prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who lived longer, Charles Wheatstone or Jean-Claude Lauzon?

The following are given passages.
Context 1: Passage 1:
Lyse Lafontaine
Lyse Lafontaine (born 1942) is a Canadian film producer known for working with directors Jean-Claude Lauzon and Xavier Dolan  She works at Lyla Films in Montreal, Quebec, Canada 

Early life
Born to La Presse reporter Gaston Lafontaine, Lyse studied literature at the Université de Montréal and earned her degree  She married Stéphane Venne and managed the rock band Offenbach in 1972  She became a stage manager on the 1974 film The Apprenticeship of Duddy Kravitz, and married her second husband, moving to The Bahamas for two years before returning to Canada 

Career
In 1976, Lafontaine served as location manager for the film The Little Girl Who Lives Down the Lane, starring Jodie Foster  Lafontaine met Lauzon when he was pitching his screenplay for Léolo (1992), which other producers had rejected  It became the first film she produced, with Aimée Danis, for which they were nominated for the Genie Award for Best Motion Picture  While in Italy during filming, Lauzon gave Lafontaine a letter thanking her for her ineptitude in business, which he considered necessary to make a film with feeling  She kept it as a cherished keepsake Working with Dolan, she produced Laurence Anyways (2012) and served as an associate producer for Mommy (2014)  Dolan's Laurence Anyways was inspired by Lafontaine's ex-boyfriend Luc Baillairgé, the father of her son Mikaël, who had a small part in Léolo  With Dolan, she personally traveled to London in 2017 to work on his The Death and Life of John F  Donovan In 2015, Lafontaine produced La Passion d’Augustine with François Tremblay, winning the Québec Cinéma Award for Best Film  On 1 June 2017 at the 19th Quebec Cinema Awards, she was awarded the Iris Hommage for 30 years of contributions to Quebec cinema 

Filmography
Her films include:
Passage 2:
Jean-Claude Lutanie
Jean-Claude Lutanie is a French writer 

Biography
Jean-Claude Lutanie was born in Poitiers, France in 1951  In the 1970s and 80s, he entered into social protest and contestation, but early on, broke off from any movement in particular  In 1981, he publishes Protestation devant les libertaires du présent et du futur sur les capitulations de 1980 anonymously, followed by Une lecture paranoïaque-critique de La Maison Tellier (Guy de Maupassant) in 1993  Lutanie’s university research focused on the work of Jean-Pierre Brisset  He taught French in Tebessa, Algeria, from 1985 to 1987, before teaching as Professor of Literature and History in a pre-professional high school in La Rochelle until his death, in 2006 

Bibliography
Harangue des Ciompi à Florence  Rééditée à l'usage des prolétaires de Longwy, (poster, Toulouse, c  1979, anonymous, no publisher, 60 × 39 cm)
Protestation devant les libertaires du présent et du futur sur les capitulations de 1980, (poster, Toulouse, 1981, anonymous, no publisher, 65 × 45 cm)
Protestation devant les libertaires du présent et du futur sur les capitulations de 1980, (1981, anonymous, no publisher, re-published in 2011 by Editions Lutanie)
Une lecture paranoïaque-critique de La Maison Tellier (Guy de Maupassant), Le Veilleur Éditeur, 1993

Articles
"Introduction to Jean-Claude Lutanie" by Rachel Valinsky in The Third Rail #7


== Notes ==
Passage 3:
Johannes Crucius
Johannes Crucius, or Jean de la Croix (1560 – 1625), was a Dutch theologian 

Biography
He was born in Lille, France, as the son of Jacobus de la Croix, a Walloon preacher of Middelburg, among other cities  He was the brother of Jacobus Crucius  Crucius studied in Geneva and on 28 September 1586 he matriculated at the Heidelberg University a year after Franciscus Gomarus, along with the students Abrahamus Vandermylen of Dordrecht, Meinardus ab Idzaerda of Friesland, and Andreas ab Hiddema of Friesland  He then matriculated at Leiden in 1589 and the following year he was selected to succeed Jean Taffin as Walloon preacher at the Waalse Kerk, Haarlem, where he is buried He married Elisabeth Stoock and their first child was baptised 7 June 1591  Their son Jacobus became a doctor, and their sons Nicolaas (1595-1643) and Johannes (1598-1666) became preachers like their father  From 1592, Crucius was the representative of the Wallonian church at the Walloon Synod in Middelburg and in 1618 & 1619 he was their representative at the Synod of Dort  He is known for his translations of religious works From Latin and Dutch into French, most notably by Antonius Walaeus 
He died in Haarlem 
Passage 4:
Jean-Claude Bonnefond
Claude Bonnefond, or Jean-Claude Bonnefond (27 March 1796, Lyon - 27 June 1860, Lyon) was a French painter and lithographer; noted for his portrayals of peasant life  His work was heavily influenced by a visit to Italy 

Biography
His father was a baker who died shortly after Jean-Claude was born  His mother remarried in 1797, to another baker who was an associate of her first husband  An elder brother died in military service  In 1808, at the age of twelve, he entered the École nationale supérieure des beaux-arts de Lyon, where he studied with Pierre Revoil and Alexis Grognard (1752-1840) 
In 1816, he was exempted from military service for being his family's only surviving son  The following year, he had his first exhibit at the Salon, where one of his paintings was purchased by Charles Ferdinand, Duke of Berry 
At the age of 28, he and Victor Orsel went to Paris to work in the studios of Pierre-Narcisse Guérin  Shortly after, Guérin was named Director of the Villa Medici and Bonnefond accompanied him to Rome 
While in Italy, he also visited Campania and Tuscany and made the acquaintance of several German painters of the Nazarene movement, including Julius Schnorr von Carolsfeld, Joseph Anton Koch and Johann Friedrich Overbeck 
In 1830, Victor Prunelle, the Mayor of Lyon, offered him the directorship of the École des Beaux-arts  He accepted, replacing Revoil, and held that position for thirty years  He created a school of engraving, operated by Victor Vibert (1799-1860), and the École produced seventeen laureates of the Prix de Rome between 1831 and 1860  In 1834, he was named a Knight in the Legion of Honor  His own work continued to be in the Italian style until 1840, when he turned to painting portraits of the local bourgeoisie 
He died of what was described as "blood congestion" after a long period of illness 

Selected paintings
Notes
Passage 5:
Jean Edelinck
Jan, or Jean Edelinck (c 1640 – 1680), was a Flemish engraver who worked in Paris 

Life
He was born in Antwerp, the brother of Gerard Edelinck  He was probably younger than Gerard, though his date of birth is unknown  He preceded his brother to Paris  Joseph Strutt, writing in the late 18th century, compared his work unfavourably to Gerard's, saying that, although he closely imitated his style, "he never equalled him, either in drawing or the execution of the mechanical part of his plates "He died in Paris in 1680 

Works
Edelinck made several engravings of the statues in the gardens at Versailles, of which Strutt said "they do him great credit, though the effect is cold, and the extremities rather heavy"  He also made plates after a portrait of the anatomist  Isbrandus de Diemerbroeck by Romeyn de Hooghe, and The Deluge by Alessandro Turchi  The latter was finished after his death by his youngest brother, Gaspard François Edelinck 
Passage 6:
Jean-Claude Dague
Jean-Claude Dague, born Jean-Claude Dagouassat in 1937, is a French film director 

Biography
After having directed four films, Jean-Claude Dague's production company was almost bankrupt  He then attempted a hold-up in Bry-sur-Marne in 1971, but was easily caught with his two partners, having used his own car to flee  The two partners were actor René Chapotot and stuntman Germain Roig  Dague then spent eight years in prison, and wrote about it in a book, Le Dénommé, of which he made a film in 1990 

Filmography
Director1968 : Le Bal des voyous
1969 : Poussez pas grand-père dans les cactus
1970 : Désirella
1971 : L'Homme qui vient de la nuit
1990 : Le Dénommé
1999 : La Paix pour les Enfants du MondeActor1966 : Espions à l'affûtScreenwriter1991 : La Dernière Saison
Passage 7:
Jean-Claude Lauzon
Jean-Claude Lauzon (September 29, 1953 – August 10, 1997) was a Canadian filmmaker and screenwriter  Born to a working class family in Montreal, Quebec, Lauzon dropped out of high school and worked various jobs before studying film at the Université du Québec à Montréal  His two feature-length films, Night Zoo (1987) and Léolo (1992), established him as one of the most important Canadian directors of his generation  American film critic Roger Ebert wrote that "Lauzon is so motivated by his resentments and desires that everything he creates is pressed into the cause and filled with passion "His film Léolo is widely considered to be one of the best Canadian films of all time  It was nominated for the Palme d'Or at the 1992 Cannes Film Festival, and was included on Time's list of the 100 greatest films that were released between March 3, 1923—when the first issue of Time was published—and early 2005, when the list was compiled Lauzon's career was cut short by his death in a plane crash in 1997 at the age of 43 

Early life
Born to a working class family in Montreal, Quebec, Canada, Lauzon worked a variety of odd jobs after dropping out of high school  He went on to study film at the Université du Québec à Montréal at the behest of Andre Petrowski, a member of the National Film Board of Canada 

Career
While studying at the Université du Québec à Montréal, Lauzon began experimenting with 16mm film stock  His first short film, titled Super Maire, won the Norman McLaren Grand Prize at the Canadian Student Film Festival in 1979  His second short film, titled Piwi, which he started working on while spending time at the American Film Institute in Los Angeles, won the Jury Prize at the Montreal World Film Festival in 1981 In 1983, Lauzon wrote the first draft for his debut feature, Night Zoo, but spent most of the 1980s directing television commercials in Quebec and earning his pilot's licence  He eventually directed the film, making his feature-length film debut, and the film premiered in the Director's Fortnight at the Cannes Film Festival, where it was warmly received by most critics  The Globe and Mail’s Jay Scott wrote that “more than anything, Zoo is a movie of extremes; few films in the history of the cinema have wandered so successfully all over so much of the emotional map ” The film went on to win a record-breaking 13 Genie Awards in 1988, and won the Golden Reel Award for being the highest-grossing Canadian film of that year Lauzon achieved further success and acclaim with his second feature-length film, Léolo, which was nominated for the Palme d'Or at the 1992 Cannes Film Festival  Léolo won three Genie Awards and was a box office success in Canada and across Europe, but failed to make much of an impact in the U S  upon release  Léolo has been called one of the best Canadian films of all time by various media outlets  It was included on Time's list of the 100 greatest films that were released between March 3, 1923—when the first issue of Time was published—and early 2005, when the list was compiled After the success of his first two films, Lauzon focused on directing commercials for television and spent most of his time in northern Quebec flying his Cessna 180 Skywagon, fishing, and hunting 

Artistry
Playback wrote that Lauzon's films were "substantially autobiographical in nature"  Collaborators described the director as "an extremely creative and intense personality for whom making films was painful " American film critic Roger Ebert wrote that "Lauzon is so motivated by his resentments and desires that everything he creates is pressed into the cause and filled with passion "

Death
Lauzon was preparing his third feature-length film when he died, along with his girlfriend, Canadian actress Marie-Soleil Tougas, in a plane crash  On August 10, 1997, the Cessna 180 Skywagon that Lauzon was piloting flew into a mountainside in strong winds and rain near Kuujjuaq, Quebec while returning from a fishing trip  Lauzon was 43 years old when he died  He was buried in a private ceremony 

Filmography
Super Maire (1979), short film
Piwi (1981), short film
Night Zoo also known as Un zoo la nuit (1987), feature film
Léolo (1992), feature film
Passage 8:
Silvi Jan
Silvi Jan (Hebrew: סילבי ז'אן; born 27 October 1973) an Israeli former footballer who played as a striker  With 29 goals, she is the all-time Israel national team top goalscorer 

Club career
Jan played school football in Netanya, and was part of the boys' football team of Shorashim school  As there was no women's league, Jan tried to find an active team in Europe, eventually signing with Kolbotn I L  in Norway  In 1999, with the establishment of the Israeli Women's League, Jan returned to Israel and signed with Hapoel Tel Aviv 
Jan played at Hapoel Tel Aviv for four seasons, until the team folded, winning the league and cup in 2000–01  After Hapoel Tel Aviv folded, Jan signed with Maccabi Holon, where she played until her retirement in 2007  With Maccabi Holon Jan won the league 4 times and the cup 5 times 
In January 2009, Jan returned to league action and joined ASA Tel Aviv University  On 21 February 2012, in a league match against her former club, Maccabi Holon, Jan scored her 1000th goal in all club and national team competitions  Jan played at ASA Tel Aviv until her retirement in May 2012  With ASA Tel Aviv Jan Jan won three championships and two cups  Jan scored a total of 1,010 goals in all competitions 

International career
Silvi Jan has been a striker for the Israel national team for many years, appearing in 23 matches and scoring 29 goals  Jan made her debut against Romania on 2 November 1997, and scored her debut goal against Bosnia and Herzegovina on 8 April 2008, one of four she scored on the day 
Her last international goal was also scored against Bosnia and Herzegovina, in a match played on 23 November 2006, in which Israel won 5–2  Jan made her last international appearance against Poland on 10 May 2007 

International goals
Personal life
Jan came out as a lesbian in December 2017  She got engaged to her partner in November the following year 
In September 2018  Jan was diagnosed with rheumatoid arthritis 

Honours
Hapoel Tel Aviv

Ligat Nashim: 2000–01
Israeli Women's Cup: 2000–01Haccabi Holon

Ligat Nashim: 2002–03, 2004–05, 2005–06, 2006–07
Israeli Women's Cup: 2002–03, 2003–04, 2004–05, 2005–06, 2006–07ASA Tel Aviv University

Ligat Nashim: 2009–10, 2010–11, 2011–12
Israeli Women's Cup: 2010–11, 2011–12Individual

Ligat Nashim top goalscorer: 1999–2000, 2006–07, 2009–10, 2010–11, 2011–12
Israeli Women's Cup top goalscorer: 1999–2000, 2000–01, 2006–07, 2011–12
Passage 9:
Jean-Claude Casadesus
Jean-Claude Probst (born 7 December 1935), known professional as Jean-Claude Casadesus, is a French conductor 

Biography
Casadesus was born in Paris on 7 December 1935, the son of actress Gisèle Casadesus and her husband Lucien Pascal   He began his career as a percussionist before studying composition and conducting with Pierre Dervaux and Pierre Boulez 
In 1969 he was hired as assistant conductor at the Paris Opéra and the Opéra-Comique   In 1971 he co-founded the Orchestre National des Pays de la Loire with Pierre Dervaux, and acted as Dervaux's deputy there until 1976   In 1976 he became principal conductor of the Orchestre national de Lille, performing concerts locally and internationally   He directed the French Youth Orchestra in 2007 

Personal life
Jean-Claude has been married twice and has three children, his only daughter Caroline (b  30 October 1962) is an opera singer and his first born son Sebastian Copeland (b  3 April 1964) is a film director whose mother is Pénélope Copeland, his second son Olivier (b  2 September 1970) is an actor whose mother is Anne Sevestre 

Distinctions
Commandeur de la Légion d'honneur
Commandeur de l'Ordre national du Mérite
Commandeur des Arts et Lettres
Commandeur de l'Ordre d'Orange-Nassau
Officier de l'Ordre de Léopold de Belgique
Chevalier des Palmes AcadémiquesIn 2004, the Victoires de la musique classique awarded him a victory of honour 

Discography with l'Orchestre National de Lille
Richard Wagner, Ouvertures et monologues célèbres, Le Vaisseau Fantôme, Tännhauser, Les Maîtres chanteurs de Nuremberg, La Walkyrie, avec José van Dam, Label Forlane
Darius Milhaud, La Création du monde, Le Bœuf sur le toit, Suite Provençale, L'Homme et son Désir, Label Naxos
Serge Prokofiev, Alexander Nevsky (Cantata), Lieutenant Kijé (Suite), Label Naxos
Hector Berlioz, La Damnation de Faust, Label Naxos
Hector Berlioz, Symphonie Fantastique, Label Harmonia Mundi
Joseph Canteloube, Chants d'Auvergne, Label Naxos
Gustav Mahler, Symphonies, Label Forlane
Georges Bizet, Clovis et Clotilde - Te Deum, Label Naxos - Abeille Musique, 2010

Bibliography
Le plus court chemin d'un cœur à l'autre, Jean-Claude Casadesus, Éditions Stock
Passage 10:
Charles Wheatstone
Sir Charles Wheatstone FRS FRSE (; 6 February 1802 – 19 October 1875), was an English scientist and inventor of many scientific breakthroughs of the Victorian era, including the English concertina, the stereoscope (a device for displaying three-dimensional images), and the Playfair cipher (an encryption technique)  However, Wheatstone is best known for his contributions in the development of the Wheatstone bridge, originally invented by Samuel Hunter Christie, which is used to measure an unknown electrical resistance, and as a major figure in the development of telegraphy 

Life
Charles Wheatstone was born in Barnwood, Gloucestershire  His father, W  Wheatstone, was a music-seller in the town, who moved to 128 Pall Mall, London, four years later, becoming a teacher of the flute  Charles, the second son, went to a village school, near Gloucester, and afterwards to several institutions in London  One of them was in Kennington, and kept by a Mrs  Castlemaine, who was astonished at his rapid progress  From another he ran away, but was captured at Windsor, not far from the theatre of his practical telegraph  As a boy he was very shy and sensitive, liking well to retire into an attic, without any other company than his own thoughts 

When he was about fourteen years old he was apprenticed to his uncle and namesake, a maker and seller of musical instruments at 436 Strand, London; but he showed little taste for handicraft or business, and loved better to study books  His father encouraged him in this, and finally took him out of the uncle's charge 
At the age of fifteen, Wheatstone translated French poetry, and wrote two songs, one of which was given to his uncle, who published it without knowing it as his nephew's composition  Some lines of his on the lyre became the motto of an engraving by Bartolozzi  He often visited an old book-stall in the vicinity of Pall Mall, which was then a dilapidated and unpaved thoroughfare  Most of his pocket-money was spent in purchasing the books which had taken his fancy, whether fairy tales, history, or science 
One day, to the surprise of the bookseller, he coveted a volume on the discoveries of Volta in electricity, but not having the price, he saved his pennies and secured the volume  It was written in French, and so he was obliged to save again, until he could buy a dictionary  Then he began to read the volume, and, with the help of his elder brother, William, to repeat the experiments described in it, with a home-made battery, in the scullery behind his father's house  In constructing the battery, the boy philosophers ran short of money to procure the requisite copper-plates  They had only a few copper coins left  A happy thought occurred to Charles, who was the leading spirit in these researches, 'We must use the pennies themselves,' said he, and the battery was soon complete 
At Christchurch, Marylebone, on 12 February 1847, Wheatstone was married to Emma West  She was the daughter of a Taunton tradesman, and of handsome appearance  She died in 1866, leaving a family of five young children to his care  His domestic life was quiet and uneventful 
Though silent and reserved in public, Wheatstone was a clear and voluble talker in private, if taken on his favourite studies, and his small but active person, his plain but intelligent countenance, was full of animation  Sir Henry Taylor tells us that he once observed Wheatstone at an evening party in Oxford earnestly holding forth to Lord Palmerston on the capabilities of his telegraph  'You don't say so!' exclaimed the statesman  'I must get you to tell that to the Lord Chancellor ' And so saying, he fastened the electrician on Lord Westbury, and effected his escape  A reminiscence of this interview may have prompted Palmerston to remark that a time was coming when a minister might be asked in Parliament if war had broken out in India, and would reply, 'Wait a minute; I'll just telegraph to the Governor-General, and let you know '

Wheatstone was knighted in 1868, after his completion of the automatic telegraph  He had previously been made a Chevalier of the Legion of Honour  Some thirty-four distinctions and diplomas of home or foreign societies bore witness to his scientific reputation  Since 1836 he had been a Fellow of the Royal Society, and in 1859 he was elected a foreign member of the Royal Swedish Academy of Sciences, and in 1873 a Foreign Associate of the French Academy of Sciences  The same year he was awarded the Ampere Medal by the French Society for the Encouragement of National Industry  In 1875 he was created an honorary member of the Institution of Civil Engineers  He was a D C L  of Oxford and an LL D  of Cambridge 
While on a visit to Paris during the autumn of 1875, and engaged in perfecting his receiving instrument for submarine cables, he caught a cold, which produced inflammation of the lungs, an illness from which he died in Paris, on 19 October 1875 aged 73  A memorial service was held in the Anglican Chapel, Paris, and attended by a deputation of the Academy  His remains were taken to his home in Park Crescent, London, (marked by a blue plaque today) and buried in Kensal Green Cemetery 

Music instruments and acoustics
In September 1821, Wheatstone brought himself into public notice by exhibiting the 'Enchanted Lyre,' or 'Acoucryptophone,' at a music shop at Pall Mall and in the Adelaide Gallery  It consisted of a mimic lyre hung from the ceiling by a cord, and emitting the strains of several instruments – the piano, harp, and dulcimer  In reality it was a mere sounding box, and the cord was a steel rod that conveyed the vibrations of the music from the several instruments which were played out of sight and ear-shot  At this period Wheatstone made numerous experiments on sound and its transmission  Some of his results are preserved in Thomson's Annals of Philosophy for 1823 
He recognised that sound is propagated by waves or oscillations of the atmosphere, as light was then believed to be by undulations of the luminiferous ether  Water, and solid bodies, such as glass, or metal, or sonorous wood, convey the modulations with high velocity, and he conceived the plan of transmitting sound-signals, music, or speech to long distances by this means  He estimated that sound would travel 200 miles per second (320 km/s) through solid rods, and proposed to telegraph from London to Edinburgh in this way  He even called his arrangement a 'telephone ' (Robert Hooke, in his Micrographia, published in 1667, writes: 'I can assure the reader that I have, by the help of a distended wire, propagated the sound to a very considerable distance in an instant, or with as seemingly quick a motion as that of light ' Nor was it essential the wire should be straight; it might be bent into angles  This property is the basis of the mechanical or lover's telephone, said to have been known to the Chinese many centuries ago  Hooke also considered the possibility of finding a way to quicken our powers of hearing )
A writer in the Repository of Arts for 1 September 1821, in referring to the 'Enchanted Lyre,' beholds the prospect of an opera being performed at the King's Theatre, and enjoyed at the Hanover Square Rooms, or even at the Horns Tavern, Kennington  The vibrations are to travel through underground conductors, like to gas in pipes 

And if music be capable of being thus conducted,' he observes, 'perhaps the words of speech may be susceptible of the same means of propagation  The eloquence of counsel, the debates of Parliament, instead of being read the next day only, – But we shall lose ourselves in the pursuit of this curious subject Besides transmitting sounds to a distance, Wheatstone devised a simple instrument for augmenting feeble sounds, to which he gave the name of 'Microphone ' It consisted of two slender rods, which conveyed the mechanical vibrations to both ears, and is quite different from the electrical microphone of Professor Hughes 
In 1823, his uncle, the musical instrument maker, died, and Wheatstone, with his elder brother, William, took over the business  Charles had no great liking for the commercial part, but his ingenuity found a vent in making improvements on the existing instruments, and in devising philosophical toys  He also invented instruments of his own  One of the most famous was the Wheatstone concertina  It was a six sided instrument with 64 keys  These keys provided for simple chromatic fingerings  The English Concertina became increasingly famous throughout his lifetime, however it didn't reach its peak of popularity until the early 20th century 
In 1827, Wheatstone introduced his 'kaleidophone', a device for rendering the vibrations of a sounding body apparent to the eye  It consists of a metal rod, carrying at its end a silvered bead, which reflects a 'spot' of light  As the rod vibrates the spot is seen to describe complicated figures in the air, like a spark whirled about in the darkness  His photometer was probably suggested by this appliance  It enables two lights to be compared by the relative brightness of their reflections in a silvered bead, which describes a narrow ellipse, so as to draw the spots into parallel lines 
In 1828, Wheatstone improved the German wind instrument, called the Mundharmonika, until it became the popular concertina, patented on 19 December 1829  The portable harmonium is another of his inventions, which gained a prize medal at the Great Exhibition of 1851  He also improved the speaking machine of De Kempelen, and endorsed the opinion of Sir David Brewster, that before the end of this century a singing and talking apparatus would be among the conquests of science 
In 1834, Wheatstone, who had won a name for himself, was appointed to the Chair of Experimental Physics in King's College London  His first course of lectures on sound were a complete failure, due to his abhorrence of public speaking  In the rostrum he was tongue-tied and incapable, sometimes turning his back on the audience and mumbling to the diagrams on the wall  In the laboratory he felt himself at home, and ever after confined his duties mostly to demonstration 

Velocity of electricity
He achieved renown by a great experiment made in 1834 – the measurement of the velocity of electricity in a wire  He cut the wire at the middle, to form a gap which a spark might leap across, and connected its ends to the poles of a Leyden jar filled with electricity  Three sparks were thus produced, one at each end of the wire, and another at the middle  He mounted a tiny mirror on the works of a watch, so that it revolved at a high velocity, and observed the reflections of his three sparks in it  The points of the wire were so arranged that if the sparks were instantaneous, their reflections would appear in one straight line; but the middle one was seen to lag behind the others, because it was an instant later  The electricity had taken a certain time to travel from the ends of the wire to the middle  This time was found by measuring the amount of lag, and comparing it with the known velocity of the mirror  Having got the time, he had only to compare that with the length of half the wire, and he could find the velocity of electricity  His results gave a calculated velocity of 288,000 miles per second, i e  faster than what we now know to be the speed of light (299,792 458 kilometres per second (186,000 mi/s)), but were nonetheless an interesting approximation It was already appreciated by some scientists that the "velocity" of electricity was dependent on the properties of the conductor and its surroundings  Francis Ronalds had observed signal retardation in his buried electric telegraph cable (but not his airborne line) in 1816 and outlined its cause to be induction  Wheatstone witnessed these experiments as a youth, which were apparently a stimulus for his own research in telegraphy  Decades later, after the telegraph had been commercialised, Michael Faraday described how the velocity of an electric field in a submarine wire, coated with insulator and surrounded with water, is only 144,000 miles per second (232,000 km/s), or still less 
Wheatstone's device of the revolving mirror was afterwards employed by Léon Foucault and Hippolyte Fizeau to measure the relative speeds of light in air versus water, and later to measure the speed of light 

Spectroscopy
Wheatstone and others also contributed to early spectroscopy through the discovery and exploitation of spectral emission lines As John Munro wrote in 1891, "In 1835, at the Dublin meeting of the British Association, Wheatstone showed that when metals were volatilised in the electric spark, their light, examined through a prism, revealed certain rays which were characteristic of them  Thus the kind of metals which formed the sparking points could be determined by analysing the light of the spark  This suggestion has been of great service in spectrum analysis, and as applied by Robert Bunsen, Gustav Robert Kirchhoff, and others, has led to the discovery of several new elements, such as rubidium and thallium, as well as increasing our knowledge of the heavenly bodies "

Telegraph
Wheatstone abandoned his idea of transmitting intelligence by the mechanical vibration of rods, and took up the electric telegraph  In 1835 he lectured on the system of Baron Schilling, and declared that the means were already known by which an electric telegraph could be made of great service to the world  He made experiments with a plan of his own, and not only proposed to lay an experimental line across the Thames, but to establish it on the London and Birmingham Railway  Before these plans were carried out, however, he received a visit from William 
Cooke at his house in Conduit Street on 27 February 1837, which had an important influence on his future 

Cooperation with Cooke
Cooke was an officer in the Madras Army, who, being home on leave, was attending some lectures on anatomy at the University of Heidelberg, where, on 6 March 1836, he witnessed a demonstration with the telegraph of professor Georg Munke, and was so impressed with its importance, that he forsook his medical studies and devoted all his efforts to the work of introducing the telegraph  He returned to London soon after, and was able to exhibit a telegraph with three needles in January 1837  Feeling his want of scientific knowledge, he consulted Michael Faraday and Peter Roget (then secretary of the Royal Society): Roget sent him to Wheatstone 
At a second interview, Cooke told Wheatstone of his intention to bring out a working telegraph, and explained his method  Wheatstone, according to his own statement, remarked to Cooke that the method would not act, and produced his own experimental telegraph  Finally, Cooke proposed that they should enter into a partnership, but Wheatstone was at first reluctant to comply  He was a well-known man of science, and had meant to publish his results without seeking to make capital of them  Cooke, on the other hand, declared that his sole object was to make a fortune from the scheme  In May they agreed to join their forces, Wheatstone contributing the scientific, and Cooke the administrative talent  The deed of partnership was dated 19 November 1837  A joint patent was taken out for their inventions, including the five-needle telegraph of Wheatstone, and an alarm worked by a relay, in which the current, by dipping a needle into mercury, completed a local circuit, and released the detent of a clockwork 
The five-needle telegraph, which was mainly, if not entirely, due to Wheatstone, was similar to that of Schilling, and based on the principle enunciated by Ampère – that is to say, the current was sent into the line by completing the circuit of the battery with a make and break key, and at the other end it passed through a coil of wire surrounding a magnetic needle free to turn round its centre  According as one pole of the battery or the other was applied to the line by means of the key, the current deflected the needle to one side or the other  There were five separate circuits actuating five different needles  The latter were pivoted in rows across the middle of a dial shaped like a diamond, and having the letters of the alphabet arranged upon it in such a way that a letter was literally pointed out by the current deflecting two of the needles towards it 

Early installations
An experimental line, with a sixth return wire, was run between the Euston terminus and Camden Town station of the London and North Western Railway on 25 July 1837  The actual distance was only one and a half-miles (2 4 km), but spare wire had been inserted in the circuit to increase its length  It was late in the evening before the trial took place  Cooke was in charge at Camden Town, while Robert Stephenson and other gentlemen looked on; and Wheatstone sat at his instrument in a dingy little room, lit by a tallow candle, near the booking-office at Euston  Wheatstone sent the first message, to which Cooke replied: and "never" said Wheatstone, "did I feel such a tumultuous sensation before, as when, all alone in the still room, I heard the needles click, and as I spelled the words, I felt all the magnitude of the invention pronounced to be practicable beyond cavil or dispute "
In spite of this trial, however, the directors of the railway treated the 'new-fangled' invention with indifference, and requested its removal  In July 1839, however, it was favoured by the Great Western Railway, and a line erected from the Paddington station terminus to West Drayton railway station, a distance of thirteen miles (21 km)  Part of the wire was laid underground at first, but subsequently all of it was raised on posts along the line  Their circuit was eventually extended to Slough in 1841, and was publicly exhibited at Paddington as a marvel of science, which could transmit fifty signals a distance of 280,000 miles per minute (7,500 km/s)  The price of admission was a shilling (£0 05), and in 1844 one fascinated observer recorded the following:

"It is perfect from the terminus of the Great Western as far as Slough – that is, eighteen miles; the wires being in some places underground in tubes, and in others high up in the air, which last, he says, is by far the best plan  We asked if the weather did not affect the wires, but he said not; a violent thunderstorm might ring a bell, but no more  We were taken into a small room (we being Mrs Drummond, Miss Philips, Harry Codrington and myself – and afterwards the Milmans and Mr Rich) where were several wooden cases containing different sorts of telegraphs  In one sort every word was spelt, and as each letter was placed in turn in a particular position, the machinery caused the electric fluid to run down the line, where it made the letter show itself at Slough, by what machinery he could not undertake to explain  After each word came a  sign from Slough, signifying "I understand", coming certainly in less  than one second from the end of the word      Another prints the messages it brings, so that if no-one attended to the bell,    the message would not be lost  This is effected by the electrical fluid causing a little hammer to strike the letter which presents itself, the letter which is raised hits some manifold writing paper (a new invention, black paper which, if pressed, leaves an indelible black mark), by which means the impression is left on white paper beneath  This was the most ingenious of all, and apparently Mr  Wheatstone's favourite; he was very good-natured in explaining but understands it so well himself that he cannot feel how little we know about it, and goes too fast for such ignorant folk to follow him in everything  Mrs Drummond told me he is wonderful for the rapidity with which he thinks and his power of invention; he invents so many things that he cannot put half his ideas into execution, but leaves them to be picked up and used by others, who get the credit of them "

Public attention and success
The public took to the new invention after the capture of the murderer John Tawell, who in 1845, had become the first person to be arrested as the result of telecommunications technology  In the same year, Wheatstone introduced two improved forms of the apparatus, namely, the 'single' and the 'double' needle instruments, in which the signals were made by the successive deflections of the needles  Of these, the single-needle instrument, requiring only one wire, is still in use The development of the telegraph may be gathered from two facts  In 1855, the death of the Emperor Nicholas at St  Petersburg, about one o'clock in the afternoon, was announced in the House of Lords a few hours later  The result of The Oaks of 1890 was received in New York fifteen seconds after the horses passed the winning-post 

Differences with Cooke
In 1841 a difference arose between Cooke and Wheatstone as to the share of each in the honour of inventing the telegraph  The question was submitted to the arbitration of the famous engineer, Marc Isambard Brunel, on behalf of Cooke, and Professor Daniell, of King's College, the inventor of the Daniell cell, on the part of Wheatstone  They awarded to Cooke the credit of having introduced the telegraph as a useful undertaking which promised to be of national importance, and to Wheatstone that of having by his researches prepared the public to receive it  They concluded with the words: 'It is to the united labours of two gentlemen so well qualified for mutual assistance that we must attribute the rapid progress which this important invention has made during five years since they have been associated ' The decision, however vague, pronounces the needle telegraph a joint production  If it had mainly been invented by Wheatstone, it was chiefly introduced by Cooke  Their respective shares in the undertaking might be compared to that of an author and his publisher, but for the fact that Cooke himself had a share in the actual work of invention 

Further work on telegraphs
From 1836–7 Wheatstone had thought a good deal about submarine telegraphs, and in 1840 he gave evidence before the Railway Committee of the House of Commons on the feasibility of the proposed line from Dover to Calais  He had even designed the machinery for making and laying the cable  In the autumn of 1844, with the assistance of J  D  Llewellyn, he submerged a length of insulated wire in Swansea Bay, and signalled through it from a boat to the Mumbles Lighthouse  Next year he suggested the use of gutta-percha for the coating of the intended wire across the English Channel 
In 1840 Wheatstone had patented an alphabetical telegraph, or, 'Wheatstone A B C instrument,' which moved with a step-by-step motion, and showed the letters of the message upon a dial  The same principle was used in his type-printing telegraph, patented in 1841  This was the first apparatus which printed a telegram in type  It was worked by two circuits, and as the type revolved a hammer, actuated by the current, pressed the required letter on the paper 
The introduction of the telegraph had so far advanced that, on 2 September 1845, the Electric Telegraph Company was registered, and Wheatstone, by his deed of partnership with Cooke, received a sum of £33,000 for the use of their joint inventions 
In 1859 Wheatstone was appointed by the Board of Trade to report on the subject of the Atlantic cables, and in 1864 he was one of the experts who advised the Atlantic Telegraph Company on the construction of the successful lines of 1865 and 1866 
In 1870 the electric telegraph lines of the United Kingdom, worked by different companies, were transferred to the Post Office, and placed under Government control 
Wheatstone further invented the automatic transmitter, in which the signals of the message are first punched out on a strip of paper (punched tape), which is then passed through the sending-key, and controls the signal currents  By substituting a mechanism for the hand in sending the message, he was able to telegraph about 100 words a minute, or five times the ordinary rate  In the Postal Telegraph service this apparatus is employed for sending Press telegrams, and it has recently been so much improved, that messages are now sent from London to Bristol at a speed of 600 words a minute, and even of 400 words a minute between London and Aberdeen  On the night of 8 April 1886, when Gladstone introduced his Bill for Home Rule in Ireland, no fewer than 1,500,000 words were dispatched from the central station at St  Martin's-le-Grand by 100 Wheatstone transmitters  The plan of sending messages by a running strip of paper which actuates the key was originally patented by Alexander Bain in 1846; but Wheatstone, aided by Augustus Stroh, an accomplished mechanician, and an able experimenter, was the first to bring the idea into successful operation  This system is often referred to as the Wheatstone Perforator and is the forerunner of the stock market ticker tape 

Optics
Stereopsis was first described by Wheatstone in 1838  In 1840 he was awarded the Royal Medal of the Royal Society for his explanation of binocular vision, a research which led him to make stereoscopic drawings and construct the stereoscope  He showed that our impression of solidity is gained by the combination in the mind of two separate pictures of an object taken by both of our eyes from different points of view  Thus, in the stereoscope, an arrangement of lenses or mirrors, two photographs of the same object taken from different points are so combined as to make the object stand out with a solid aspect  Sir David Brewster improved the stereoscope by dispensing with the mirrors, and bringing it into its existing form with lenses 
The 'pseudoscope' (Wheatstone coined the term from the Greek ψευδίς σκοπειν) was introduced in 1852, and is in some sort the reverse of the stereoscope, since it causes a solid object to seem hollow, and a nearer one to be farther off; thus, a bust appears to be a mask, and a tree growing outside of a window looks as if it were growing inside the room  Its purpose was to test his theory of stereo vision and for investigations into what would now be called experimental psychology 

Measuring time
In 1840, Wheatstone introduced his chronoscope, for measuring minute intervals of time, which was used in determining the speed of a bullet or the passage of a star  In this apparatus an electric current actuated an electro-magnet, which noted the instant of an occurrence by means of a pencil on a moving paper  It is said to have been capable of distinguishing 1/7300 part of a second (137 microsecond), and the time a body took to fall from a height of one inch (25 mm) 
On 26 November 1840, he exhibited his electro-magnetic clock in the library of the Royal Society, and propounded a plan for distributing the correct time from a standard clock to a number of local timepieces  The circuits of these were to be electrified by a key or contact-maker actuated by the arbour of the standard, and their hands corrected by electro-magnetism  The following January Alexander Bain took out a patent for an electro-magnetic clock, and he subsequently charged Wheatstone with appropriating his ideas  It appears that Bain worked as a mechanist to Wheatstone from August to December 1840, and he asserted that he had communicated the idea of an electric clock to Wheatstone during that period; but Wheatstone maintained that he had experimented in that direction during May  Bain further accused Wheatstone of stealing his idea of the electro-magnetic printing telegraph; but Wheatstone showed that the instrument was only a modification of his own electro-magnetic telegraph 
In 1840, Alexander Bain mentioned to the Mechanics Magazine editor his financial problems  The editor introduced him to Sir Charles Wheatstone  Bain demonstrated his models to Wheatstone, who, when asked for his opinion, said "Oh, I shouldn't bother to develop these things any further! There's no future in them " Three months later Wheatstone demonstrated an electric clock to the Royal Society, claiming it was his own invention  However, Bain had already applied for a patent for it  Wheatstone tried to block Bain's patents, but failed  When Wheatstone organised an Act of Parliament to set up the Electric Telegraph Company, the House of Lords summoned Bain to give evidence, and eventually compelled the company to pay Bain £10,000 and give him a job as manager, causing Wheatstone to resign 

Polar clock
One of Wheatstone's most ingenious devices was the 'Polar clock,' exhibited at the meeting of the British Association in 1848  It is based on the fact discovered by Sir David Brewster, that the light of the sky is polarised in a plane at an angle of ninety degrees from the position of the sun  It follows that by discovering that plane of polarisation, and measuring its azimuth with respect to the north, the position of the sun, although beneath the horizon, could be determined, and the apparent solar time obtained 
The clock consisted of a spyglass, having a Nicol (double-image) prism for an eyepiece, and a thin plate of selenite for an object-glass  When the tube was directed to the North Pole—that is, parallel to the Earth's axis—and the prism of the eyepiece turned until no colour was seen, the angle of turning, as shown by an index moving with the prism over a graduated limb, gave the hour of day  The device is of little service in a country where watches are reliable; but it formed part of the equipment of the 1875–1876 North Polar expedition commanded by Captain Nares 

Wheatstone bridge
In 1843 Wheatstone communicated an important paper to the Royal Society, entitled 'An Account of Several New Processes for Determining the Constants of a Voltaic Circuit ' It contained an exposition of the well known balance for measuring the electrical resistance of a conductor, which still goes by the name of Wheatstone's Bridge or balance, although it was first devised by Samuel Hunter Christie, of the Royal Military Academy, Woolwich, who published it in the Philosophical Transactions for 1833  The method was neglected until Wheatstone brought it into notice His paper abounds with simple and practical formulae for the calculation of currents and resistances by the law of Ohm  He introduced a unit of resistance, namely, a foot of copper wire weighing one hundred grains (6 5 g), and showed how it might be applied to measure the length of wire by its resistance  He was awarded a medal for his paper by the Society  The same year he invented an apparatus which enabled the reading of a thermometer or a barometer to be registered at a distance by means of an electric contact made by the mercury  A sound telegraph, in which the signals were given by the strokes of a bell, was also patented by Cooke and Wheatstone in May of that year 

Cryptography
Wheatstone's remarkable ingenuity was also displayed in the invention of ciphers  He was responsible for the then unusual Playfair cipher, named after his friend Lord Playfair  It was used by the militaries of several nations through at least World War I, and is known to have been used during World War II by British intelligence services It was initially resistant to cryptanalysis, but methods were eventually developed to break it  He also became involved in the interpretation of cipher manuscripts in the British Museum  He devised a cryptograph or machine for turning a message into cipher which could only be interpreted by putting the cipher into a corresponding machine adjusted to decrypt it 
As an amateur mathematician, Wheatstone published a mathematical proof in 1854 (see Cube (algebra)) 

Electrical generators
In 1840, Wheatstone brought out his magneto-electric machine for generating continuous currents 
On 4 February 1867, he published the principle of reaction in the dynamo-electric machine by a paper to the Royal Society; but Mr  C  W  Siemens had communicated the identical discovery ten days earlier, and both papers were read on the same day 
It afterwards appeared that Werner von Siemens, Samuel Alfred Varley, and Wheatstone had independently arrived at the principle within a few months of each other  Varley patented it on 24 December 1866; Siemens called attention to it on 17 January 1867; and Wheatstone exhibited it in action at the Royal Society on the above date 

Disputes over invention
Wheatstone was involved in various disputes with other scientists throughout his life regarding his role in different technologies and appeared at times to take more credit than he was due  As well as William Fothergill Cooke, Alexander Bain and David Brewster, mentioned above, these also included Francis Ronalds at the Kew Observatory  Wheatstone was erroneously believed by many to have created the atmospheric electricity observing apparatus that Ronalds invented and developed at the observatory in the 1840s and also to have installed the first automatic recording meteorological instruments there (see for example, Howarth, p158) 

Personal life
Wheatstone married Emma West, spinster, a daughter of John Hooke West, deceased, at Christ Church, Marylebone, on 12 February 1847  The marriage was by licence 

See also
William Fothergill Cooke
Oliver Heaviside



ground_truth: Charles Wheatstone

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who is Henri Ii, Duke Of Nemours's paternal grandfather?

The following are given passages.
Context 2: Passage 1:
Princess Augusta of Saxe-Meiningen
Princess Augusta of Saxe-Meiningen (6 August 1843 – 11 November 1919) was the daughter of Bernhard II, Duke of Saxe-Meiningen and his wife Princess Marie Frederica of Hesse-Kassel  She was the mother of Ernst II, Duke of Saxe-Altenburg 

Family and early life
Augusta was the only daughter of the Duke and Duchess of Saxe-Meiningen  Her only sibling was Georg, who would succeed their father in 1866  Georg was seventeen years older than she was Augusta's paternal grandparents were Georg I, Duke of Saxe-Meiningen and Luise Eleonore of Hohenlohe-Langenburg  Her maternal grandparents were William II, Elector of Hesse and Princess Augusta of Prussia, daughter of Frederick William II of Prussia 
Like her brother, Augusta was born in Meiningen  Despite the large age difference, they seemed to have a good relationship  He was a great lover of theatre; in 1856, he wrote his parents stating how happy he was that Augusta was allowed to attend the theatre and how their mother was more tolerant than she had been when he was a child, when she had declared that no child under thirteen should be allowed in the theatre 

Marriage
On 15 October 1862, Augusta married Prince Moritz of Saxe-Altenburg in Meiningen  He was fourteen years older, and was a younger son of Georg, Duke of Saxe-Altenburg and Marie Luise of Mecklenburg-Schwerin  They had five children:

Honours
Ernestine duchies: Insignia of the Saxe-Ernestine House Order
 Kingdom of Bavaria: Dame of the Order of Theresa, in Diamonds
 Russian Empire: Grand Cross of St  Catherine

Ancestry
Passage 2:
Henri I, Duke of Nemours
== Biography ==
Henri of Savoy (French: Henri de Savoie) (2 November 1572 – 10 July 1632), called originally Marquis de Saint-Sorlin, was the son of Jacques of Savoy and Anna d'Este, the widow of François de Lorraine, Duke of Guise  He succeeded his brother Charles Emmanuel as Duke of Nemours 
In 1588 he took the marquisate of Saluzzo from the French for his cousin, the Duke of Savoy  The princes of Guise, his half-brothers, induced him to join the League, and in 1591 he was made governor of Dauphiné in the name of that faction  He made his submission to Henry IV in 1596  After quarrelling with the duke of Savoy he withdrew to Burgundy and joined the Spaniards in their war against Savoy  After peace had been proclaimed on November 14, 1616, he retired to the French court After his death, he was succeeded by his eldest son, Louis; on the death of Louis in 1641 by his second son Charles Amadeus; and on Charles's death in 1651 by his third son Henri   All three were the sons of his wife Anne de Lorraine (1600–1638), daughter of Charles de Lorraine, Duke of Aumale 
Passage 3:
Henri II, Duke of Nemours
Henri of Savoy (7 November 1625, Paris – 4 January 1659, Paris) was the seventh Duc de Nemours (1652–59), and was also Count of Geneva 
Henri, as the third son of Henri de Savoie, 4th Duc de Nemours, was not expected to succeed to the dukedom and entered the priesthood   By 1651, he had become Archbishop of Reims   When his brothers Louis and Charles both predeceased him without leaving sons, he was relieved of his vows and became Duc de Nemours in 1652   He married Marie d'Orleans (daughter of Henri d'Orléans, Duke of Longueville and Louise de Bourbon) in 1657, but died two years later without children   On his death, the title of Duke of Nemours reverted to the Crown   He was succeeded as Count of Geneva by his niece, Marie Jeanne Baptiste de Savoie, Duchess of Savoy 
Passage 4:
Jacques, Duke of Nemours
Jacques de Savoie, duc de Nemours (12 October 1531 – 15 June 1585) was a French military commander, governor and Prince Étranger  Having inherited his titles at a young age, Nemours fought for king Henri II during the latter Italian Wars, seeing action at the siege of Metz and the stunning victories of Renty and Calais in 1554 and 1558  Already a commander of French infantry, he received promotion to commander of the light cavalry after the capture of Calais in 1558  A year prior he had accompanied François, Duke of Guise on his entry into Italy, as much for the purpose of campaigning as to escape the king's cousin Antoine of Navarre who was threatening to kill him for his extra-marital pursuit of Navarre's cousin 
In 1559 Henri II died during a joust, and was succeeded by his young son François II  The new administration, led by the Guise due to François' young age was plagued with religious and financial difficulties, that emboldened a conspiracy to form against it  Nemours played a key role in crushing the Conspiracy of Amboise, capturing several of the leaders, and infamously promising the baron de Castelnau that if he surrendered no harm would come to him, the baron shortly thereafter being executed despite the pleas of many nobles  
The following year he involved himself in a conspiracy to spirit away the 10-year-old Anjou from court, so that he could be 'raised in Catholic environs'  The plot was uncovered, and facing arrest, Nemours fled from court  The case against him collapsed, however, as the only evidence was the word of the young prince  Around this time a case was also looming against him for his relationship indiscretions  Françoise de Rohan being distraught that he had given her a child without fulfilling his promise to marry her, the case would gestate for the next four years until the archbishop of Lyon ruled in his favour in 1565, allowing him to marry the widowed Anne d'Este the following year  
Nemours fought during the first war of religion, fighting the baron des Adrets around Lyon and the Dauphiné  With the death of the Marshal Saint-André on the field of Dreux in December, he became the governor of the Lyonnais, an office he would hold for the next nine years before resigning it in favour of his lieutenant-general François de Mandelot 
Nemours remained close with the Guise, supporting them in their feud with the Montmorency over the assassination of the duke of Guise without notable results  Nemours was with the court during the Surprise of Meaux and successfully counselled the court to make a flight to Paris  While besieged in Paris the following month, he aided in breaking the ring the Protestants had set up around the city before Anne de Montmorency's victory at the battle of Saint Denis  With Montmorency's death on the field, the young prince, whom Nemours had once tried to lure away from court, Anjou, became lieutenant-general of the army  To support him in the practicalities of conducting the campaign Nemours was among those chosen as his advisers  During the third war of religion, Nemours was tasked with assisting Claude, Duke of Aumale, the late duke of Guise's brother in blocking an entry into France by a German mercenary force in favour of the Protestant army  Aumale and Nemours found themselves too consumed in bickering to effectively block the force, and it linked up with the main Protestant body 
By the 1570s Nemours moved away from active politics and military command  Having resigned his governorship, he devoted himself more fully to matters of the arts  Though he was suspected of involvement in the Ligues after 1576, the king was satisfied with his swearing that he did not desire the overturn of the Peace of Monsieur  In 1585, he died, and was succeeded as duke of Nemours by his son 

Early life and family
Nemours, born in 1531, was the son of Philippe, Duke of Nemours, the first holder of the title and Charlotte d'Orléans, and became Duke of Nemours on his father's death in 1533 As early as 1555 Nemours was courting Françoise de Rohan, and had given her the impression he was seeking marriage  Even now however, he was also showing interest in the duke of Guise's wife, causing much scandal at court  By 1556 Françoise had become pregnant, and tearfully pled with Nemours to go through with his promise of marrying her but he refused  The Guise, who wished to remain close with Nemours despite his indiscretions, promised him that he could marry Lucrecia d'Este instead  Upon the death of her husband Anne d'Este was left widowed  In 1565 she was ready to marry again, and married Nemours at St Maur-des-Fosses in May 1566  The king provided the majority of the dowry to secure the marriage  Nemours looked to the church to handle the situation with Françoise due to his promise to marry her  He was able to void this arrangement, to proceed with his planned marriage of Anne, much to the fury of the Rohan and Catherine de Medici  The daughter of Duke Ercole II of Ferrara and Renée of France, Anne brought with her to the marriage the county of Gisors, a title she would continue to hold until her own death in 1607 Together they had the following issue:
Charles Emmanuel (1567–1595)
Marguerite (1569–1572)
Henry I (1572–1632)
Emmanuel PhilibertBack in 1561 Nemours' scandalous behaviour regarding Françoise had been the subject of litigation as she attempted to sue Nemours into marrying her, having made her pregnant  Supporting her was her cousin Jeanne d'Albret, and Antoine of Navarre, though he withdrew his support that year  Back in 1557 he had sworn to kill Nemours and all his friends for the duke's behaviour  In 1566 the Archbishop of Lyon ruled against Françoise, and the court endorsed the ruling  Albret was furious, challenging the competence of all the members of the council that she could to rule on the case  She urged the Parlement of Paris to have jurisdiction over the case, however they refused as legally it had been sequestered from them to the attention of the king's council In 1571, 5 years after the marriage of Nemours and d'Este, the Pope endorsed the decision of the archbishop of Lyon, leading Françoise to formally convert to Protestantism The child of this illegitimate pregnancy was Henri de Savoie, comte de Genevois 

Reign of Henri II
Italian wars
Nemours fought in the recently resumed Italian Wars in 1552, fighting at the spectacular victory of the defence of Metz and the siege of Lens where he distinguished himself  In the following years he fought at the shocking French victory of the Battle of Renty in 1554 and then in Piedmont the following year In late 1556, the French invaded Italy in support of the Pope  Nemours travelled with the expedition as commander of the infantry  Alongside the usual benefits of campaign it afforded him some distance from Navarre, who wanted him dead  The campaign would achieve little of note, becoming mired in the intrigues of Italian politics  With François, Duke of Guise's remarkable capture of Calais, the king was in the mood to hand out favours to those who had participated in the victory  Claude, Duke of Aumale was made governor of Piedmont, leaving his post at the head of the light cavalry vacant  Nemours was thus granted the privilege of commander of the light cavalry in Aumale's stead 

Peace
To celebrate the end of the Italian Wars with the peace of Cateau-Cambrésis it was decided to host a joust  Henri, always a lover of martial sports, decided to participate  Also participating were François I, Duke of Nevers, Guise and Nemours  Nemours and Guise both rode against the king, Henri getting the better of his nobles in both engagements  It would be at this event that during a joust against Montgommery, the captain of his Scots Guard, Henri would be killed as a splinter of his opponent's lance embedded itself in his head 

Reign of François II
The new Guise-led administration that formed for the young François II of France was faced with a kingdom in financial and religious crisis  Opposition on both of these impetuses coalesced into the Conspiracy of Amboise where an array of nobles sought to seize the king and kill his advisers  The Guise became aware of this conspiracy, and prepared to respond militarily on its launch  Nemours, fresh off the capture of Mazères and Raunay, was tasked with reducing a château held by the baron de Castelnau, one of the ringleaders  His forces surrounded the château du Noizay but decided it would be more advantageous to reduce the fortified residence through negotiation  In an interview with the baron he was able to convince him to come peacefully, in return for a promise 'on his honour' that neither Castelnau or his followers would be executed  The administration would not however honour this promise Nemours made, either due to disinterest or due to him not mentioning it to the court  As such despite the protestations of many Catholic nobles, including Anne d'Este a man of 'good birth' would be put to death 

Reign of Charles IX
Ousted from government by the death of the young king in December 1560, the Guise retreated from court, conscious that they were unlikely to receive much office or favours under the new formal regency for Charles IX  Accompanying them on their departure in January were Nemours and Longueville 

Conspiracy
To many Catholics the environment in which the young princes were being raised appeared far too Protestant  To this end a plot was devised to spirit the young Anjou away from court so that he could be raised in properly Catholic environs such as Savoy  Nemours was implicated as a leader in this attempted conspiracy  To encourage the young prince away from the court, Nemours had enlisted the young Henri de Guise, to draw his playmate away  Having gained awareness of the plot, Catherine questioned her child as to who had tried to persuade him to leave court; the 10-year-old implicated Nemours on 29 October  Shortly thereafter Catherine ordered Nemours' arrest, and he fled court  However as she began to pursue a case against them, it became apparent that the only testimony in support would be from a 10-year-old child; as such the case against Nemours was dropped shortly thereafter and he was given permission to return to court With the departure of the Guise and their allies from the court for the second time in October 1561, Nemours was among those who joined them on their exodus  The motive for the departure was not purely religious but also factional, with Longueville, a long-time associate of the Guise, departing also, despite his Protestantism  In total their retinue numbered 700 horse, a large section of the nobility gathered at court  Their departure, alongside that of Anne de Montmorency left the regency government of Catherine de Medici with a precariously thin base of support, propped up only by the Bourbon-Vendôme and the Châtillon 

First war of religion
During the first civil war, Nemours attempted to reduce the city of Lyon which had risen up in support of the prince of Condé  He fought with the baron des Adrets in Dauphiné, and in December was in the process of negotiating a favourable truce with the infamous commander which would have seen him secure the defection of the rebel army  However, Adrets' subordinates learned of the negotiations and had him arrested  In the major field battle of the war at Dreux, the governor of the Lyonnais, Beaujolais and Forez, Marshal Saint-André was murdered on the field after having surrendered  This left a vacancy for his governate, which was to be filled by Nemours In the wake of the Edict of Amboise which brought the first civil war to a close with the provision of limited toleration to Protestants the crown desired to reconcile the factions to ensure internal peace  To this end they courted Condé, hoping to foster his loyalty  Catherine de Medici informed Anne d'Este that she had successfully reconciled Condé with Nemours and Cardinal Guise, brother of the late duke 

Feud
During the final siege of the first war of religion, the duke of Guise had been assassinated  The family blamed Gaspard II de Coligny for ordering the hit and were determined to pursue 'justice' against the Admiral  Coligny for his part came under the protection of his uncle Montmorency, who re-opened his rivalry with the Guise in defence of his nephew  In an attempt to gain the upper hand, the Guise arranged for a petition to court, from many leading nobles, arguing for the right to open a case against Coligny  Nemours was among the signatories, however the court proved uninterested, and formally suspended any investigation into the murder in early 1564 

Governor
As governor of the Lyonnais, Nemours was keen to patronise 'men of letters' and other centres of learning within his governate  As the crown increasingly loomed on the cusp of bankruptcy, the distribution of funds to its regional governors became more erratic and rare  By 1565 Nemours had accumulated 140,000 livres of debts for unpaid pensions and salaries during his tenure as governor  It was hoped by governors that these debts would be satisfied by the court when it had greater funds 

Second war of religion
Frustrated at their declining influence in court, and the increasingly restrictive direction royal policy was moving in regarding Protestantism, the leading Protestants again plotted a coup  Their aim was to seize the king while he was staying at Meaux, and to kill Charles, Cardinal of Lorraine  Their attempt was a failure and the king was able to retreat with the court to Paris after some debate  While Hôpital, the chancellor, had argued in favour of relying on the fortifications at Meaux, Nemours and Guise advocated a flight to Paris and convinced the court successfully  As they fled, they were pursued by the Protestant forces, who adapted their plan to a siege of Paris  To this end they began trying to invest the city, while Anne de Montmorency assembled an army inside for a breakout  While Montmorency was busy building an army, Nemours was among those commanders trying to relieve pressure on the city  On 7 November he successfully captured a river crossing that was vital to a successful siege of Paris  Several days later Montmorency was ready and broke out of the city, besting the Protestant army at Saint-Denis on 10 November 
During the battle of Saint-Denis, Montmorency would be killed, leaving the office of Constable of France and role as chief of the crown's military vacant  The crown had little desire to see another powerful noble family control this critical post; as such, to replace him, the king's brother Anjou was selected to lead the crown's war effort  While closer to the family, Anjou was still a child, and as such to provide him military guidance, and to actually lead the army in the field, a selection of loyal nobles were chosen  Artus de Cossé-Brissac the recently promoted Marshal, the king's cousin Louis, Duke of Montpensier and Nemours were chosen for this important role, with Cossé in overall charge 

Third war of religion
At the outset of the third war of religion, the Protestants had consolidated their movement in the south west as opposed to fighting in the north as they had previously  Nevertheless the crown was conscious that Louis of Nassau was seeking to enter France with an army from the Spanish Netherlands; to this end Charles instructed Nemours to assemble an army for the defence of Paris, however Nassau was bested at the border  In early 1569, it became clear that the duke of Zweibrücken was intending to cross into France in support of the Protestant nobility that was gathered in the west  To this end the court, little desiring to see a conjunction between the two forces, assembled a second army  Aumale was tasked with leading the blocking force in Champagne, with forces from the Rhône valley under Nemours to support him in this effort  The two commanders did not get along, and their constant conflict enabled Zweibrücken to slip past them through the Franche-Comté and establish contact with the Protestants under Gaspard II de Coligny  The mutinous remains of their combined army linked with the main royal force under the king's brother Anjou at Limoges 

Withdrawal
By 1571, Nemours wished to resign his governorship of the Lyonnais  He chose to do so in favour of his lieutenant-general in the region, and former page François de Mandelot  This arrangement had been very unusual in the early 16th century, with the choice of governors defaulting to the crown on the resignation or death of a sitting governor; however by the 1560s it was becoming increasingly common  Mandelot would govern the Lyonnais until his death in 1588 

Reign of Henri III
Malcontents
By 1575 Protestants were no longer the only ones in rebellion, as the Malcontent movement swept up many politiques who wished for religious compromise to secure stability in the kingdom  Nevers warned the king's younger brother Alençon, not to take the opportunity presented, saying that those who rebelled against the authority of the king did not triumph  Yet Alençon saw this movement as conducive to his own power, and aligned himself with the Malcontents, releasing a manifesto in which he denounced the influence of 'foreigners' and calling for their exclusion from the estates general  By this term he referred to the Guise, who were from Lorraine, and the duke of Nevers and Nemours, both of whom were of Italian descent  While Alençon would succeed in securing favourable terms for himself in the Peace of Monsieur, Nemours and Nevers would remain active in court life 

Ligue
In response to the generous Peace of Monsieur which brought the fifth war of religion to a close, militant Catholics reacted with fury  Many across France began forming religious leagues, the most popular model of which was that created by Jacques d'Humières in Peronne which began to spread across France  Henri suspected the involvement of Henri, Duke of Guise, Charles, Duke of Mayenne and Nemours as ringleaders of this ligue and made them all swear oaths to abide by the terms of the peace of Monsieur  Frustrated at his continued inability to contain the movement, he declared himself to be at its head, and was compelled by the Estates General of 1576 to void the peace and make war on the Protestants again Having primarily devoted his final years to letters and art, he died at Annecy in 1585 

Ancestry
Passage 5:
Jean d'Armagnac, Duke of Nemours
Jean d'Armagnac, Duke of Nemours (1467–1500) was the son of Jacques d'Armagnac, Duke of Nemours and Louise of Anjou  His father's possessions were confiscated on his execution in 1477, but Jean was restored to Nemours and the family's other lands in 1484  He led a dissipated life, and his siblings sued him to prevent him from alienating the family lands to pay his debts  In 1489, he traded the viscounties of Carlat and Murat to Peter II, Duke of Bourbon for the county of l'Isle-Jourdain 
He married Yolande de La Haye (d  1517) in 1492, but had no children  He was succeeded by his brother Louis, Count of Guise 
Passage 6:
Maria of Brabant, Duchess of Bavaria
Maria of Brabant (1226–1256) was a daughter of Henry II, Duke of Brabant, and Maria of Swabia  She married Louis II, Duke of Bavaria, being the first of three wives 

Background
Maria was the daughter of Duke Henry II of Brabant and Lorraine from his first marriage to Maria of Swabia, daughter of King Philip of Swabia  The younger Maria's siblings included Henry III, Duke of Brabant and Matilda of Brabant  After her mother's death her father married Sophie of Thuringia; from this marriage she gained two half-siblings, including Henry I of Hesse 

Betrothals and marriage
On 2 August 1254, Maria married Louis II, Duke of Bavaria  The couple were married for only two years, during which time they had no children 

Execution
Maria was executed by beheading in Donauwörth in 1256 after having been accused of adultery by her husband  It was later determined that Louis had not proven his case, and in fact had not presented any valid evidence of adultery; as penance, he founded the Cistercian friary Fürstenfeld Abbey (Fürstenfeldbruck) near Munich 
Different sources give varying accounts  According to the chronicle of Esiah Wilpacher, Louis was at war with the Prince-Bishopric of Augsburg  Maria's confessor, allegedly in league with the bishop, persuaded her to write her husband requesting he end the siege and return home  When this failed, she then wrote to one of his vassals, who being away from camp, Louis received the letter  Recognizing the handwriting, he read it and construed it as indicating she was having an affair Over time a great many tales of folklore sprang up around Louis' deed, most of them written long after his death: Ballad-mongers embellished the tale into a murderous frenzy during which Louis allegedly not only killed his wife after having ridden home for five days and nights, but also stabbed the messenger who brought him the wrong letter; then upon entering his castle, stabbed his own castellan and a court lady and threw his wife's maid from the battlements, before he massacred his wife either by stabbing her or cutting off her head  More restrained chronicles support the account of Marie's execution on 18 January 1256 at Mangoldstein Castle in Donauwörth by ducal decree for alleged adultery, but nothing beyond that 
Maria is said to be the basis for the legendary Genevieve of Brabant in Dutch folklore 
Passage 7:
Armand de Bourbon, Prince of Conti
Armand de Bourbon, Prince of Conti (11 October 1629 – 26 February 1666), was a French nobleman, the younger son of Henri II, Prince of Condé and Charlotte Marguerite de Montmorency, daughter of Henri I, Duke of Montmorency  He was the brother of le Grand Condé and Anne Geneviève, Duchess of Longueville  As a member of the reigning House of Bourbon, he was a Prince du Sang 

Early life
The title of Prince of Conti was revived in his favor at the time of his birth in 1629  With the title Armand also inherited the Château de L'Isle-Adam and its estate, which had been passed down to his mother Charlotte Marguerite after the death of her brother, Henri II de Montmorency  He was destined for a clerical career and studied theology at the university of Bourges, but although he received several benefices, including the abbeys of Cluny and Saint Denis, he did not take orders  He played a conspicuous part in the intrigues and fighting of the Fronde, became in 1648 commander-in-chief of the rebel army, and in 1650 was with his brother (Condé) and brother-in-law (Longueville) imprisoned at Vincennes 

Life in prison
Said to be "mystic" and "full of strange ideas", Conti turned slightly mad while in prison  Having a secret passion for his sister the Duchess of Longueville, he invented tricks to make her notice him  He tried alchemy and potions for some time and eventually bruised himself with a spatula  This episode was ultimately fortunate for him because he could no longer be refused external help from physicians, some of whom would pass letters and pleas to the outside world which speeded up his eventual release 

Later life
Released when Cardinal Mazarin went into exile, he wished to marry Charlotte-Marie de Lorraine (1627–1652), the second daughter of Madame de Chevreuse, the confidante of the queen, Anne of Austria (wife of King Louis XIII of France), but was prevented from doing so by his brother Condé, who was now supreme in the state  He was concerned in the Fronde of 1651, but soon afterwards became reconciled with Cardinal Mazarin, and in 1654, married the cardinal's niece, Anne Marie Martinozzi, as well as secured the government of Guienne  They had two sons, Louis Armand and François Louis 
He took command of the army, which in 1654, invaded Spain through Catalonia, where he captured three towns from the Spanish  He afterwards led the French forces in Italy, but after his defeat before Alessandria in 1657, he retired to Languedoc, where he devoted himself to study and mysticism until his death At Clermont, Conti had been a fellow student of Molière's, from whom he secured an introduction to the court of King Louis XIV, but afterwards, when writing a treatise against the stage entitled, Traité de la comédie et des spectacles selon les traditions de l'Église (Paris, 1667), he charged the dramatist with keeping a school of atheism  Conti also wrote Lettres sur la grâce, and Du devoir des grands et des devoirs des gouverneurs de province Conti died on 26 February 1666 at Pézenas in Languedoc, France 

Issue
Armand married Anne Marie Martinozzi, the daughter of Girolamo Martinozzi and Laura Margherita Mazzarini, elder sister of Cardinal Mazarin  They had the following children:

Louis de Bourbon (1658), died in infancy 
Louis Armand I, Prince of Conti (1661–1685), married Marie Anne de Bourbon, the eldest legitimised daughter of King Louis XIV and his mistress, Louise de La Vallière, and died childless 
François Louis, Prince of Conti (1664–1709), known as "le Grand Conti", married Marie Thérèse de Bourbon, daughter of Henri Jules, Prince of Condé (Armand's nephew), and had issue 

Ancestry
Passage 8:
Denis Sauvage
Denis Sauvage (1520–1587) was a French translator, historian, publisher, philologist, and historiographer at the service of Henry II of Henri II 

Publications
History
Sommaire des histoires du royaume de Naples : qui traicte de toutes choses advenues en iceluy, composé premièrement en langage italien par M  Pandolfo Collenuccio, et depuis n'aguères mis en françois par Denis Sauvage, avecques annotations (1546 ; 1553)
Les Annales et croniques de France, jadis composées par feu maistre Nicole Gilles, imprimées nouvellement sur la correction du signeur Denis Sauvage, et additionnées jusques à cest an mil cinq cens cinquante trois (1553)
Les Mémoires de messire Philippe de Commines, chevalier, seigneur d'Argenton : sur les principaux faicts, & gestes de Louis onziéme & de Charles huictiéme, son filz, Roys de France, Reveus & corrigés, pour la seconde fois, par Denis Sauvage de Fontenailles en Brie, historiographe de très-chrestien roy Henry IIe de ce nom (1559 ; 1561 ; 1581)  Texte en ligne : [1] et [2]
Le premier volume de l'Histoire et cronique de Messire Iehan Froissart, reveu et corrigé sus divers exemplaires et suyvant les bons auteurs, par Denis Sauvage, le second volume de l'Histoire et cronique de Messire Iehan Froissart ; le tiers volume de l'Histoire et cronique de Messire Iehan Froissart ; le quart volume de l'Histoire et cronique de Messire Iehan Froissart (1559–60)  Texte en ligne : [3]
Cronique de Flandres, anciennement composée par auteur incertain et nouvellement mise en lumière (1562) 
Les Mémoires de messire Olivier de La Marche, premier maistre d'hostel de l'archeduc Philippe d'Austriche, comte de Flandres (1562)
Les Croniques et annales de France composées par feu maistre Nicole Gilles, nouvellement imprimées sur la correction de maistre Denis Sauvage, et additionnées jusques au roy Charles neufiesme à présent régnant (1571)

Translations
La Circé de M  Giovan Baptista Gello, nouvellement mise en françois (1550)
Philosophie d'amour de M  Léon Hébreu, traduite d'italien en françois (1577 ; 1580 ; 1590 ; 1893)  Read online : [4]
Histoire de Paolo Giovio, sur les choses faictes et avenues de son temps en toutes les parties du monde, traduictes du latin en françois (2 volumes, 1581)
Opuscule des vertus et notables faictes des femmes, de Plutarque, 1546 
Passage 9:
Louis d'Armagnac, Duke of Nemours
Louis d'Armagnac, Duke of Nemours (1472; Normandy, France – 28 April 1503; Cerignola, Italy), was a French nobleman, politician and military commander who served as Viceroy of Naples during the Third Italian War (1502-1504)  He was known for most of his life as the Count of Guise, and inherited the Duchy of Nemours following his brother Jean's death in 1500 

Family
Louis was the third son of Jacques d'Armagnac, Duke of Nemours and Louise of Anjou  In 1491, he was made Count of Guise, a title last held by his uncle Charles IV, Duke of Anjou  Upon the death of his elder brother Jean in 1500, he became Duke of Nemours 

Viceroy of Naples
Louis was made  viceroy of Naples in 1501, during the Third Italian War (1502-1504)  He was killed at the battle of Cerignola on 28 April 1503 

Notes
Sources
Cuttler, S  H  (2003)  The Law of Treason and Treason Trials in Later Medieval France  Cambridge University Press 
Potter, David (2008)  Renaissance France at war: Armies, Culture and Society, c 1480-1560  Boydell Press 
Passage 10:
Philip, Duke of Nemours
Philip of Savoy, Duke of Nemours (1490 – 25 November 1533) was a French nobleman   He was a son of Philip II, Duke of Savoy, and his second wife Claudine de Brosse  He was a half-brother of Louise of Savoy, the mother of Francis I of France  He was the founder of the Nemours branch of the house of Savoy which eventually settled in France 
Originally destined for the priesthood, he was given the bishopric of Geneva at the age of five, but resigned it in 1510, when he was made count of Genevois  He served under Louis XII, with whom he was present at the battle of Agnadello (1509), under the emperor Charles V in 1520, and finally under his nephew, Francis I 
In 1528 Francis gave him the duchy of Nemours and married him to Charlotte of Orleans, a daughter of  Louis d'Orléans, Duke of Longueville  They had two children:

Joanna (1532–1568), who married Nicolas, Duke of Mercœur as his second wife, and had 6 children with him, and
Jacques, Duke of Nemours
Context 3: Passage 1:
Jacob Le Maire
Jacob Le Maire (c  1585 – 22 December 1616) was a Dutch mariner who circumnavigated the earth in 1615 and 1616  The strait between Tierra del Fuego and Isla de los Estados was named the Le Maire Strait in his honour, though not without controversy  It was Le Maire himself who proposed to the council aboard Eendracht that the new passage should be called by his name and the council unanimously agreed with Le Maire  The author or authors of The Relation took Eendracht captain Willem Schouten's side by proclaiming:

“     our men had each of them three cups of wine in signe of ioy for our good hap     [and the naming of] the Straights of Le Maire, although by good right it should rather have been called Willem Schouten Straight, after our Masters Name, by whose wise conduction and skill in sayling, the same was found ” Eendracht then rounded Cape Horn, proving that Tierra del Fuego was not a continent 

Biography
Jacob Le Maire was born in either Antwerp or Amsterdam, one of the 22 children of Maria Walraven of Antwerp and Isaac Le Maire (1558–1624) of Tournai, who was then already a prosperous merchant in Antwerp  Isaac and Maria married shortly before the Spanish siege of Antwerp in 1585 after which they fled to settle in Amsterdam  Jacob is thought to have been the oldest son, born perhaps the same year  Isaac was very successful in Amsterdam, and became one of the founders of the Dutch East Indies Company (VOC)  However, in 1605 Isaac Le Maire was forced to leave the company after a dispute and for the next decade tried to break the company's monopoly on the trade to the East Indies 
By 1615 Isaac had established a new company (the Australian Company) with the goal to find a new route to the Pacific and the Spice Islands, thereby evading the restrictions of the VOC  He contributed to the outfitting of two ships, the Eendracht and Hoorn, and put his son Jacob in charge of trading during the expedition  The experienced ship master Willem Schouten was captain of the Eendracht and a participant of the enterprise in equal shares with Isaac Le Maire On 14 June 1615 Jacob le Maire and Willem Schouten sailed from Texel in the United Provinces  On 29 January 1616 they rounded Cape Horn, which they named for the Hoorn, which was lost in a fire   The Dutch city of Hoorn was also the birthplace of Schouten  After failing to moor at the Juan Fernández Islands in early March, the ships crossed the Pacific in a fairly straight line, visiting several of the Tuamotus  Between 21 and 24 April 1616 they were the first Westerners to visit the (Northern) Tonga islands: "Cocos Island" (Tafahi), "Traitors Island" (Niuatoputapu), and "Island of Good Hope" (Niuafo'ou)  On 28 April they discovered the Hoorn Islands (Futuna and Alofi), where they were very well received and stayed until 12 May  They then followed the north coasts of New Ireland and New Guinea and visited adjacent islands, including, on 24 July, what became known as the Schouten Islands 
They reached the northern Moluccas in August and finally Ternate, the headquarters of the VOC, on 12 September 1616  Here they were enthusiastically welcomed by Governor-General Laurens Reael, admiral Steven Verhagen, and the governor of Ambon, Jasper Jansz 
The Eendracht sailed on to Java and reached  Batavia on 28 October with a remarkable 84 of the original 87 crew members of both ships on board  Although they had opened an unknown route, Jan Pieterszoon Coen of the VOC claimed infringement of its monopoly of trade to the Spice Islands  Le Maire and Schouten were arrested and the Eendracht was confiscated  After being released, they returned from Batavia to Amsterdam in the company of Joris van Spilbergen, who was on a circumnavigation of the earth himself, be it via the traditional Strait of Magellan 
Le Maire was aboard the ship Amsterdam on this journey home, but died en route  Van Spilbergen was at his deathbed and took Le Maire's report of his trip, which he included in his book Mirror of the East and West Indies  The rest of the crew arrived in the Netherlands on 1 July 1617, two years and 17 days after they departed  Jacob's father Isaac challenged the confiscation and the conclusion of the VOC, but it took him until 1622 until a court ruled in his favour  He was awarded 64,000 pounds and retrieved his son's diaries (which he then published as well), and his company was allowed trade via the newly discovered route  Unfortunately, by then, the Dutch West Indies Company had claimed the same waters 

Footnotes
Passage 2:
Éric Rohmer
Jean Marie Maurice Schérer or Maurice Henri Joseph Schérer, known as Éric Rohmer (French: [eʁik ʁomɛʁ]; 21 March 1920 – 11 January 2010), was a French film director, film critic, journalist, novelist, screenwriter, and teacher 
Rohmer was the last of the post-World War II French New Wave directors to become established  He edited the influential film journal Cahiers du cinéma from 1957 to 1963, while most of his colleagues—among them Jean-Luc Godard and François Truffaut—were making the transition from critics to filmmakers and gaining international attention 
Rohmer gained international acclaim around 1969 when his film My Night at Maud's was nominated at the Academy Awards  He won the San Sebastián International Film Festival with Claire's Knee in 1971 and the Golden Lion at the Venice Film Festival for The Green Ray in 1986  Rohmer went on to receive the Venice Film Festival's Career Golden Lion in 2001 
After Rohmer's death in 2010, his obituary in The Daily Telegraph described him as "the most durable filmmaker of the French New Wave", outlasting his peers and "still making movies the public wanted to see" late in his career 

Early life
Rohmer was born Jean-Marie Maurice Schérer (or Maurice Henri Joseph Schérer) in Nancy (also listed as Tulle), Meurthe-et-Moselle department, Lorraine, France, the son of Mathilde (née Bucher) and Lucien Schérer  Rohmer was a Catholic  He was secretive about his private life and often gave different dates of birth to reporters  He fashioned his pseudonym from the names of two famous artists: actor and director Erich von Stroheim and writer Sax Rohmer, author of the Fu Manchu series  Rohmer was educated in Paris and received an advanced degree in history, though he seemed equally interested and learned in literature, philosophy, and theology 

Career as a journalist
Rohmer first worked as a teacher in Clermont-Ferrand  In the mid-1940s he quit his teaching job and moved to Paris, where he worked as a freelance journalist  In 1946 he published a novel, Elisabeth (AKA Les Vacances) under the pen name Gilbert Cordier  While living in Paris, Rohmer first began to attend screenings at Henri Langlois's Cinémathèque Française, where he first met and befriended Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and other members of the French New Wave  Rohmer had never been very interested in film, preferring literature, but soon became an intense lover of films and about 1949 switched from journalism to film criticism  He wrote film reviews for such publications as Révue du Cinéma, Arts, Temps Modernes and La Parisienne In 1950, he co-founded the film magazine La Gazette du Cinéma with Rivette and Godard, but it was short-lived  In 1951 Rohmer joined the staff of André Bazin's newly founded film magazine Cahiers du Cinéma, of which he became the editor in 1956  There, Rohmer established himself as a critic with a distinctive voice; fellow Cahiers contributor and French New Wave filmmaker Luc Moullet later remarked that, unlike the more aggressive and personal writings of younger critics like Truffaut and Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used the first person singular  Rohmer was known as more politically conservative than most of the Cahiers staff, and his opinions were highly influential on the magazine's direction while he was editor  Rohmer first published articles under his real name but began using "Éric Rohmer" in 1955 so that his family would not find out that he was involved in the film world, as they would have disapproved Rohmer's best-known article was "Le Celluloïd et le marbre" ("Celluloid and Marble", 1955), which examines the relationship between film and other arts  In the article, Rohmer writes that in an age of cultural self-consciousness, film is "the last refuge of poetry" and the only contemporary art form from which metaphor can still spring naturally and spontaneously In 1957 Rohmer and Claude Chabrol wrote Hitchcock (Paris: Éditions Universitaires, 1957), the earliest book-length study of Alfred Hitchcock  It focuses on Hitchcock's Catholic background and has been called "one of the most influential film books since the Second World War, casting new light on a filmmaker hitherto considered a mere entertainer"  Hitchcock helped establish the auteur theory as a critical method and contributed to the reevaluation of the American cinema that was central to that method 
By 1963 Rohmer was becoming more at odds with some of the more radical left-wing critics at Cahiers du Cinéma  He continued to admire US films while many of the other left-wing critics had rejected them and were championing cinéma vérité and Marxist film criticism  Rohmer resigned that year and was succeeded by Rivette 

Film career
1950–1962: Shorts and early film career
In 1950 Rohmer made his first 16mm short film, Journal d'un scélérat  The film starred writer Paul Gégauff and was made with a borrowed camera  By 1951 Rohmer had a bigger budget provided by friends and shot the short film Présentation ou Charlotte et son steak  The 12-minute film was co-written by and starred Jean-Luc Godard  The film was not completed until 1961  In 1952 Rohmer began collaborating with Pierre Guilbaud on a one-hour short feature, Les Petites Filles modèles, but the film was never finished  In 1954 Rohmer made and acted in Bérénice, a 15-minute short based on a story by Edgar Allan Poe  In 1956 Rohmer directed, wrote, edited and starred in La Sonate à Kreutzer, a 50-minute film produced by Godard  In 1958 Rohmer made Véronique et son cancre, a 20-minute short produced by Chabrol 
Chabrol's company AJYM produced Rohmer's feature directorial debut, The Sign of Leo (Le Signe du lion) in 1959  In the film an American composer spends the month of August waiting for his inheritance while all his friends are on vacation and gradually becomes impoverished  It included music by Louis Sagver  The Sign of Leo was later recut and rescored by distributors when Chabrol was forced to sell his production company, and Rohmer disowned the recut version  In 1962 Rohmer and Barbet Schroeder co-founded the production company Les Films du Losange (they were later joined by Pierre Coltrell in the late 1960s)  Les Films du Losange produced all of Rohmer's work (except his last three features produced by La Compagnie Eric Rohmer) 

1962–1972: Six Moral Tales and television work
Rohmer's career began to gain momentum with his Six Moral Tales (Six contes moraux)  Each of the films in the cycle follows the same story, inspired by F  W  Murnau's Sunrise: A Song of Two Humans (1927): a man, married or otherwise committed to a woman, is tempted by a second woman but eventually returns to the first For Rohmer, these stories' characters "like to bring their motives, the reasons for their actions, into the open, they try to analyze, they are not people who act without thinking about what they are doing  What matters is what they think about their behavior, rather than their behavior itself " The French word "moraliste" does not translate directly to the English "moralist" and has more to do with what someone thinks and feels  Rohmer cited the works of Blaise Pascal, Jean de La Bruyère, François de La Rochefoucauld and Stendhal as inspirations for the series : 292  He clarified, "a moraliste is someone who is interested in the description of what goes on inside man  He's concerned with states of mind and feelings " Regarding the repetition of a single storyline, he explained that it would allow him to explore six variations of the same theme  Plus, he stated, "I was determined to be inflexible and intractable, because if you persist in an idea it seems to me that in the end you do secure a following ": 295 The first Moral Tale was The Bakery Girl of Monceau (1963)  This 26-minute film portrays a young man, a college student, who sees a young woman in the street and spends days obsessively searching for her  He meets a second woman who works in a bakery and begins to flirt with her, but abandons her when he finally finds the first woman  Schroder starred as the young man and Bertrand Tavernier was the narrator  The second Moral Tale was Suzanne's Career (1963)  This 60-minute film portrays a young student who is rejected by one woman and begins a romantic relationship with a second  The first and second Moral Tales were never theatrically released and Rohmer was disappointed by their poor technical quality  They were not well known until after the release of the other four In 1963 Les Films du Losange produced the New Wave omnibus film Six in Paris, of which Rohmer's short "Place de l'Etoile" was the centerpiece : 290  After being driven out of his editor position at Cahiers, Rohmer began making short documentaries for French television  Between 1964 and 1966 Rohmer made 14 shorts for television through the Office de Radiodiffusion Télévision Française (ORTF) and Télévision Scolaire  These included episodes of Filmmakers of Our Time on Louis Lumiere and Carl Theodor Dreyer, educational films on Blaise Pascal and Stéphane Mallarmé, and documentaries on the Percival legend, the industrial revolution and female students in Paris  Rohmer later said that television taught him how to make "readable images"  He later said, "When you show a film on TV, the framing goes to pieces, straight lines are warped   the way people stand and walk and move, the whole physical dimension   all this is lost  Personally I don't feel that TV is an intimate medium " In 1964 Rohmer made the 13-minute short film Nadja à Paris with cinematographer Nestor Almendros Rohmer and Schroder then sold the rights of two of their short films to French television in order to raise $60,000 to produce the feature film La Collectionneuse in 1967, the third Moral Tale  The film's budget went only to film stock and renting a house in St  Tropez as a set  Rohmer described it as a film about l'amour par désoeuvrement ("love from idleness")  La Collectionneuse won the Jury Grand Prix at the 17th Berlin International Film Festival and was praised by French film critics, though US film critics called it "boring" The fourth Moral Tale was My Night at Maud's in 1969  The film was made with funds raised by Truffaut, who liked the script, and was initially intended to be the third Moral Tale  But because the film takes place on Christmas Eve, Rohmer wanted to shoot the film in December  Actor Jean-Louis Trintignant was not available so filming was delayed for a year  The film centers on Pascal's Wager and stars Trintignant, Françoise Fabian, Marie-Christine Barrault and Antoine Vitez  My Night at Maud's was Rohmer's first successful film both commercially and critically  It was screened and highly praised at the 1969 Cannes Film Festival and later won the Prix Max Ophüls  It was released in the US and praised by critics there as well  It eventually received Oscar nominations for Best Original Screenplay and Best Foreign Film  James Monaco wrote, "Here, for the first time the focus is clearly set on the ethical and existential question of choice  If it isn't clear within Maud who actually is making the wager and whether or not they win or lose, that only enlarges the idea of le pari ("the bet") into the encompassing metaphor that Rohmer wants for the entire series "The fifth Moral Tale was Le genou de Claire (Claire's Knee, 1970)  It won the Grand Prix at the San Sebastián International Film Festival, the Prix Louis Delluc and the Prix Méliès, and was a huge international success  Vincent Canby called it "something close to a perfect film " It was Rohmer's second film in color  Rohmer said, "the presence of the lake and the mountains is stronger in color than in black and white  It is a film I couldn't imagine in black and white  The color green seems to me essential in that film   This film would have no value to me in black and white "The sixth and final Moral Tale was 1972's Love in the Afternoon (released as Chloe in the Afternoon in the US)  Molly Haskell criticized the film for betraying the rest of the series by making a moral judgment of the main character and approving of his decision in the film Overall, Rohmer said he wanted the Six Moral Tales "to portray in film what seemed most alien to the medium, to express feelings buried deep in our consciousness  That's why they have to be narrated in the first person singular   The protagonist discusses himself and judges his actions  I film the process "

1972–1987: Adaptations and Comedies and Proverbs
Following the Moral Tales Rohmer wanted to make a less personal film and adapted a novella by Heinrich von Kleist, La Marquise d'O    in 1976  It was one of Rohmer's most critically acclaimed films, with many critics ranking it with My Night at Maud's and Claire's Knee  Rohmer stated that "It wasn't simply the action I was drawn to, but the text itself  I didn't want to translate it into images, or make a filmed equivalent  I wanted to use the text as if Kleist himself had put it directly on the screen, as if he were making a movie     Kleist didn't copy me and I didn't copy him, but obviously there was an affinity "In 1978 Rohmer made the Holy Grail legend film Perceval le Gallois, based on a 12th-century manuscript by Chrétien de Troyes  The film received mostly poor critical reviews  Tom Milne said that the film was "almost universally greeted as a disappointment, at best a whimsical exercise in the faux-naif in its attempt to capture the poetic simplicity of medieval faith, at worse an anticlimatic blunder" and that it was "rather like watching the animation of a medieval manuscript, with the text gravely read aloud while the images — cramped and crowded, coloured with jewelled brilliance, delighting the eye with bizarre perspectives — magnificently play the role traditionally assigned to marginal illuminations " In 1980 Rohmer made a film for television of his stage production of Kleist's play Catherine de Heilbronn, another work with a medieval setting Later in 1980 Rohmer embarked on a second series of films: the "Comedies and Proverbs" (Comédies et Proverbes), where each film was based on a proverb  The first "Comedy and proverb" was The Aviator's Wife, which was based on an idea that Rohmer had had since the mid-1940s  This was followed in 1981 with Le Beau Mariage (A Perfect Marriage), the second "Comedy and Proverb"  Rohmer stated that "what interests me is to show how someone's imagination works  The fact that obsession can replace reality " In his review of the film, film critic Claude Baignères said that "Eric Rohmer is a virtuoso of the pen sketch   [He had not been] at ease with the paint tubes that Persival required, [but in this film he created] a tiny figurine whose every feature, every curl, every tone is aimed at revealing to us a state of soul and of heart " Raphael Bassan said that "the filmmaker fails to achieve in these dialogues the flexibility, the textual freedom of The Aviator's Wife  A Perfect Marriage is only a variation on the spiritual states of the petty bourgeoise who go on and on forever about the legitimacy of certain institutions or beliefs confronted by problems of the emotions  Quite simply, this is a minor variation on this central Rohmerian theme "The third "Comedy and proverb" was Pauline at the Beach in 1983  It won the Silver Bear for Best Director at the 33rd Berlin International Film Festival  It was based on an idea that Rohmer had in the 1950s, originally intended for Brigitte Bardot  Rohmer often made films that he had been working on for many years and stated "I can't say 'I make one film, then after that film I look for a subject and write on that subject   then I shoot ' Not at all   these are films that are drawn from one evolving mass, films that have been in my head for a long time and that I think about simultaneously "The fourth "Comedy and Proverb" was Full Moon in Paris in 1984  The film's proverb was invented by Rohmer himself: "The one who has two wives loses his soul, the one who has two houses loses his mind " The film's cinematographer Renato Berta called it "one of the most luxurious films ever made" because of the high amount of preparation put into it  The film began with Rohmer and the actors discussing their roles and reading from the film's scenario while tape recording the rehearsals  Rohmer then re-wrote the script based on these sessions and shot the film on Super 8mm as a dress rehearsal  When the film was finally shot, Rohmer often used between two and three takes for each shot, and sometimes only one take  Alain Bergala and Alain Philippon have stated that "all the art of Eric Rohmer consists of creating on the set a veritable osmosis among himself, the actors and the technicians " Rohmer even encouraged actress Pascale Ogier to design sets for the film since her character is an interior decorator  Ogier later won the Best Actress award at the Venice Film Festival  Alain Philippon called the film "one of the most accomplished films that Rohmer has given us   and that if the film moves it is because of its own risk-taking "The fifth "Comedy and Proverb" was The Green Ray in 1986  Rohmer explained that "I was struck by the naturalness of television interviews  You can say that here, nature is perfect  If you look for it, you find it because people forget the cameras " As was becoming his custom in pre-production, Rohmer gathered his cast together to discuss the project and their characters, but then allowed each actor to invent their own dialogue  Rohmer stated that lead actress Marie Rivière "is the one who called the shots, not only by what she said, but by the way she'd speak, the way she'd question people, and also by the questions her character evoked from the others " The film was shot chronologically and in 16mm so as to be "as inconspicuous as possible, to have Delphine blend into the crowd as a way, ultimately, of accentuating her isolation " Rohmer also instructed his cinematographer Sophie Maintigneux to keep technical aspects of the shoot to a minimum so as to not interrupt or distract the actors  The film's only major expense was a trip to the Canary Islands in order to film the green rays there  Rohmer chose to première the film on Canal Plus TV, a pay-TV station that paid $130,000 for the film, which was only one fifth of its budget  Rohmer stated that "Cinema here will survive only because of television  Without such an alliance we won't be able to afford French films "  The experiment paid off when the film was a theatrical hit after being released three days after its initial broadcast   It won the Golden Lion and the FIPRESCI Prize at the 1986 Venice Film Festival   It was mostly praised by film critics, although Alain Robbe-Grillet wrote an unfavorable review and stated "I didn't like it very much "The Sixth "Comedy and Proverb" was Boyfriends and Girlfriends (L'Ami de mon amie) in 1987 

1987–2009: Tales of the Four Seasons and later film career
He followed these with a third series in the 1990s: Tales of the Four Seasons (Contes des quatre saisons)  Conte d'automne or Autumn Tale was a critically acclaimed release in 1999 when Rohmer was 79  The previous titles of the series were A Tale of Springtime (1990), A Tale of Winter (1992), and A Summer's Tale (1996) 
Beginning in the 2000s, Rohmer, in his eighties, returned to period drama with The Lady and the Duke and Triple Agent  The Lady and the Duke caused considerable controversy in France, where its negative portrayal of the French Revolution led some critics to label it monarchist propaganda   Its innovative cinematic style and strong acting performances led it to be well received elsewhere 
In 2001, his life's work was recognised when he received the Golden Lion at the Venice Film Festival In 2007, Rohmer's final film, The Romance of Astrea and Celadon, was shown during the Venice Film Festival, at which he spoke of retiring 

Style
Rohmer's films concentrate on intelligent, articulate protagonists who frequently fail to own up to their desires  The contrast between what they say and what they do fuels much of the drama in his films  Gerard Legrand once said that "he is one of the rare filmmakers who is constantly inviting you to be intelligent, indeed, more intelligent than his (likable) characters " Rohmer considered filmmaking to be "closer to the novel—to a certain classical style of novel which the cinema is now taking over—than the other forms of entertainment, like the theater "Rohmer saw the full-face closeup as a device that does not reflect how we see each other and avoided its use  He avoids extradiegetic music (not coming from onscreen sound sources), seeing it as a violation of the fourth wall  He has on occasion departed from the rule by inserting soundtrack music in places in The Green Ray (1986) (released as Summer in the United States)  Rohmer also tends to spend considerable time in his films showing his characters going from place to place, walking, driving, bicycling or commuting on a train, engaging the viewer in the idea that part of the day of each individual involves quotidian travel  This was most evident in Le Beau Mariage (1982), which had the female protagonist constantly traveling, particularly between Paris and Le Mans



ground_truth: Jacques

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Where does the director of film L'Arbre, Le Maire Et La Médiathèque work at?

The following are given passages.
Context 3: 
Rohmer typically populates his films with people in their twenties and the settings are often on pleasant beaches and popular resorts, notably in La Collectionneuse (1967), Pauline at the Beach (1983), The Green Ray (1986) and A Summer's Tale (1996)  These films are immersed in an environment of bright sunlight, blue skies, green grass, sandy beaches, and clear waters  He explained that "people sometimes ask me why most of the main characters in my films are young  I don't feel at ease with older people     I can't get people older than forty to talk convincingly "Rohmer preferred to use non-professional actors in his films  He usually held a large number of rehearsals before shooting and would shoot his films very quickly  He spent little time editing his films  He usually shot his films chronologically, and often shot scenes during the time of day in which they took place  He explained that "my films are based on meteorology  If I didn't call the weather service everyday, I couldn't make my films because they're shot according to the weather outside  My films are slaves to weather "The director's characters engage in long conversations—mostly talking about man–woman relationships but also on mundane issues like trying to find a vacation spot  There are also occasional digressions by the characters on literature and philosophy as most of Rohmer's characters are middle class and university educated 
A Summer's Tale (1996) has most of the elements of a typical Rohmer film: no soundtrack music, no close-ups, a seaside resort, long conversations between beautiful young people (who are middle class and educated) and discussions involving the characters' interests from songwriting to ethnology 
Rohmer said he wanted to look at "thoughts rather than actions", dealing "less with what people do than what is going on in their minds while they are doing it "
Beginning in the late 1970s during the production of Perceval le Gallois Rohmer began to reduce the number of crew members on his films  He first dispensed with the script supervisor, then (controversially) cut out the assistant director, then all other assistants and technical managers until, by the time he shot The Green Ray in 1986, his crew consisted only of a camera operator and a sound engineer  Rohmer stated that "I even wonder if I could work in the usual conditions of filmmaking "His style was famously criticised by Gene Hackman's character in the 1975 film Night Moves who describes viewing Rohmer's films as "kind of like watching paint dry" Rohmer was a highly literary man  His films frequently refer to ideas and themes in plays and novels, such as references to Jules Verne (in The Green Ray), William Shakespeare (in A Winter's Tale) and Pascal's wager (in Ma nuit chez Maud) 

Personal life and death
Rohmer's brother was the philosopher René Schérer  In 1957, Rohmer married Thérèse Barbet  The couple had two sons  The elder, René Monzat (b  1958), is an author and investigative journalist at, most recently, Le Monde and Mediapart  His work focuses on the French far-right Rohmer was a devout Catholic and "ecological zealot"  For years he had no telephone and refused to get into cars, which he called "immoral pollutors"  For many years he was known to jog two miles to his office every morning  He was well known for his need for personal privacy and sometimes wore disguises, such as a false moustache at the New York premiere of one of his films  Rohmer's mother died without ever knowing that her son was a famous film director 

Rohmer died on the morning of 11 January 2010 at the age of 89 after a series of strokes : 1345  He had been admitted to hospital the previous week The former Culture Minister Jack Lang called Rohmer "one of the masters of French cinema"  Director Thierry Fremaux called his work "unique" Rohmer's grave is in district 13 of Montparnasse Cemetery 
At the 2010 César Awards, actor Fabrice Luchini presented a special tribute to Rohmer:

I'm going to read a remarkable text written by Jacques Fieschi, writer, director, creator of "the cinematographe", challenger of Les cahiers du cinéma, which recently published a special edition on Eric Rohmer  Truffaut once said he was one of the greatest directors of the 20th century, Godard was his brother, Chabrol admired him, Wenders couldn't stop taking photos of him  Rohmer is a tremendous international star  The one and only French director who was in coherence with the money spent on his films and the money that his films made  I remember a phrase by Daniel Toscan Du Plantier the day Les Visiteurs opened, which eventually sold 15 million tickets: "Yes but there is this incredible film called L'arbre, le maire et la médiathèque that sold 100,000 tickets, which may sound ridiculous in comparison, but no, because but it was only playing in one theater for an entire year " A happy time for cinema when this kind of thing could happen  Rohmer  Here is a tribute from Jacques Fieschi: "We are all connected with the cinema, at least for a short time  The cinema has its economical laws, its artistic laws, a craft that once in a while rewards us or forgets us  Éric Rohmer seems to have escaped from this reality by inventing his own laws, his own rules of the game  One could say his own economy of the cinema that served his own purpose, which could skip the others, or to be more accurate that couldn't skip the audience with its originality  He had a very unique point of view on the different levels of language and on desire that is at work in the heart of each and every human being, on youth, on seasons, on literature, of course, and one could say on history  Éric Rohmer, this sensual intellectual, with his silhouette of a teacher and a walker  As an outsider he made luminous and candid films in which he deliberately forgot his perfect knowledge of the cinema in a very direct link with the beauty of the world " The text was by Jacques Fieschi and it was a tribute to Éric Rohmer  Thank you 
On 8 February 2010, the Cinémathèque Française held a special tribute to Rohmer that included a screening of Claire's Knee and a short video tribute to Rohmer by Jean-Luc Godard 

Awards and nominations
Filmography
Features
Notes
Passage 3:
Julie Bertuccelli
Julie Mathilde Charlotte Claire Bertuccelli is a French director born February 12, 1968, in Boulogne-Billancourt She is particularly known for her documentary La Cour de Babel released in 2014 and the feature film L'Arbre released in 2010 

Biography
After studies in hypokhâgne, then khâgne, and a master of philosophy, Julie Bertuccelli became, for ten years, assistant director on many feature films, TV movies and short films with Otar Iosseliani, Rithy Panh, Krzysztof Kieślowski, Emmanuel Finkiel, Bertrand Tavernier, Jean-Louis Bertuccelli, Christian de Chalonge, René Féret, and Pierre Etaix Following an introduction to documentary filmmaking in 1993 at Ateliers Varan, she directed fifteen documentaries for Arte, France 3 and France 5, including Une liberté!, La Fabrique des Judges, Welcome to the department store, A world in fusion, Otar Iosseliani, the whistling blackbird, The Glasberg Mystery, Antoinette Fouque, what is a woman?    
His first feature film Since Otar left     has been crowned by twenty awards in France and abroad, including the Grand Prize of the Critics' Week at the 2003 Cannes Film Festival, the César de la meilleur first work in 2004, the Marguerite Duras Prize 2003 and the Michel d'Ornano Award 2003 in Deauville 
L'Arbre is her second feature film  It was nominated for three Césars Her documentary The Court of Babel, released in theaters in March 2014, has been selected in several festivals, including those of New York, Rome, Abu Dhabi, Sheffield, Rio, Montreal, Tokyo, Cairo, and San Francisco 
Her documentary Latest News from the Cosmos (November 2016), received the Audience Award from the Rencontres du Cinéma Documentaire in Montreuil and the FIFA Grand Prix in Montreal (2018) 
Her last feature film, Claire Darling with Catherine Deneuve and Chiara Mastroianni, released in French theaters in February 2019 Claire Darling grossed $0 in North America and a total worldwide of $1 million  With 85 000 spectators in France, the film is a heavy public failure 
Julie Bertuccelli has chaired the Scam since June 2017, having been the first woman elected to this position in 2013, as well as the brand new Cinematheque of the documentary she created with Scam (with which she also created the Eye of 'Or, the Documentary Prize at the Cannes Film Festival in 2015)  She was co-chair with Michel Hazanavicius of the Civil Society of Producers' Authors Producers (ARP) in 2016 
She is the daughter of the director Jean-Louis Bertuccelli and the widow of cinematographer Christophe Pollock 

Filmography
Director
Documentaries
1993: Un métier comme un autre
1994: Une liberté !
1995: Un dimanche en champagne
1995: Le Jongleur de Notre-Dame
1996: Trait d'union
1996: Saint-Denis, les couleurs de la ville
1997: La Fabrique des juges
1999: Bienvenue au grand magasin
2000: Les Îles éoliennes (coll  Voyages, Voyages)
2006: Un monde en fusion
2006: Otar Iosseliani, le merle siffleur (Coll  Cinéastes de notre temps)
2007: Stage Les chantiers nomades: l'acteur concret au cinéma, autour des objets
2008: Le Mystère Glasberg
2008: Antoinette Fouque, qu'est-ce qu'une femme (Coll  Empreintes)
2014: La Cour de Babel
2016: Dernières nouvelles du cosmos

Feature films
2003: Depuis qu'Otar est parti…
2010: L'Arbre
2018:  Claire Darling

Scriptwriter
2002: Depuis qu'Otar est parti…
2010: L'Arbre
2018: Claire Darling

Assistant director
1988–1990: Divers série: Salut les homards, Les six compagnons, Souris noire from Pierre Étaix
1990: Aujourd'hui peut-être from Jean-Louis Bertuccelli
1990: Kaminsky, un flic à Moscou from Stéphane Kurc
1991: Promenades d'été from René Féret
1991: La Chasse aux papillons from Otar Iosseliani
1992: Precheur en eau trouble from Georges Lautner
1992: Trois couleurs: Bleu from Krzysztof Kieślowski
1992: Trois couleurs: Blanc from Krzysztof Kieślowski
1993: Les Dessous du Moulin Rouge from Nils Tavernier
1994: Le Clandestin from Jean-Louis Bertuccelli
1994: Madame Jacques sur la Croisette from Emmanuel Finkiel
1995: L'Appât from Bertrand Tavernier
1995: Le Bel Été 1914 from Christian de Chalonge
1996: Brigands, chapitre VII from Otar Iosseliani
1997: Un soir après la guerre from Rithy Panh

See also
List of female film and television directors
Passage 4:
Ian Barry (director)
Ian Barry is an Australian director of film and TV 

Select credits
Waiting for Lucas (1973) (short)
Stone (1974) (editor only)
The Chain Reaction (1980)
Whose Baby? (1986) (mini-series)
Minnamurra (1989)
Bodysurfer (1989) (mini-series)
Ring of Scorpio (1990) (mini-series)
Crimebroker (1993)
Inferno (1998) (TV movie)
Miss Lettie and Me (2002) (TV movie)
Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008) (documentary)
The Doctor Blake Mysteries (2013)
Passage 5:
L'Arbre, le maire et la médiathèque
The Tree, the Mayor and the Mediatheque (French: L'Arbre, le maire et la médiathèque; known also as Les sept hasards) is a 1993 French comedy-drama film written and directed by Éric Rohmer  The film was shown at the 1993 Montreal World Film Festival where it received the FIPRESCI prize  
The frame story involves the mayor of an isolated French village who, to further his political ambitions, secures a grant to build a sporting and cultural centre, but the necessary felling of a fine willow outrages the schoolteacher and his daughter  Within the frame there is much debate about the current state of France: city versus country, agriculture versus industry, conservatism versus progress, the environment versus growth 

Plot
In Saint-Juire-Champgillon, a remote village of traditional left-wing adherence in the Vendée, Julien Dechaumes has inherited the manor house and grounds and has been elected mayor, though he spends much of his time in Paris with his mistress  There he successfully lobbies the Ministry of Culture for a grant to build a state-of-the-art sports and media centre  By enhancing his reputation in the area, it will boost his chances of entering national politics under the socialist banner  
Opinion in the village is mixed, with the most passionate opposition coming from the schoolteacher, for whom the destruction of a 100-year-old willow symbolises all that is wrong about the plan  When a journalist on a left-wing magazine visits the village to talk to people, her editor cuts her piece to focus on the teacher and the tree  The teacher's ten-year-old daughter explains to the mayor that all the children want is not the sophisticated facilities on offer but just green space and trees  A survey reveals that the water table has dropped alarmingly, needing costly groundworks that make the whole project unviable 

Cast
Pascal Greggory as Julien Dechaumes, the mayor
Arielle Dombasle as Bérénice Beaurivage, the mayor's lover
Fabrice Luchini as Marc Rossignol, the school teacher
Clémentine Amouroux as Blandine Lenoir, the reporter
François-Marie Banier as Régis Lebrun-Blondet, the magazine editor

External links
The Tree, the Mayor and the Mediatheque at IMDb
The Tree, the Mayor and the Mediatheque at AllMovie
The Tree, the Mayor and the Mediatheque at Rotten Tomatoes
Passage 6:
William le Maire de Warzée d'Hermalle
William "Willy" le Maire de Warzée d'Hermalle (French pronunciation: ​[wiljam lə mɛːʁ də vaʁtse dɛʁmal]; 7 March 1879 –1966) was a Belgian tennis player  He has been named as among the best male tennis players in Belgian history Le Maire de Warzée d'Hermalle reached the quarterfinals of Wimbledon in 1904 and 1908 Le Maire de Warzée d'Hermalle was born into the Belgian nobility, the son of Marie-Léon-Hubert le Maire Warzée d'Hermalle (born 1848) and Noëmie Constance Caroline Georgine Valérie de Warzée d'Hermalle (born in Beaufays in 1850)  His elder brother, Marie-Georges-Gérard-Léon le Maire de Warzée d'Hermalle, Baron de Warzée d'Hermalle (1877–1931), was a diplomat and Belgian ambassador to Iran, Japan and China, who married Dorothy Hall, daughter of Irish writer Owen Hall 
Passage 7:
Olav Aaraas
Olav Aaraas (born 10 July 1950) is a Norwegian historian and museum director 
He was born in Fredrikstad  From 1982 to 1993 he was the director of Sogn Folk Museum, from 1993 to 2010 he was the director of Maihaugen and from 2001 he has been the director of the Norwegian Museum of Cultural History  In 2010 he was decorated with the Royal Norwegian Order of St  Olav 
Passage 8:
Isaac Le Maire
Isaac Le Maire  (c  1558 in Tournai – September 20, 1624 in Egmond aan den Hoef) was a Walloon-born entrepreneur, investor, and a sizeable shareholder of the Dutch East India Company (VOC)  He is best known for his constant strife with the VOC, which ultimately led to the discovery of Cape Horn 
Isaac Le Maire was born in 1558 or 1559 in Tournai  He learned the trade from his merchant brother-in-law Jacques van de Walle  Isaac had four brothers, three of whom were merchants  Already in 1584 he was registered in Antwerp as a wealthy grocer  At the time, he was also captain of the company of the Antwerp militia  He rented the house of Bourgognien Schilt, but in 1585 after the fall of Antwerp he fled to the northern Netherlands 
In 1585 he settled in Amsterdam  He was married in Antwerp to Maria Jacobsdr  Walraven and they had 22 children, and one of them, his son Jacob, would go down in history as an explorer  In 1641 his son Maximiliaen became the first VOC chief of Dejima in Japan 
Initially, Isaac Le Maire was the largest shareholder in the VOC 

Merchant in Amsterdam
In 1592 his name was registered for the first time in Amsterdam as a participant in the oldest marine insurance policy  In the following years he grew into the trade in European waters  Initially, he wasn't one of the wealthiest merchants, but he could make major investments by ensuring warrant positions within the direct and indirect family network  
Together with Peter van de Pulle and Dirck van Os he constituted a company for trading in Russia  They carried Baltic grain and timber to Spain  Ships with leather, wax, fur and caviar from Archangelsk often were destined for Venice and Livorno  They also traded in bills of exchange, chartering and marine insurances  Between 1594 and 1598 he had a major position in the fish trade between British ports and Spain 
After Cornelis de Houtman made the first trip to the Indies from 1595 to 1597, Le Maire, like many other merchants, plunged into the Indian adventure  In 1599 he and several others in Amsterdam established the Brabant Company, which carried out two voyages to the Indies  The Brabant Company was very successful, it quickly yielded the company 400% profit 
In 1600 he decided to concentrate on trade with the East Indies, but at that time he already acted in the West Indies as well  In 1601 he officially became a citizen of Amsterdam, which was no doubt because of the merger of the New Brabant Company and the Old Company into the First United East Indies Company in Amsterdam  This company, in which Le Maire was a participant, fitted out eight ships to the Indies, led by Jacob van Heemskerk 

Shareholder of the Dutch East India Company
In 1602, at the insistence of Johan van Oldenbarnevelt, all Dutch trading companies merged into the Vereenigde Oostindische Compagnie (VOC) (also known as the Dutch East India Company)  Le Maire applied for shares for the sum of 85,000 guilders and he became the largest shareholder in the VOC   He got the high position of governor of the VOC  But he soon fell into conflict with the VOC and the Amsterdam Consistory as a result of malpractice concerning the journey of Wybrand van Warwijck in 1602  There were rumours that Le Maire intentionally did not submit receipts and other evidence of his share in the costs  The partners of the VOC let him be sued by the sheriff, but Le Maire settled the matter for 1200 guilders  The details of the offence were held secret  Because of this matter le Maire was forced to leave the VOC in 1605, while he also had to waive acting as a competitor of the VOC  This event was the foundation of his resentment and opposition against the VOC for the rest of his life  After leaving the VOC, he threw himself upon the European coasting trade, especially in grain  However, the thought of the lucrative trade with the Indies haunted him 

Competitor of the Dutch East India Company
Le Maire found his first opportunity to thwart the VOC in the efforts of France to set up a French trading company for India  King Henry IV of France invited him in 1607 for that purpose  Le Maire advised the French on the establishment and organization of a company, and in doing so ignored the competition stipulation with the VOC  However, at that time a French company was not yet established 
Next came the idea to involve Henry Hudson in the French plans  Hudson had already made two unsuccessful attempts for England to find a new North-Eastern passage, and in 1608 he came to the Netherlands to interest the VOC for that plan  He came in contact with Le Maire who proposed to the king of France to finance this expedition  With this attempt to find a new route to the Indies, Le Maire would not commit a breach of contract with the VOC, because the VOC only had a patent to trade via the Cape of Good Hope and the Strait of Magellan, until then the only two known routes to the Indies  The VOC got scent of this intention and offered Hudson a better contract, which ultimately led to his famous third voyage in 1609, discovering the river that was named after him  After the VOC had caught away Hudson, Le Maire and the king of France secretly came to an agreement to make the North-Eastern journey with another captain  The newly to be discovered strait would be named after the French king, and the new discoveries would be made under the French flag  However, the voyage, led by Melchior van den Kerckhove, was a failure 
In 1609, Isaac Le Maire travelled together with Joris van Spilbergen, Balthazar de Moucheron and others to Paris, again to discuss the formation of a French East India Company  De Moucheron played a double role in these discussions, because at one point he asked the ambassador of the Netherlands what it would be worth if he would disrupt the proceedings  The discussions so flagged because of mistrust by the French in Le Maire  Within the VOC the intrigues of Le Maire led to indignation, but it did not result in actual actions against him, probably because the Republic was not looking for a conflict with France during the war with Spain  In 1610 the King of France was killed and thus plans for a French East India Company were shelved 

Speculator against the Dutch East India Company
Isaac Le Maire also tried to use his knowledge of the VOC to cross the company financially  In 1609 he and eight others founded a secret company with the purpose to trade in VOC shares  Le Maire owned nearly one quarter of its shares  This so-called "Grote Compagnie" sold short shares of the VOC, that is, without actually owning them  By the time these shares were to be delivered, there was an interest in keeping the share price as low as possible  Le Maire probably expected that the competition by the still to be created French East India Company would ensure that the share price of the VOC dropped significantly  However, the French company was shelved  Rumours were spread to depress the prices, anyway  Such activities were detrimental to the (existing) VOC shareholders, who sometimes were forced to sell their shares at a low price  In particular, in 1609 the share price fell significantly, and the VOC imputed this to the machinations of Le Maire 
The VOC attempted via the States-General of the Netherlands to impose restrictions on free trade in VOC shares, which the company of Le Maire fiercely resisted  They claimed, the price drop was the result of the bad course of actions of the VOC  But the States-General decided in 1610 to prohibit the sale of shares not in possession (short selling)  During 1610 and 1611 the stock price of the VOC increased  The company of Le Maire then suffered big losses because many shares had to be delivered at a lower price than the market  They were therefore compelled to deliver shares at a loss  Several members of his company went bankrupt and Le Maire had also suffered significant losses, but he could still meet his obligations  This fiasco led him to withdraw from Amsterdam 

Dutch East India Company monopoly broken
Isaac Le Maire sold his property in Amsterdam and retired to his possessions in Egmond aan den Hoef, which he had bought between 1598 and 1600 from the estate of the Count of Egmont  After some time, he again started to make plans to break the VOC monopoly  The VOC owned by patent from the States-General the Dutch monopoly on travels to the Indies via the Cape of Good Hope and through the Strait of Magellan, until then the only two known passages to the Indies  From various travel accounts Le Maire assumed that south of the Magellan Strait another passage from the Atlantic to the Pacific Ocean could exist  In 1614 he founded the Austraalse Compagnie for the purpose of discovering this passage, which would fall outside the VOC monopoly  The voyage was prepared in Hoorn  Two ships were fitted out, the Eendracht and the Hoorn  The journey would be made under the responsibility of his son Jacob Le Maire  Willem Schouten was recruited as an experienced captain  The sailing orders expressly forbade a passage through the Strait of Magellan, even if a new route to the Pacific Ocean could not be found  Furthermore, the expedition was forbidden to trade on the coasts where the VOC had a trading post  At that time, there was still the expectation that a great unknown South Land would exist  Isaac Le Maire hoped to discover it, and in this way tap into an unimagined trading area  But above all, his motive was to circumvent the VOC monopoly  But Isaac gave his son a remarkable secret instruction: although the official sailing order was that no trade should be driven on the coasts where the VOC was established, on arrival in the Indies his son had to make clear to the administrators of the VOC that their monopoly had not been violated, because they had not sailed via the Cape of Good Hope or the Strait of Magellan  Then, he should ask permission to still be allowed to trade  Isaac le Maire anticipated it would not be granted, so Jacob would then have to do everything needed to win Governor-General Gerard Reynst, who had been, like Isaac Le Maire, a participant in the Brabant Company, for their cause  This even went so far as to Jacob asking Van Reynst the hand of one of his daughters  In this way Isaac le Maire tried to sow dissension within the VOC, because if Gerard Reynst allowed them to trade in this way it could lead to a major conflict within the VOC 
On June 14, 1615 the two ships set sail from Texel  The journey was a success in that, with the discovery of the passage round Cape Horn, the monopoly of the VOC was indeed broken, but the unknown South Land was not discovered, and the secret instruction could not be put into action because Gerard Reynst was already deceased 
After the ships had left Texel, the VOC got wind of the real intention of the travel  Therefore, the order was sent to the Indies that, if the expedition would arrive there, the ships would have to be confiscated because of a breach of the VOC's patent  And so it happened  Jacob Le Maire and Willem Schouten were sent back to the Republic, but Jacob Le Maire died during the return voyage  The VOC attempted to rewrite history by assigning the new discoveries to Willem Schouten 

The aftermath of the voyage
Isaac Le Maire had to fight many years to obtain his right  In 1619 the court ruled that the ship Eendracht was unlawfully seized by the VOC  The journals were to be returned to Le Maire, and in 1622 Le Maire could finally publish the Spieghel der Australische Navigatie door den Wijtvermaerden ende Cloeckmoedighen Zee-heldt Jacob Le Maire, to do justice to the discoveries of his son  For the damage, he was awarded 64,000 pounds  However, the court ruled that the Austraalse Compagnie was not allowed to trade in the Indian region, but that they did have the right to travel across the newly discovered route around Cape Horn  However, one year earlier the Dutch West India Company was established and in its patent it received also the monopoly on travels through the Strait of Magellan and other routes in that region  This was contrary to the rights that were granted to Le Maire's Austraalse Compagnie 
Le Maire died on September 20, 1624  He was buried in the Buurkerk in Egmond-Binnen, and on his tombstone he had written that he had lost during 30 years (except for his honour) 1 5 million guilders, a considerable sum at that time  His Australian Company continued the legal fight, but ultimately the States-General decided in 1644 to the detriment of the company 

See also
Financial history of the Dutch Republic
Passage 9:
Dana Blankstein
Dana Blankstein-Cohen (born March 3, 1981) is the executive director of the Sam Spiegel Film and Television School  She was appointed by the board of directors  in November 2019   Previously she was the CEO of the Israeli Academy of Film and Television  She is a film director, and an Israeli culture entrepreneur 

Biography
Dana Blankstein was born in Switzerland in 1981 to theatre director Dedi Baron and Professor Alexander Blankstein  She moved to Israel in 1983 and grew up in Tel Aviv 
Blankstein graduated from the Sam Spiegel Film and Television School, Jerusalem in 2008 with high honors  During her studies she worked as a personal assistant to directors Savi Gabizon on his film Nina's Tragedies and to Renen Schorr on his film The Loners   She also directed and shot 'the making of' film on Gavison's film Lost and Found  Her debut film Camping competed at the Berlin International Film Festival, 2007 

Film and academic career
After her studies, Dana founded and directed the film and television department at the Kfar Saba municipality  The department encouraged and promoted productions filmed in the city of Kfar Saba, as well as the established cultural projects, and educational community activities 
Blankstein directed the mini-series "Tel Aviviot" (2012)  From 2016-2019 was the director of the Israeli Academy of Film and Television 
In November 2019 Dana Blankstein Cohen was appointed the new director of the Sam Spiegel Film and Television School where she also oversees the Sam Spiegel International Film Lab  In 2022, she spearheaded the launch of the new Series Lab and the film preparatory program for Arabic speakers in east Jerusalem 

Filmography
Tel Aviviot (mini-series; director, 2012)
Growing Pains (graduation film, Sam Spiegel; director and screenwriter, 2008)
Camping (debut film, Sam Spiegel; director and screenwriter, 2006)
Passage 10:
Peter Levin
Peter Levin is an American director of film, television and theatre 

Career
Since 1967, Levin has amassed a large number of credits directing episodic television and television films  Some of his television series credits include Love Is a Many Splendored Thing, James at 15, The Paper Chase, Family, Starsky & Hutch, Lou Grant, Fame, Cagney & Lacey, Law & Order and Judging Amy Some of his television film credits include Rape and Marriage: The Rideout Case (1980), A Reason to Live (1985), Popeye Doyle (1986), A Killer Among Us (1990), Queen Sized (2008) and among other films  He directed "Heart in Hiding", written by his wife Audrey Davis Levin, for which she received an Emmy for Best Day Time Special in the 1970s 
Prior to becoming a director, Levin worked as an actor in several Broadway productions  He costarred with Susan Strasberg in "[The Diary of Ann Frank]" but had to leave the production when he was drafted into the Army  He trained at the Carnegie Mellon University  Eventually becoming a theatre director, he directed productions at the Long Wharf Theatre and the Pacific Resident Theatre Company  He also co-founded the off-off-Broadway Theatre [the Hardware Poets Playhouse] with his wife Audrey Davis Levin and was also an associate artist of The Interact Theatre Company 



ground_truth: Cahiers du cinéma