The following are given passages.
Passage 1:
Paul De Weert
Paul De Weert (born 27 November 1945) is a Belgian rower. He competed at the 1972 Summer Olympics and the 1976 Summer Olympics.
Passage 2:
Paul de Longpré
Paul de Longpré (1855–1911), was a French painter of flowers, who worked mainly in the United States.

Early life
Paul de Longpré was born in Lyon, France, in 1855, and was an entirely self-taught artist. From age 12, he practiced successfully in Paris as a painter of fans. In 1876, at 21, he first exhibited at the Paris Salon. Having lost his money by the failure of a Paris bank, he moved in 1890 to New York City and in 1896 held an exhibition of flower paintings which secured him instant recognition.

Life in Hollywood
De Longpré arrived in Los Angeles, Southern California with his family in 1899. Daeida Wilcox, with husband H. H. Wilcox the founders of Hollywood, was so eager to attract culture to the town that she gave him her homesite for his estate, three lots on Cahuenga on the north of Prospect (later Hollywood Boulevard), in exchange for three of his paintings.In 1901, Canadian architect Louis Bourgeois designed a landmark residence for the 3 acres (1.2 ha) estate, in the Mission Revival style. The house included an art gallery to sell prints of de Longpré's paintings, and was surrounded by the expansive "Le Roi de Fleur" flower gardens. Estate tours became a popular tourist destination off an exclusive Balloon Route trolley spur of the Los Angeles Pacific Railroad, that later became a Pacific Electric Redcar line, and with print sales additional sources of income for de Longpré.Paul de Longpré is listed in the 1900 US Census, Los Angeles City Ward 5, Precincts 38 B and 73 A, with his wife Josephine and daughters Blance, Alice, and Pauline. His occupation is listed as Artist, but the last name is misspelled as De Lonpre, It indicates Paul, Josephine, Blance, and Alice were born in France, and Pauline was born in New York City. The architect Louis Bourgeois also taught French to de Longpré's daughters, and later married his daughter Alice.Paul de Longpré died at home in Los Angeles at age 56, on 29 June 1911.Afterwards, the family moved back to France. The increased property values in rapidly developing Hollywood resulted in demolition of the gardens by 1924, and the house in 1927.

Works
De Longpré only painted specimens of flowers. With a delicacy of touch and feeling for color he united scientific knowledge and art. He also knew how to give expression to the subtle essence of the flowers. Painting floral scenes almost exclusively in watercolors, in the 1900s de Longpre found inspiration in the 4,000 rose bushes he planted on his Hollywood estate. The finest of his paintings include Double Peach Blossoms and White Fringed Poppies (1902) – both widely known through popular reproductions.

Legacy
In present-day Hollywood, the street De Longpre Avenue, and De Longpre Park on it are both named for him.
Passage 3:
Paul de Scherff
Paul de Scherff (14 July 1820 – 22 July 1894) was a Luxembourgian politician.
De Scherff was born in Frankfurt to F. H. W. von Scherff-Arnoldi, who was minister plenipotentiary of the King-Grand Duke to the German Federal Diet.  After studying law, Paul de Scherff came to Luxembourg. For six years he was avocat géneral, and later became president of the superior court, at the age of 34. From 24 June 1856 to 11 November 1858 he was Administrateur général (Minister) for Public Works and Railways in the Simons Ministry. From 1869 to 1871, and then again from 1886 to 1892 he was a member of the Chamber of Deputies for the Centre, and was President of the Chamber of Deputies from 1869 until 1872.When the walls of the fortress of Luxembourg were demolished in the 1870s and 1880s, Paul de Scherff was working in the ministry of public works, where he dealt with the building of the municipal parks.
He married Marie Pescatore on 14 September 1842, daughter of Constantin Jos. Antoine Pescatore and niece of Theodore Pescatore.  De Scherff was a practising member of the Reformed Church.

Footnotes
Passage 4:
Paul de Cordon
Paul de Cordon (born in 1908 in Toulouse - died in 1998 in Paris) was a French photographer known for his photographs of the circus and the Crazy Horse Saloon. He was also recognized for his portraits and his nudes for which he was, in 1964, considered one of the greatest photographers in the world together with Guy Bourdin and Lucien Clergue. He produced portraits of many personalities such as Johnny Hallyday, Gilbert Bécaud, Mireille Darc, Jacques Brel, Fernand Raynaud, Anna Karina, Samy Davis Jr., Jeanne Moreau, Steve McQueen and his long-time friends, Daniel Sorano and Jacques Dufilho as well as Gonzague Saint Bris with whom he was very close  and who nicknamed him “The Toulouse-Lautrec of photography’’. In 1961 he participated alongside Edouard Boubat, Agnès Varda, Man Ray, Frank Horvat, William Klein and Robert Doisneau in the mythical exhibition "Metamorphosis and invention of a face" around the portrait of Anne- Marie Edvina. He was also an equestrian, fashion and advertising photographer, notably for Nikon and Beaulieu. He collaborated with Europe 1 in the years 1960/70. Paul de Cordon even tried his hand at television by co-presenting the Cirques du Monde program with Jean Richard on channel A2. His works are present in prestigious collections such as those of the National Library of France (BNF), the Rodin museum and W.M. Hunt.

Early years
Paul de Cordon was born in Toulouse. His father, Comte Pierre de Cordon, was a cavalry officer; his mother, Marthe de Boyer-Montegut, a cultivated, book-loving woman, was the daughter of Paul de Boyer- Montégut, who, for many years, was mayor of Cugnaux, near Toulouse, where he owned the château de Maurens.
It was in Maurens that Paul de Cordon, as a child, spent his holidays and it was there that he discovered horses which were to become one of the great passions of his life. His grandfather Boyer-Montegut was what was the French call, a “Homme de cheval’’ whose four-in-hand teams were renowned in Toulouse and across the region. As a child, he also lived for several years in Mainz (Germany), where his father was stationed after the First World War. It was around this time that he started taking pictures with a small camera, a gift from his parents. He learned the basic techniques from an old German photographer during long hours spent in his shop.
It was also in Germany where his attraction to the circus was born. The large travelling circuses, like Althoff, then crisscrossed the country with quality shows and numerous animals.
As a teenager, he was a boarder in a Paris school. He was then able to discover a very intense artistic and cultural life thanks to his aunt, the Marquise du Crozet, his mother's elder sister. He attended performances by Serge de Diaghilev's Ballets Russes which, after the war, came on tour every year to Paris. He went to the theater and visited exhibitions with his first cousin, Aimar du Crozet, who was much older than him and took him "under his wing" to serve as his guide to the Paris of the 1920s. Aimar du Crozet also had a passion for horses and races. He was the owner of Master Bob, who won the 1924 Paris Grand Steeple Chase * and who became so famous an athlete that he is mentioned by Ernest Hemingway at the start of his book ‘’Death in the Afternoon’’.
After his studies Paul de Cordon enlisted in the 18th Dragons cavalry regiment. More than a true military vocation, it was once again the love of horses that motivated him.
At that time almost all the cavalry regiments were mounted and each maintained and trained horses to enter in show jumping events and steeple chases, in which both officers and noncommissioned officers participated. In the 1930s, he thus took part in dozens of races on tracks in France and across Europe.
After the 18th Dragons he was assigned to the 2nd Hussards, in Tarbes, the “Chamborant’’, where he continued his favorite activities; training and riding horses. By an amusing coincidence, his great-grandmother on his mother’s side was Louise de Séganville, daughter of Colonel Baron de Séganville who had been the regiment’s commanding officer between 1813 and 1815.
It was at the 2nd Hussards that he had two encounters that would mean a lot in his life. He befriended Jacques Dufilho who, after interrupting his studies in dental prosthesis, had signed an eighteen-month enlistment contract. * Dufilho will become one of his dearest friends when they meet again after the war. There he also meets Jean Devaivre who completed his military service at “Chamborant’’. Jean Devaivre then went to work in cinema and became a great director, it was he who enabled Paul de Cordon, after the war, to embark on a new life.
Devaivre was not only a cineaste but also an authentic character actor: working during the occupation for the German group Continental Films in Paris, he was at the same time a very active member of the French resistance. His exploits include flying from the Nevers region to London clandestinely after having made the journey from Paris to Nevers in the afternoon... by bicycle. Bertrand Tavernier's film “Laissez-passer’’ is directly inspired by his life, as recounted in his autobiography, “Action’’.
In 1939, the 2nd Hussards broke up into reconnaissance groups which took part in the 1940 battles on the Ardennes front, * Paul de Cordon participated in these actions in a mounted squadron and was taken prisoner by the Germans. He ended his captivity in the fortress of Colditz where he was liberated by the US military on April 16, 1945.
In 1945 he married Dilette de Rigaud de Vaudreuil and they had three children. He remained in the army for a few more months and was assigned to the Cadre Noir in Saumur.

Second life
After a few months in Saumur, he decided to leave the army. In 1947 Jean Devaivre who had just directed “La dame d’onze heure" with Paul Meurisse, a film of astonishing modernity, offered him a job as his assistant and Paul de Cordon accepted.
He was Devaivre’s first assistant director for “La ferme des sept péchés" ( he was also the stuntman for scenes on horseback) and for "Vendetta en Camargue" where he reunited with Jacques Dufilho. At that time, in addition to being a stuntman he was also an acrobatic and burlesque dancer.
At the beginning of the 1950s, Paul de Cordon decided to become a professional photographer. He set up a studio in Paris and started developing relations with various clients in the press, advertising agencies, fashion designers, show business ...
He also began to develop a large-scale personal project on the circus and the Crazy Horse Saloon cabaret. He spent many nights with his camera at Medrano, at the Bouglione brothers' Cirque d’Hiver and at the Crazy Horse Saloon. Until the 1990s he also traveled the world to visit
circuses and bring back photos. Over these years, he has developed close ties with the great dynasties of the circus ring : Schumann, Rancy, Knie, Gruss, Bouglione, Houcke, Medrano, Fratellini etc ... In all these families the horse occupied a central role in their performances. This equestrian culture and Paul de Cordon’s experience as a horseman facilitated and consolidated links with all these artists and strengthened their mutual confidence and friendship. His taste for spectacle, ballets and theater helped him to appreciate and better understand the work represented by all these artists. During these years, in addition to his work as a photographer, Paul de Cordon wrote a lot about the circus and this is how the Swiss magazine “L’Année Hippique" often published his articles on horses and circus equestrians.

Circus instants
"Faced with this obstinate pursuit of the perfect gesture, I understood that I was living there what I had always sought: a circus moment". “Instants de Cirque’’ is the title of Paul de Cordon's most famous book, which brings together a selection of images taken over more than thirty years and which he considered particularly representative. The book was edited by Bernard de Fallois who was also a circus lover and an admirer of Paul de Cordon's photos.
This book, published in 1977 by Le Chêne, allows us, with hindsight, to better understand the originality and peculiarity of Paul de Cordon’s photos. The circus is a subject that has greatly inspired photographers attracted by the spectacular and flashy nature of the circus ring. But there is no flashiness in the photos that appear there, they are intimate, shrouded in mystery, charged with a secret emotion. A photo of Gilbert Houcke with his tiger Prince illustrates their peculiarity well: there is no circus ring nor lights, we are backstage, the tamer wears a worn bathrobe, there is a sort of semi-darkness which brings out the eye of the tiger and his outstretched paw, claws extended, which he offers to the caress of the human hand. Few images make you feel with as much force the reciprocal respect and the affection that there can be between a wild beast and his tamer but also the formidable danger, the courage it takes to face it and the amount of work and humility that represent a successful act. This photo may not be what people call a circus photo, but it illustrates what Paul de Cordon called the “instant de cirque’’. Paul de Cordon had a great admiration for tamers and loved wild animals. He liked to enter their cages, accompanied by the tamer of course. He also
chose to include on the jacket of his book, a photo of himself with the lionesses of Georges Marck, wearing the uniform of the 2nd Hussards. The photo was shot by his brother, Benoît de Cordon.
Paul de Cordon was passionately fond of the circus, but he did not like being labeled as a circus photographer because the documentary aspect often linked to that genre and most often sought after by circophiles, was of no interest to him. What he was interested in and what he wanted to express in his photos was, he said, “the peculiarity of an artist, the very core of his art’’. He had an exceptional talent for capturing what others didn't always see, which is probably why so many circus performers wanted to be photographed by him.

Crazy Horse Saloon
Paul de Cordon met Alain Bernardin at the very beginning of the Crazy Horse Saloon.The old coal cellar on the avenue George V had just been converted into a micro cabaret. The former antique dealer who invented the most cerebral strip show in the world and the recently converted cavalry officer shared a common aversion for rules and conventions and were both attracted to show business and pretty women. The friendship between them that lasted many years was punctuated with sulking. They both had a touch of dandyism and a taste for beautiful fabrics and bespoke suits which led them to share a Russian tailor before he emigrated to Hollywood to dress movie stars. Paul de Cordon took hundreds of photos at the Paris cabaret which illustrate the long history of the place . There are also many images shot in the dressing rooms. They are more intimate, devoid of any sort of voyeurism and translate the total confidence of the dancers.This part of his work is less well known as it reveals a different face of his talent.

Portraits
Paul de Cordon is not considered a portrait photographer and yet, one realizes when looking at his work, that he also excelled in this particular art as evidenced by portraits of his friends the Gruss brothers, Alexis and André, of the clown Pipo and of Jean Houcke. His striking portrait of the actor Jacques Dufilho, in a black leather coat captures all the austerity and intelligence of this comedian. His portraits of pop stars are of interest in that they totally ignore the canons of the yé-yé aesthetic
imposed by the iconic music magazine « Salut les copains » (Hello mates).
Paul de Cordon worked regularly for advertising, fashion, and the press.
In advertising he worked for Nikon and Beaulieu shooting their ads and catalogues for several years.
In the press he began working for horse magazines. During the 60’s he did many jobs for the music press and for record companies including photos of pop groups, yé-yé stars, or even latin music groups (Chaussettes noires, Johnny Hallyday, Hugues Aufray, Françoise Hardy, Sylvie Vartan and los Machucambos).
He was also involved in fashion photography and participated for several years in the July fashion show marathons when Paris studios were overbooked for night photoshoots.

3 zebras
In the contemporary world, images are everywhere, and some photos are more famous than their photographers. Everyone knows “Le baîser de l’hôtel de Ville’’ by Robert Doisneau, “Death of a republican soldier’’ by Robert Capa, or “Dovima and the elephants" by Avedon. Paul de Cordon most famous photo, undoubtedly, is “Three zebras’’ which has been presented in all his exhibitions and appears, of course, in Instants de Cirque although it was not shot in a circus but at the Amsterdam Zoo in 1957. This photo was published worldwide, including in the American edition of Life in March 1962.
Paul de Cordon died in March 1998 in Paris, two years before his wife, Dilette, who had accompanied him to circuses around the world. They are buried in Verneuil in the Nièvre. Paul de Cordon is the grandfather of Pierre-Elie de Pibrac, a photographer known in
particular for his work on the Paris Opera. Photos from his book “In Situ’’ (2014) have been exhibited in France and around the world. It was thanks to his grandfather with whom he was very close, that Pierre-Elie de Pibrac developed his vocation for photography.

Books by Paul de Cordon
Girls of the Crazy Horse Saloon Verlagspresse 1971
Instants de Cirque Edition du chêne 1977
Le Cadre Noir Julliard 1981
Passage 5:
Paul De Keyser
Paul De Keyser (born 7 February 1957) is a former Belgian racing cyclist. He rode in the 1980 Tour de France.
Passage 6:
Catherine I of Russia
Catherine I Alekseevna Mikhailova (Russian: Екатери́на I Алексе́евна Миха́йлова, tr. Ekaterína I Alekséyevna Mikháylova; born Polish: Marta Helena Skowrońska, Russian: Ма́рта Самуи́ловна Скавро́нская, tr. Márta Samuílovna Skavrónskaya; 15 April [O.S. 5 April] 1684 – 17 May [O.S. 6 May] 1727) was the second wife and empress consort of Peter the Great, and empress regnant of Russia from 1725 until her death in 1727.

Life as a servant
The life of Catherine I was said by Voltaire to be nearly as extraordinary as that of Peter the Great himself. Only uncertain and contradictory information is available about her early life. Said to have been born on 15 April 1684 (o.s. 5 April), she was originally named Marta Helena Skowrońska. Marta was the daughter of Samuel Skowroński (later spelled Samuil Skavronsky), a Roman Catholic farmer from the eastern parts of the Polish–Lithuanian Commonwealth, born to Minsker parents. In 1680 he married Dorothea Hahn at Jakobstadt. Her mother is named in at least one source as Elizabeth Moritz, the daughter of a Baltic German woman and there is debate as to whether Moritz's father was a Swedish officer. It is likely that two stories were conflated, and Swedish sources suggest that the Elizabeth Moritz story is probably incorrect. Some biographies state that Marta's father was a gravedigger and handyman, while others speculate that he was a runaway landless serf.
Marta's parents died of the plague around 1689, leaving five children. According to one of the popular versions, at the age of three Marta was taken by an aunt and sent to Marienburg (the present-day Alūksne in Latvia, near the border with Estonia and Russia) where she was raised by Johann Ernst Glück, a Lutheran pastor and educator who was the first to translate the Bible into Latvian. In his household she served as a lowly servant, likely either a scullery maid or washerwoman.  No effort was made to teach her to read and write and she remained illiterate throughout her life.
Marta was considered a very beautiful young girl, and there are accounts that Frau Glück became fearful that she would become involved with her son. At the age of seventeen, she was married off to a Swedish dragoon, Johan Cruse or Johann Rabbe, with whom she remained for eight days in 1702, at which point the Swedish troops were withdrawn from Marienburg. When Russian forces captured the town, Pastor Glück offered to work as a translator, and Field Marshal Boris Sheremetev agreed to his proposal and took him to Moscow.
There are unsubstantiated stories that Marta worked briefly in the laundry of the victorious regiment, and also that she was presented in her undergarments to Brigadier General Rudolph Felix Bauer, later the Governor of Estonia, to be his mistress. She may have worked in the household of his superior, Sheremetev. It is not known whether she was his mistress, or household maid.  She travelled back to the Russian court with Sheremetev's army.Afterwards she became part of the household of Prince Alexander Menshikov, who was the best friend of Peter the Great of Russia. Anecdotal sources suggest that she was purchased by him. Whether the two of them were lovers is disputed, as Menshikov was already engaged to Darya Arsenyeva, his future wife. It is clear that Menshikov and Marta formed a lifetime alliance.
It is possible that Menshikov, who was quite jealous of Peter's attentions and knew his tastes, wanted to procure a mistress on whom he could rely. In any case, in 1703, while visiting Menshikov at his home, Peter met Marta. In 1704, she was well established in the Tsar's household as his mistress, and gave birth to a son, Peter. In 1703, she converted to Orthodoxy and took the new name Catherine Alexeyevna (Yekaterina Alexeyevna). She and Darya Menshikova accompanied Peter and Menshikov on their military excursions.

Marriage and family life
Though no record exists, Catherine and Peter are described as having married secretly between 23 October and 1 December 1707 in Saint Petersburg. They had twelve children, two of whom survived into adulthood, Anna (born 1708) and Elizabeth (born 1709).
Peter had moved the capital to St. Petersburg in 1703. While the city was being built he lived in a three-room log cabin with Catherine, where she did the cooking and caring for the children, and he tended a garden as though they were an ordinary couple. The relationship was the most successful of Peter's life and a great number of letters exist demonstrating the strong affection between Catherine and Peter. As a person she was very energetic, compassionate, charming, and always cheerful. She was able to calm Peter in his frequent rages and was often called in to do so.
Catherine went with Peter on his Pruth Campaign in 1711. There, she was said to have saved Peter and his Empire, as related by Voltaire in his book Peter the Great. Surrounded by overwhelming numbers of Turkish troops, Catherine suggested before surrendering, that her jewels and those of the other women be used in an effort to bribe the Ottoman grand vizier Baltacı Mehmet Pasha into allowing a retreat.
Mehmet allowed the retreat, whether motivated by the bribe or considerations of trade and diplomacy. In any case Peter credited Catherine and proceeded to marry her again (this time officially) at Saint Isaac's Cathedral in St. Petersburg on 9 February 1712.  She was Peter's second wife; he had previously married and divorced Eudoxia Lopukhina, who had borne him the Tsarevich Alexis Petrovich. Upon their wedding, Catherine took on the style of her husband and became Tsarina. When Peter elevated the Russian Tsardom to Empire, Catherine became Empress. The Order of Saint Catherine was instituted by her husband on the occasion of their wedding.

Issue
Catherine and Peter had twelve children, all of whom died in childhood except Anna and Elizabeth:

Peter Petrovich (1704–1707), died in infancy
Paul Petrovich (October 1705–1707), died in infancy
Catherine Petrovna (7 February 1707–7 August 1708)
Grand Duchess Anna Petrovna (27 January 1708–15 May 1728)
Grand Duchess Elizabeth Petrovna (29 December 1709–5 January 1762)
Grand Duchess Mary Natalia Petrovna (20 March 1713–17 May 1715)
Grand Duchess Margaret Petrovna (19 September 1714–7 June 1715)
Grand Duke Peter Petrovich (9 November 1715–6 May 1719)

Grand Duke Paul Petrovich (13 January 1717–14 January 1717)
Grand Duchess Natalia Petrovna (31 August 1718–15 March 1725)
Grand Duke Peter Petrovich (7 October 1723–7 October 1723)
Grand Duke Paul Petrovich (1724–1724)

Siblings
Upon Peter's death, Catherine found her four siblings, Krystyna, Anna, Karol, and Fryderyk, gave them the newly created titles of Count and Countess, and brought them to Russia.

Krystyna Skowrońska, renamed Christina (Russian: Христина) Samuilovna Skavronskaya (1687–14 April 1729), had married Simon Heinrich (Russian: Симон Гейнрих) (1672–1728) and their descendants became the Counts Gendrikov.
Anna Skowrońska, renamed Anna Samuilovna Skavronskaya, had married one Michael-Joachim N and their descendants became the Counts Efimovsky.
Karol Skowroński, renamed Karel Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and made a Chamberlain of the Imperial Court; he had married Maria Ivanovna, a Russian woman, by whom he had descendants who became extinct in the male line with the death of Count Paul Martinovich Skavronskyi (1757-1793), father of Princess Catherine Bagration.
Fryderyk Skowroński, renamed Feodor Samuilovich Skavronsky, was created a Count of the Russian Empire on 5 January 1727 and was married twice: to N, a Lithuanian woman, and to Ekaterina Rodionovna Saburova, without having children by either of them.

Reign as empress regnant
Catherine was crowned in 1724. The year before his death, Peter and Catherine had an estrangement over her support of Willem Mons, brother of Peter's former mistress Anna, and brother to one of the current ladies in waiting for Catherine, Matryona. He served as Catherine's secretary. Peter had fought his entire life to clear up corruption in Russia. Catherine had a great deal of influence over who could gain access to her husband. Willem Mons and his sister Matryona had begun selling their influence to those who wanted access to Catherine and, through her, to Peter. Apparently this had been overlooked by Catherine, who was fond of both. Peter found out and had Willem Mons executed and his sister Matryona exiled. He and Catherine did not speak for several months. Rumors flew that she and Mons had had an affair, but there is no evidence for this.
Peter died (28 January 1725 Old Style) without naming a successor. Catherine represented the interests of the "new men", commoners who had been brought to positions of great power by Peter based on competence. A change of government was likely to favor the entrenched aristocrats. For that reason during a meeting of a council to decide on a successor, a coup was arranged by Menshikov and others in which the guards regiments with whom Catherine was very popular proclaimed her the ruler of Russia. Supporting evidence was "produced" from Peter's secretary Makarov and the Bishop of Pskov, both "new men" with motivation to see Catherine take over. The real power, however, lay with Menshikov, Peter Tolstoy, and other members of the Supreme Privy Council.
Catherine viewed the deposed empress Eudoxia as a threat, so she secretly moved her to Shlisselburg Fortress near St. Petersburg to be put in a secret prison under strict custody as a state prisoner.

Death
Catherine I died two years after Peter I, on 17 May 1727 at age 43, in St. Petersburg, where she was buried at St. Peter and St. Paul Fortress. Tuberculosis, diagnosed as an abscess of the lungs, caused her early demise.
Before her death she recognized Peter II, the grandson of Peter I and Eudoxia, as her successor.

Assessment and legacy
Catherine was the first woman to rule Imperial Russia, opening the legal path for a century almost entirely dominated by women, including her daughter Elizabeth and granddaughter-in-law Catherine the Great, all of whom continued Peter the Great's policies in modernizing Russia.  At the time of Peter's death the Russian Army, composed of 130,000 men and supplemented by another 100,000 Cossacks, was easily the largest in Europe.  However, the expense of the military was proving ruinous to the Russian economy, consuming some 65% of the government's annual revenue.  Since the nation was at peace, Catherine was determined to reduce military expenditure.  For most of her reign, Catherine I was controlled by her advisers.  However, on this single issue, the reduction of military expenses, Catherine was able to have her way.  The resulting tax relief on the peasantry led to the reputation of Catherine I as a just and fair ruler.The Supreme Privy Council concentrated power in the hands of one party, and thus was an executive innovation. In foreign affairs, Russia reluctantly joined the Austro-Spanish league to defend the interests of Catherine's son-in-law, the Duke of Holstein, against Great Britain.
Catherine gave her name to Catherinehof near St. Petersburg, and built the first bridges in the new capital. She was also the first royal owner of the Tsarskoye Selo estate, where the Catherine Palace still bears her name.
The city of Yekaterinburg is named after her, Yekaterina being the Russian form of her name.
She also gave her name to the Kadriorg Palace (German: Katharinental, meaning "Catherine's Valley"), its adjacent Kadriorg Park and the later Kadriorg neighbourhood of Tallinn, Estonia, which today houses the Presidential Palace of Estonia. The name of the neighbourhood is also used as a metonym for the institution of the President.
In general, Catherine's policies were reasonable and cautious.  The story of her humble origins was considered by later generations of tsars to be a state secret.

See also
Bibliography of Russian history (1613–1917)
Rulers of Russia family tree

Notes
Passage 7:
Lyudmyla Olyanovska
Lyudmyla Olyanovska (Ukrainian: Людмила Оляновська; born 20 February 1993, in Kyiv) is a Ukrainian race walker.

Career
She won the bronze medal in the 20 kilometer racewalking event at the 2015 World Championships in Athletics in Beijing, China.
In 2014, she won the silver medal in the 20 kilometres racewalking event at the 2014 European Championships in Athletics.
In February 2017, she was disqualified for doping rules violation for four years since 30 November 2015 until 29 November 2019.

National records
She holds three national records in racewalking:
Passage 8:
Antoine Pescatore
Constantin-Joseph-Antoine Pescatore, known as Antoine Pescatore, was born on 16 December 1787 in Luxembourg City, and died on 31 October 1858 in Sandweiler. He was a businessman and politician.
From 1817 to 1820, he was mayor of the city of Luxembourg.From 1842 to 1848 he was a member of the Assembly of Estates, and from 1854 to 1856 was a member of the Chamber of Deputies.In 1845 he became a founding member of the Société pour la recherche et la conservation des monuments historiques dans le Grand-Duché de Luxembourg.
His daughter Marie Pescatore (1819-1894) married Paul de Scherff.
Passage 9:
Paul de Maleingreau
Paul Constant Eugène de Maleingreau (23 November 1887 - 9 January 1956) was a Belgian composer and organist.

Biography
Paul Constant Eugène Malengreau was born in  Trélon, Nord, France. He later changed his surname to "de Maleingreau". From 1905 to 1912 he studied at the Brussels Conservatory where his principal teachers were Alfons Desmet, Paul Gilson and Edgar Tinel. He began teaching at the Conservatory in 1913 and was professor of organ (succeeding Desmet) from 1929 until 1953.  His pupils included Pierre Froidebise, Charles Koenig, Robert Kohnen, Marcel Druart, Paul Sprimont and Herman Roelstraete.
In 1921 and 1922 he was the first to play Bach’s complete organ works in Brussels.
Gregorian plainsong forms the basis of most of Malengreau’s compositions, and indeed part of his output is intended for the liturgy. He also wrote programme music, his organ symphonies being inspired by paintings by Rogier van der Weyden and the van Eyck brothers. While the chromaticism and cyclic treatment of themes reveal the influence of Franck, certain harmonic progressions are typical of Impressionist music.
He was a member of the Libre Académie, and died in Brussels in 1956.

Selected works
Publication dates and publishers in parentheses where known.

Organ
Op. 2  Élévation (1912, Hérelle)
Op. 3 no. 1 Post partum Virgo inviolata permansisti (Hérelle, Fortemps)
Op. 3 no. 2 Ego sum panis vivus (Hérelle, Fortemps)
Op. 10 Opus sacrum: In nativitate Domini (1920, Chester)
Op. 14 Suite (1919, Durand)
Op. 18 nos.1 & 2 Offrande musicale (1920, Chester)
Op. 18 no. 3 Toccata (1920, Chester)
Op. 19 Symphonie de Noël (1920, Chester)
Op. 20 Symphonie de la Passion (1923, Senart)
Op. 22 Opus sacrum II: In feriis Quadragesimae (1923, Senart)
Op. 23 Triptyque pour la Noël (1923, Salabert)
Op. 24 Symphonie de l’Agneau mystique (1926, Leduc)
Op. 25 Préludes à l’introit pour orgue sans pédale (1924, Senart)
Op. 26 no. 4 Noël parisienne
Op. 27 Élévations liturgiques (1935, Herelle-Philippo)
Op. 30 Messe du jour de Noël (1938, Philippo)
Op. 31 Messe de pâques (Hérelle-Philippo)
Op. 35 Méditation pour le temps pascal: Quoniam ipsius est mare (1939, Hérelle)
Op. 60 Préludes de carème (1952, Oxford)
Op. 65 Suite mariale (1939, Oxford)
Op. 71 Suite: Four paraphrases on hymns to the Virgin (1937, Oxford)
Op. 103 Diptyque de la Toussaint (1952, Fischer)

Piano
Op. 7 Prélude-Chorale et fugue (1920, Chester)
Op. 8 No. 1 Cygnes de neige sur des lacs de Lapis-Lazuli (F. Lauweryns)
Op. 9 Suite pour piano (1920, Chester)
Op. 12 Sonatine pour piano (1917, Lauweryns)
Op. 17 Les angelus du printemps : suite pittoresque pour piano (1920, Chester)
Suite enfantine  (1934, Senart)

Chamber
Op. 15 Sonate pour violoncelle et piano (1919, Durand)
Passage 10:
W. Augustus Barratt
W. Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician.

Early life and songs
Walter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won a scholarship for composition to the Royal College of Music.
In his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.
By the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.
He then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, "The Proms", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.
His setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times. It also appeared four times, with different singers, in the 1913 and 1914 Proms.

America
In September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:

on-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;
musical director of The Little Michus (1907), also featuring songs by Barratt;
co-composer of Miss Pocahontas (1907), a musical comedy;
musical director of The Love Cure (1909–1910), a musical romance;
composer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst. Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;
musical director of The Quaker Girl (1911–1912);
co-composer and musical director of My Best Girl (1912);
musical director of The Sunshine Girl (1913);
musical director of The Girl who Smiles (1915), a musical comedy;
musical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);
composer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;
contributor of a song to The Passing Show of 1918;
composer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;
contributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;
musical director of What's in a Name? (1920), a musical revue

1921 in London
Though domiciled in the US, he made several visits back to England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namely

League of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;
Fun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics

Back to Broadway
Back in the US he returned to Broadway, working as
composer and lyricist of Jack and Jill (1923), a musical comedy;
musical director of The Silver Swan (1929), a musical romance

Radio plays
In later years he wrote plays and operettas mostly for radio, such as:

Snapshots: a radioperetta (1929)
Sushannah and the Brush Wielders: a play in 1 act (1929)
The Magic Voice: a radio series (1933)
Men of Action: a series of radio sketches (1933)
Say, Uncle: a radio series (1933)
Sealed Orders: a radio drama (1934)
Sergeant Gabriel (with Hugh Abercrombie) (1945)

Personal
In 1897 in London he married Lizzie May Stoner. They had one son. In 1904 he emigrated to the US and lived in New York City. His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalized American citizen. He died on 12 April 1947 in New York City.

Note on his first name
The book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to "his son William Augustus Barratt" with details that make it clear that Walter Augustus Barratt is the same person and that a "William" Augustus Barratt is a mistake. For professional purposes up to about 1900 he appears to have written as "W. Augustus Barratt", and thereafter mostly as simply "Augustus Barratt".

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

Question: Who was born later, Paul De Scherff or Lyudmyla Olyanovska?



Answer: Lyudmyla Olyanovska