1919

1918

It's now 1917 and Nanne begins his second year of recording life in the Netherlands. Now 16 years old, the Great War continues to rage as food becomes more scarce and friends begin to join the military. In the midst of this, Nanne lives a familiar teenage life complete with ice skating, run ins with the law, and mocking friends for singing off key. This episode will take us through the year 1917 for the family living in Holland.

It's new years day 1916 and in the small Dutch town of Uithoorn a 15 year old boy named Nanne Vriend begins a diary. Living just outside of Amsterdam in the peak of the first world war, Nanne describes daily life shaped by the ongoing conflict. This episode will take us through the year 1916 for the family living in Holland.

The Rialto Bridge is the oldest of the four bridges spanning the Grand Canal in Venice, Italy. Connecting the districts of San Marco and San Polo, it has been rebuilt several times since its first construction as a pontoon bridge in 1173, and is now a significant tourist attraction in the city.

Santa Maria della Salute (English: Saint Mary of Health), commonly known simply as the Salute, is a Roman Catholic church and minor basilica located at Punta della Dogana in the Dorsoduro sestiere of the city of Venice, Italy.

It stands on the narrow finger of Punta della Dogana, between the Grand Canal and the Giudecca Canal, at the Bacino di San Marco, making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called plague churches.

In 1630, Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health. The church was designed in the then fashionable Baroque style by Baldassare Longhena, who studied under the architect Vincenzo Scamozzi. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.

The Doge's Palace is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic. It was built in 1340 and extended and modified in the following centuries. It became a museum in 1923.

The Patriarchal Cathedral Basilica of Saint Mark, commonly known as St Mark's Basilica, is the cathedral church of the Catholic Patriarchate of Venice. It is dedicated to and holds the relics of Saint Mark the Evangelist, the patron saint of the city.

The church is located on the eastern end of Saint Mark's Square, the former political and religious center of the Republic of Venice, and is attached to the Doge's Palace. Prior to the fall of the republic in 1797, it was the chapel of the Doge and was subject to his jurisdiction, with the concurrence of the procurators of Saint Mark de supra for administrative and financial affairs.

The present structure is the third church, begun probably in 1063 to express Venice's growing civic consciousness and pride. Like the two earlier churches, its model was the sixth-century Church of the Holy Apostles in Constantinople, although accommodations were made to adapt the design to the limitations of the physical site and to meet the specific needs of Venetian state ceremonies. Middle-Byzantine, Romanesque, and Islamic influences are also evident, and Gothic elements were later incorporated. To convey the republic's wealth and power, the original brick façades and interior walls were embellished over time with precious stones and rare marbles, primarily in the thirteenth century. Many of the columns, reliefs, and sculptures were spoils stripped from the churches, palaces, and public monuments of Constantinople as a result of the Venetian participation in the Fourth Crusade. Among the plundered artefacts brought back to Venice were the four ancient bronze horses that were placed prominently over the entry.

The interior of the domes, the vaults, and the upper walls were slowly covered with gold-ground mosaics depicting saints, prophets, and biblical scenes. Many of these mosaics were later retouched or remade as artistic tastes changed and damaged mosaics had to be replaced, such that the mosaics represent eight hundred years of artistic styles. Some of them derive from traditional Byzantine representations and are masterworks of Medieval art; others are based on preparatory drawings made by prominent Renaissance artists from Venice and Florence.