanings of heritage in the retail landscape, both current and future. Failing to do this can have catastrophic consequences.

For heritage has very little commercial value when a retailer is unwilling or unable to break some of the old fashioned rules. Otherwise, heritage would simply mean history – the place where so many established brands have been consigned to after disappearing from the high street.

Paper boys

If your job seems a bit humdrum, what should you do? If you're anything like these two Auckland creatives, you self-publish something that combines your passions for art and science. Rebecca Barry talks to the creators of Auckland's coolest art journal, Pie Paper.

Convincing us maths and science are fun used to be the role of our embattled school teachers. Now a couple of Kiwi designers have taken on the mission. Simon Oosterdijk and Markus Hofko's publication Pie Paper won't get you an A in physics but it's likely to pique your curiosity with its irreverent mix of science, art and philosophy.

The magazine is a bit like a pocket art gallery, a portable exhibition of compelling images and ideas brought together by one concept. Their first issue in 2008 was paradoxically numbered "0" and took on a "circle" theme. Then came "Repetition" the following year. Their third issue, "Trace" is due out within a few weeks.

What started as a humble pie project to ward off boredom and stoke their creative fires is now gaining traction as a cult read. They have no distributor other than an international network of artists, designers and collectors around the globe, yet Pie Paper is sold at boutiques in London, Berlin, Tokyo, Melbourne, Sydney and Auckland. Its first print run of 3000 sold out after it launched at the annual design forum, Semi-Permanent, in 2008. It's also available through their website, piepaper.com, and Oosterdijk and Hofko are now looking to expand their reach with Pie Paper encyclopaedias and Pie-related products, and multimedia content to their website. The next issue comes with a mixtape featuring up-and-coming musicians and bedroom producers. Despite the newsprint suggesting a throwaway quality, the pages are more likely to be pulled out and displayed.

Pie Paper was born out of a drive for creative collaboration. Both freelance graphic designers, Oosterdijk, 36 (who is half Dutch) and Hofko, 34 (German) met when Oosterdijk was running The Wilderness, an Auckland design studio with an edgy commercial repertoire including bottle design for 420 Spring Water, sleeve artwork and music videos for local acts Dimmer and Concord Dawn. He'd also seen Hofko's wife, artist Karin Hofko, speak at a Pecha Kucha event, where creative experts give slideshow presentations about their work. The pair collaborated on the Translate for Tiger Beer event, featuring multi-disciplinary artists from throughout Asia.

Hofko moved to New Zealand in 2006 after realising he needed a change of scenery from a "monotone" existence in Augsburg, southern Germany, where he'd been working for several years at a graphic design agency.

"We were a both a bit bored with our everyday jobs and wanting to do something without clients telling us what to do," he says.

"Doing the commercial work is a way to be creative and earn a living at the same time," adds Oosterdijk. "But it's a matter of keeping the creative running. Projects like this keep everything flowing. They feed each other. It's food on the plate to create."

The mag is put together in a sparse white exhibition space big enough to ride your bike in - just as well, as it's in the same inner-city building as motorcycle cafe Deus Ex Machina.

What sets Pie Paper apart, other than its penchant for finding beauty and mystery within the forces of nature, is its art-over-commerce approach. It doesn't sell itself on the premise of helping readers lose weight, buy the latest gear or learn to cook a chicken. Besides a few small classifieds, there's almost no advertising Oosterdijk and Hofko would like to break even but see it foremost as a vehicle to flex their creativity. Unlike the bevvy of alternative rags available to the art and design crowd, Pie Paper's theoretical approach gives it a nostalgic quality, reminiscent of the science trivia found in encycopaedias, now a dying format.

Mathematical riddles such as Fibonacci's Golden Ratio and the secrets of the number 9 - multiply any whole number except 0, then add the digits and you'll always end up with 9 - are explained alongside art and photography that finds humour in the banal. In the Repetition issue: an amusing globe of stacked chairs, poetic musings on the nature of infinity, the mind-boggling sight of 200,000 North Korean children dancing in unison at the kitschy Mass Games. Tibetan Mandalas, the cross-section of a pine needle and the Large Hadron Collider find common ground in the Circle issue.

"In a lot of the magazines we'd seen, everyone seemed to be getting their content from the same places, the same hot artists or designers. But no one was really addressing the inspiration behind the artworks," says Oosterdijk. "It was more about the people and their output rather than the fundamentals, these timeless truths. All these things that are lost from the media because it's this whole sensationalist thing, what trends are emerging. But if you scratch the surface and get under that, I think that's where the interesting stuff is."

"The biggest point of difference is the science and maths perspective," adds Hofko. "We've found you either get strictly maths or science-oriented publications. Most of the magazines that do art do art and design only. The correlation [between art and science] is really big. That's what makes it interesting, to find the overlaps, to see the art in science and the science in art."

The content is a mix of the designers' own research-based artwork, plus images sourced from the web, most of the contributors providing exclusive works to use in the magazine, a win-win as they get to promote themselves in print. Local artists account for about half the content in the first issue but that has dwindled slightly.

"When we first started we commissioned some of the designers in our circle of friends because we knew the quality of their work," says Hofko. "But we didn't want to repeat ourselves, so we're trying not to always feature the same artists."

Kiwi contributors include illustrator HD Steve and creative studio Special Problems. Some of the bigger international contributors include award-winning American film-maker and performance artist Miranda July (whose film Me And You And Everyone We Know won prizes at the Cannes and Sundance festivals in 2005), US street installation artist Mark Jenkins and acclaimed Dutch portrait artist Levi van Veluw.

Quotes by the likes Friedrich Nietzsche make sense of some of the more abstract images. Others come from public libraries and institutions. Nasa, for example, provided a striking satellite image of Mt Taranaki that clearly shows the man-made circle around the base of the volcano that map-makers used to mark the line between protected forestation and farmland. Another image shows a picture of urban activity on our planet at night. "Are the lightened spots on our land the winners, holding up their shining trophies?" the accompanying article muses. "Are the others disorientated and lost in darkness?"

The process has opened the pair's eyes to the realities of copyright, with many galleries refusing to let them reproduce images without paying exorbitant fees. On the other hand, Oosterdijk and Hofko have been surprised at how many artists are willing to provide their works free - in turn, they get exposure by including links to their websites. Doing things on the cheap also means finding creative solutions - they'll often stumble across amazing images that cost up to 500 euro ($907) and will negotiate with galleries or artists for alternative arrangements.

Although it's not easy to monitor who's reading it, they've fielded sales inquiries from artists, designers and curators - anyone with an interest in design or science.

Much of the maths and science content comes from a layman's perspective, say the mag's creators, who don't resort to over-arching, complex explanations, preferring plain English over a pretentious style.

"We're learning all this stuff," says Oosterdijk. "That's the most exciting part because trying to fit that into a job is quite hard otherwise. This platform gives us an excuse to ring up mathematicians or talk to physicists."

The Trace issue is perhaps more obscure than the first two but features famous 19th century French scientist and photographer Etienne-Jules Marey, who used a shot-gun camera, that allowed him to study the flight of birds, frame by frame. Because it often takes money to get image rights, they keep overheads low by printing on newsprint.

"What we make is not money," laughs Oosterdijk. "We make contacts. We're building this network of like-minded people. It's a labour of love."

In 1519–1520, the Frisian warlord and freedom fighter Pier Gerlofs Donia spent his last days in Sneek. Donia died peacefully in bed at Grootzand (Sneek)  [nl] 12 ΐ] on 18 October 1520. Α] Pier is buried in Sneek in the 15th-century Groote Kerk (also called the Martinikerk). Β] His tomb is located on the north side of the church. Γ]

This quaint little city has a shopping center that is walker and biker friendly. There are high-end clothing stores, restaurants, bars, music stores, cafes, coffee shops, and an old-fashioned candy store.

Watch the video: Ιστορία του Πανιώνιου Τμήμα. Μέρος ΙΙ. Μέχρι την Καταστροφή