The Surrender of Breda. The mission station was used as the headquarters for the British army, after which the mission lost support among Māori. The mission station gradually fell into disrepair and the buildings were subsequently put up for sale. Today the only remnant on the site is the house originally occupied by George Clarke, which is preserved by Heritage New Zealand as a museum. Modern history. The existing St. John the Baptist Church at Waimate North was built in 1870 and 1871. Waimate North Christian School closed in 2005. Marae. The local Tauwhara Marae and Te Rangiawhiowhio meeting house is a traditional meeting 	Waimate North
22595813	ground for the Ngāpuhi hapū of Ngāi Tāwake, Ngāti Hineira, Ngāti Rēhia, Ngāti Tawake ki te Tuawhenua and Whānautara. In October 2020, the Government committed $500,000 from the Provincial Growth Fund to upgrade the marae, creating 29 jobs. Demographics. Waimate North is in an SA1 statistical area which covers and includes an area north of Ōhaeawai and south of the Waitangi River. The SA1 area is part of the larger Ōhaeawai-Waimate North statistical area. The SA1 statistical area had a population of 213 at the 2018 New Zealand census, an increase of 39 people (22.4%) since the 2013 	Waimate North
22595814	census, and an increase of 42 people (24.6%) since the 2006 census. There were 78 households, comprising 105 males and 105 females, giving a sex ratio of 1.0 males per female. The median age was 51.0 years (compared with 37.4 years nationally), with 30 people (14.1%) aged under 15 years, 33 (15.5%) aged 15 to 29, 99 (46.5%) aged 30 to 64, and 54 (25.4%) aged 65 or older. Ethnicities were 80.3% European/Pākehā, 31.0% Māori, 1.4% Pacific peoples, 1.4% Asian, and 1.4% other ethnicities. People may identify with more than one ethnicity. Although some people chose not to answer 	Waimate North
22595815	the census's question about religious affiliation, 47.9% had no religion, 40.8% were Christian, 4.2% had Māori religious beliefs, 1.4% were Buddhist and 1.4% had other religions. Of those at least 15 years old, 39 (21.3%) people had a bachelor's or higher degree, and 33 (18.0%) people had no formal qualifications. The median income was $29,600, compared with $31,800 nationally. 24 people (13.1%) earned over $70,000 compared to 17.2% nationally. The employment status of those at least 15 was that 93 (50.8%) people were employed full-time, 30 (16.4%) were part-time, and 6 (3.3%) were 	Waimate North
22595816	unemployed. Waimate North Waimate North is a small settlement in Northland, New Zealand. It is situated between Kerikeri and Lake Ōmāpere, west of the Bay of Islands. It was one of the earliest centres of European settlement and features the second-oldest surviving European building in New Zealand, at Te Waimate Mission. History. Pre-European history. Okuratope Pā was situated here and was the home to chief Te Hotete (father of Hongi Hika) of the Ngai Tawake hapū in the late 18th-early 19th centuries. A major disturbance took place here in 1800, when an attacking Ngare Raumati war party 	Waimate North
22595817	Julio Ramírez (baseball) Julio Ramírez (baseball) Julio Cesar Ramírez (born 10 August 1977) is a former Major League Baseball center fielder. He played five seasons, starting in 1999 with the Florida Marlins, then moving on to the Chicago White Sox, Anaheim Angels and San Francisco Giants. Julio is currently the OF coach for the White Sox Dominican league team External links. , or Retrosheet Julio Ramírez (baseball) Julio Cesar Ramírez (born 10 August 1977) is a former Major League Baseball center fielder. He played five seasons, starting in 1999 with the Florida Marlins, then moving on to the Chicago White Sox, Anaheim Angels and 	Julio Ramírez (baseball)
22595818	The Surrender of Breda The Surrender of Breda La rendición de Breda (English: The Surrender of Breda, also known as Las lanzas – The Lances") is a painting by the Spanish Golden Age painter Diego Velázquez. It was completed during the years 1634–35, inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese-born Spanish general who conquered Breda on June 5, 1625. The painting depicts the exchange of the key of Breda from the Dutch's possession, to the Spanish. It is considered one of Velázquez's best works. Velázquez composed "The Surrender of Breda" into two halves, which included the Dutch  leader Justinus van Nassau, and Spanish Genoese general, Spinola. Jan Morris has called it "one of the most Spanish of all pictures". Background. "The Surrender of Breda" depicts a military victory, the 1624 Siege of Breda, during the Eighty Years War. This war began due to a revolt against Philip II of Spain by the Seventeen Provinces, which today includes the Netherlands, Belgium and Luxembourg. Velázquez captured the end of the battle, as he also differentiated the two sides, one which is the Dutch, and the other side, the Spanish. The painting presents the Spanish as a strong force, while  including both sides of the battle and depicting facial expressions of fatigue that reflect the reality of war. The painting was commissioned by Philip IV of Spain between 1630 and 1635 for the palace of Buen Retiro along the eastern city limits of Madrid. The painting was intended to glorify the military accomplishments and acquisition by the Spanish, uplifting Philip IV. At the time, Spain was in economic decline. "The Surrender of Breda" was displayed in the Hall of Realms with nineteen other paintings. The decoration of the Hall of Realms was directed by the Spanish minister, Gaspar de Guzmán , Count-Duke of Olivares. Velazquez was requested to paint relating to the subject of horse riding, one battle scene, and "The Surrender of Breda." This work completed by Velazquez represents the most significant and undaunted painting in the Hall of Realms, as well as one of Velazquez's best works. Through the hundreds of paintings that Guzmán made use of,"The Surrender of Breda" would become the most important piece in the Hall of Realms. Description. Composition. Velázquez addresses the details of many individuals by painting the setting across two halves, where the battle takes place in the background. The surrender  portion of the scene takes place in the foreground, with the leading individuals placed clearly in the center. The focus of the composition is in the foreground, where the exchange of the keys is shown in the very front, while in the background, the smoky sky shows evidence of destruction and death. The painting depicts many Spanish soldiers in comparison to the fewer number of Dutch soldiers, and the Dutch weapons appear to have been either destroyed, thrown away, or even surrendered as a result of their performance of the battle. In contrast, the victorious Spaniards stand before a mass  of upright lances on the right side of the composition. José Ortega y Gasset described these lances as "the backbone of the entire picture and largely responsible for the impression of calm permeating this essentially lively scene." Velázquez used effective perception and aerial techniques that support "The Surrender of Breda" as one of his finest works. Color. The painting's relatively light tonality and bright colors reveal the influence of Venetian painting. There is no use of violent reds or bright blues; rather calm brown colors with dark shadows in the foreground are used. Also, there is believed to be  a connection between Velázquez's use of color, as he had taken a trip to Italy to study Renaissance art. In addition to the color techniques he became equipped to, Velázquez also gained improved skills with space, perspective and light. Subject matter. At the center of the composition, Justinus van Nassau is seen surrendering and handing over the key of the city to Spinola and Spain. Spinola, the Genoese general, commanded the Spanish tercios which included pikeman, swordsman, and musketeers as displayed in the painting. Painting materials. An in-depth analysis and investigation was conducted to examine the painting around  1989 in Museo Prado. The analysis found that Velázquez used many of the same pigments that he had used in other paintings. These pigments included lead white with calcite, azurite mixed with small amounts of charcoal black, ochres and vermilion. The painted was produced on canvas that is sized Reception. The response to Velazquez's artwork was grand at the very least, with the critical reaction being that "The Surrender of Breda" was the most impressive Spanish works of art. Also, the artwork solidified Velazquez's effort as the most superb depiction of Spanish Baroque, provided that Baroque art was  closely connected to humanity and how people should be seen and represented. Influence. One of Velázquez's contemporaries, Peter Paul Rubens, has been cited to be an inspiration for the work connected to "The Surrender of Breda". Despite differences in style between the two Baroque artists, Ruben's prior works such as The Reconciliation of Esau and Jacob, produced in 1624, has resemblance in terms of its composition and philosophical concepts. More commonly, Velázquez's piece has been tied to Rubens' "Meeting of King Ferdinand of Hungary and Cardinal", completed in 1635. The possibility of influence on Rubens' later work  has been argued, as both Velazquez and Rubens completed their work around the same time. More likely, both artists produced very similar work in addition to having such a close relationship. Velázquez's work also seems to have been inspired by his trip to Italy with Spinola. Historical accuracy. The painting illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation. At the center of the painting, literally and figuratively, is  the key given to Ambrogio Spinola by Justin of Nassau. This battle painting is notable for its static and sentimental qualities, as Velázquez left out the blood and gore that would normally be linked to the violence of such battles. According to the statement made by eye-witnesses, both [Spinola and Nassau] had dismounted and Spinola awaited the arrival of Justin surrounded by a “crown” of princes and officers of high birth. The governor then presented himself with his family, kinsfolk and distinguished students of the military academy, who had been shut up in the place during the siege. Spinola  greeted and embraced his vanquished opponent with a kindly expression and still more kindly words, in which praised the courage and endurance of the protracted defense. The extraordinary respect and dignity Spinola demonstrated towards the Dutch army is praised through "The Surrender of Breda." Spinola “had forbidden his troops to jeer at, or otherwise abuse the vanquished Dutch, and, according to a contemporary report, he himself saluted Justin.” The painting demonstrates the glimpses of humanity that can be exposed as a result of the war and commends Spinola's consideration for Nassau and the Dutch army. Velázquez's relationship with  Spinola makes "The Surrender of Breda" especially historically accurate. The depiction of Spinola is undoubtedly accurate, and Spinola's memory of the battle contributed to the perspective with which Velázquez composed the painting. Velázquez “desired in his modest way to raise a monument to one of the most humane captains of the day, by giving permanence to his true figure in a manner of which he alone had the secret.” Nevertheless, Velázquez made one remarkable mistake: Probably following Spinola's description, he painted the dutch Prince's Flag ("Prinsenvlag"), which is dipped on the painting behind Justinus van Nassau's  head to salute the victorious Spaniards, as horizontal tricolour of blue, red and white (from the top down). In fact, the colour scheme was orange, white, blue (some years later, orange was replaced by red). In popular culture. The motion picture "Alatriste", a 2006 Spanish epic historical fiction war film directed by Agustín Díaz Yanes, contains a scene showing the surrender of Breda as the basis for the painting. The Surrender of Breda La rendición de Breda (English: The Surrender of Breda, also known as Las lanzas – "The Lances") is a painting by the Spanish Golden Age painter Diego Velázquez