Zinow Genealogy Website

The history of the Norwegian Zinow family, and their connected families of Lorentzen, Hugaas, Schøyen, Møller, Skrogstad, Høyem, Reitan, Brinchmann, Sværen, Harbo, Bernhoft, Hiorth, Linge, Tjomsaas, Cudrio, Borlaug, Husabø, Børsheim, Coucheron, Irgens etc. ...and for our beautiful long-haired dachshund; Tina

Notes

Matches 801 to 850 of 16,193

#	Notes	Linked to
801	After the divorce, in 1070, from his first wife, Welf married Judith of Flanders, daughter of Baldwin 4, Count of Flanders, and the widow of Tostig Godwinson, Earl of Northumbria.	Family: Welf av Bayern / Judith av Flandern (F5472)
802	After the marriage... The family later attended Madison Street Bible Church (Calvary) where Gus served as a Bible School teacher, receiving treasurer, elder, and faithful prayer warrior. Gus worked as an accountant at Marshall Fields, Smith Motor Truck Corp., and Siegel-Kooper. For 35 years he was employed by the Old Ben Coal Corporation, beginning as bookkeeper and retiring in 1953 as Treasurer. By far the greatest interest and concern in his life was an undying devotion to his Lord and Saviour and a resignation to live a life pleasing to Him. It was only natural that the fruits of the Spirit--love, joy, peace, longsuffering, gentleness, goodness, faith, meekness, temperance (Gal. 5:22) expressed the character of his life.	Grosser, Gustave Adolph (I10364)
803	At least one living or private individual is linked to this note - Details withheld.	Living (I1346)
804	Age 61 of Rock Falls, died Thursday, at her home. Jeanetta was born in Sterling to Leslie and Rebecca (Stone) Skrogstad. She married on May 2, 1970 in Sterling. She was preceded in death by her parents; two brothers, Larry and Dwayne Skrogstad and one nephew.	Skrogstad, Jeanetta Sue "Gerdes" (I10262)
805	Age 69 of Rock Falls, died Wednesday, March 11, 2015 at home. Joe was born on November 20, 1945 in Sterling, IL to Robert and Hazel (Jennings) Gerdes. He was employed for many years at Northwestern Steel and Wire. Joe married Jeanetta Skrogstad on May 2, 1970 in Sterling; she preceded him in death on November 20, 2014.	Gerdes, Joel L. (I10263)
806	Agers kirke.	Christoffersen Schøller, Caspar (I15319)
807	Agerøens kirke.	Henriksdatter Sylvius, Anna "Leganger" (I2903)
808	Agmunds andre ekteskap.	Family: Agmund Berdorsen Bolt / Gunnhild Bergsveinsdatter (F3007)
809	At least one living or private individual is linked to this note - Details withheld.	Living (I1348)
810	Agnes Hiorth er kjent som portrettmaler i sær og malte blant annet en rekke representasjonsportretter av kongefamilien. Agnes Hiorth vokste opp i et velstående og kultivert hjem i Kristiania. Hennes mor var kunstnerisk begavet og malte, og sannsynligheten er stor for at Agnes i oppveksten ble oppmuntret til å tegne og male. Utdannelse: Statens Håndverks- og Kunstindustriskole, Oslo 1916. Elev av Harald Brun 1918. Pola Gauguins malerskole 1918–1920. Statens Kunstakademi, Oslo under Axel Revold 1925–1926 og Georg Jacobsen 1935–1936. Allerede 19 år gammel begynte hun som elev hos maleren Harald Brun. Deretter var hun elev ved Pola Gauguins malerskole 1918–1920 og ved Statens Kunstakademi i 2 perioder, under Axel Revold 1925–1926 og Georg Jacobsen 1935–1936. Stipender, reiser og utenlandsopphold: Th. Fearnleys Minnestip. 1964. Stip. for eldre fortjente kunstnere fra 1978. Studieopphold i Paris bl.a. 1927–1928, Italia 1924, 1928 og 1964–1965, Spania 1934 og 1935. Hun debuterte på Statens høstutstilling 1922 med landskapsmaleriet Vår i Bærum, og 2 år senere hadde hun sin første separatutstilling. Da viste hun landskaper som Natt i fjellet og enkelte religiøse komposisjoner, Sabbat og Den korsfestede. Også i årene fremover kom landskapet til å spille en viktig rolle, men mer og mer kom hun likevel til å konsentrere seg om portrettmaleriet. De 2 oppholdene ved Kunstakademiet har ikke umiddelbart nedfelt seg i Agnes Hiorths kunst. Verken Revolds fargesterke kunst eller Jacobsens teoretisk baserte maleri ser ut til å ha satt særlige spor etter seg. Hennes maleri har vært karakterisert som nyimpresjonistisk, og fargevalget er ofte dempet og avstemt, penselstrøkene er lette og formene til tider nesten oppløst. Hun fant imidlertid snart fram til sin spesielle portrettstil, bygd på impresjonismens lette, maleriske strøk og blonde farger, som hun behandlet med utsøkt koloristisk sans. Intuitivt griper hun i sine beste arbeider modellens egenart; menneskelig forståelse og sympati er for henne en vesentlig forutsetning for at bildet skal lykkes. Det er særlig som portrettmaler Agnes Hiorth er kjent. Både i samtiden og i ettertiden er hennes portrettkunst fremhevet. Hun har malt en rekke representasjonsportretter, men også portretter av mer privat karakter. Blant hennes mest kjente arbeider bør nevnes portrettene av kongefamiliens medlemmer, Kong Haakon 7, Kronprins Olav, begge 1948, Kronprinsesse Märtha, 1957, og Prins Harald, 1950. Agnes Hiorth har også malt en lang rekke kunstnerportretter, som Nini Roll Anker, Fartein Valen og Olav Duun. Portrettet av komponisten Fartein Valen kan stå som eksempel på Agnes Hiorths forståelsesfulle og sympatiserende portrettkunst. Med duse farger og løse penselstrøk maner hun frem den portrettertes mest markante trekk, men uten å utlevere. Med en enestående innlevelsesevne formidler hun mennesket hun har som modell, enten det er en overlege, en general eller naboens datter. Om hennes palett er dempet, er fargespekteret stort, og hennes evne til å balansere varme og kalde farger, og avstemme dem med den avbildede, er meget god. I Oslos kunstneriske miljø var Agnes Hiorth en viktig personlighet. Hun hadde god kontakt med andre kunstnere, og hennes atelier var en kveld annenhver uke åpent for besøkende. Hit kom unge kunstmalere, men også forfattere og komponister, og diskusjonstemaene var mange. Hennes produksjon var ikke stor, og etter hvert som oppdragene strømmet inn, kom den i større og større grad til å bestå av portretter. Til en viss grad fortsatte hun også med landskapsmaleriet. Også 3 av hennes landskaper finnes i Nasjonalgalleriet. Hun malte også flere religiøse komposisjoner. Agnes Hiorth er representert i blant annet Nasjonalgalleriet, Bergen Kunstmuseum, Lillehammer Kunstmuseum og Oslo kommunes kunstsamlinger. Blant hennes tidlige arbeider (inntil ca. 1930) kan nevnes portrettene av Nini Roll Anker (en senere utgave, 1937, Aschehougs forlag), Fartein Valen (også flere senere utgaver, 1948 Riksgalleriet og Stavanger Faste Galleri) og Else Christie Kielland. Utover i 1930-årene ble oppdragene tallrike. For Aschehougs forlag malte hun forfattere og litterater som Kristian Elster d.y. og Eugenia Kielland (begge 1940), for Universitetet i Oslo Johan Hjort (1939) og det staselige portrett av Kristine Bonnevie (1940). Andre forfatterportretter er Tore Ørjasæter (1938), Olav Duun (1939) og Gunnar Reiss-Andersen (1940). Foruten bildene av slekt og venner (faren Adam H. 1939, Nasjonalgalleriet, Oslo, og 1943, Bergen Billedgalleri; Else Christie Kielland 1947; Bjarne Riise 1952; Inge Krokann 1958; Elsa Lystad 1960) opptok de store representasjonsportretter mer og mer av hennes tid. Hun malte kongefamilien i tre generasjoner: Kong Haakon 7. (1948 Oslo rådhus, 1948, Oslo Militære Samfund, 1972, Stortinget); Kong Olav 5. (1948, Oslo Militære Samfund, 1973, Det Kgl. Slott og Arendal rådhus); Kronprinsesse Märtha (1957, Det Kgl. Slott); Kronprins Harald (1950, Smestad skole). Hun har malt en nesten uoverskuelig rekke av kjente kvinner og menn, politikere som Fredrik Monsen (1954), Asbjørn Lindboe (1961); Halvard Lange (1962) og Einar Gerhardsen (1969, Regjeringsbygningen); geistlige som biskopene Kristian Schjelderup (1960, Hamar domkirke), Arne Fjellbu (1962, Trondheim domkirke), Fridtjov Birkeli (1968, Stavanger domkirke) og Olav Hagesæther (1976, Stavanger domkirke), domprost Johannes Hygen (1947, Oslo domkirke), domprost Christian Svanholm (1976, Stavanger domkirke); militære som generalmajor Jacob Hvinden Haug (1948, Oslo Sparebank, en annen utgave i Den norske Frimurerorden), oberst Oswald Nordlie, (1951) og generalløytnant Otto Ruge (1952, Oslo Militære Samfund). Videre ledende menn i bank- og næringsliv som Nicolai Rygg (1952, Norsk Kredittforening), Sigval og Charles Bergesen (1964–65) og Johan Melander (1968, Den norske Creditbank). Endelig en lang rekke navn fra norsk vitenskap og høyere undervisning: A. Galtung (1947, Ullevål), Harald Dahl (1954, Norges Tekniske Høyskole), Rolf Bull-Hansen (1956, Statens lærerskole i forming, Notodden), Frede Castberg (1958, Universitetet i Oslo), A. Watzinger (1958, Norges Tekniske Høyskole), Magnus Olsen (1958, Det Norske Videnskaps-Akademi), Rolf Nordhagen og Helga Eng (begge 1959, Universitetet i Oslo), Sigvald Bakke (1959, Universitetet i Bergen), Carl Bugge (1959, Norges geologiske undersøkelser, Trondheim), N. Danbolt (1960, Rikshospitalet), Erik Waaler (1960) og Th. M. Vogelsang (1962), begge Universitetet i Bergen, Ragnar Frisch (1962, Universitetet i Oslo), Helge Klæstad (1962, Fredspalasset i Haag), Leiv Amundsen (1962, Det Norske Videnskaps-Akademi), Rasmus Mork (1964, NLH), Edgar B. Schieldrop (1964) og Ole Peder Arvesen (1965), begge Studentersamfunnet Trondheim, Leif Efskind (1965), E. Schjøtt-Rivers (1968) og P.A. Owren (1970), alle Rikshospitalet, Anne Holtsmark (1966) og Odd Hassel (1972), begge Universitetet i Oslo, Georg Morgenstierne (1971, Det Norske Videnskaps-Akademi), Ludvig Holm-Olsen (1967) og H. Mosby (1972), begge Universitetet i Bergen og Lillian Bye (1975, Socialskolen Trondheim). En del skuespillerportretter avslutter den lange listen: Ragna Wettergreen (1951) og Gerd Grieg (1965) i Nationaltheatret, Lars Tvinde (1961), Tordis Maurstad (1964) og Edv. Drabløs (1970) i Det Norske Teatret. H.s samlede portrettproduksjon er fyldig, men langt fra fullstendig katalogisert hos Riksantikvaren. Ved siden av portrettmaleriet har H. hele tiden malt landskaper, blomsterbilder og interiører. Hun har malt i Nordfjord, Lom og Heidal, Røldal, Suldal og Jølster, og av de brede østlandsbygder først og fremst Hadeland. Men mest har hun vært opptatt av Bøyumbreen i Sogn med de eiendommelige lys- og atmosfærevirkninger. Hun har også malt Oslo-motiver og enkelte bilder fra Italia som Vår i Toscana (Høstutstillingen, Oslo 1965). I hennes landskaper oppleves ofte naturen i et dramatisk spill av lys og skygge, tåke og skyer, der landskapets faste former bare anes. En stor religiøs komposisjon, Kristus og engelen i Getsemane, ble malt i 1950-årene. Stillinger, medlemskap og verv: Stemmerett Bildende Kunstneres Styre. Medlem Unge Kunstneres Samfunn. Nasjonalgalleriets råd og innkjøpskomité (varamann) 1946–1949. Kongens fortjenstmedalje i gull. Verker: Malerier, et utvalg portretter: Nini Roll Anker, 1937, H. Aschehoug & Co., Oslo Olav Duun, 1939 Kristine Bonnevie, 1940, UiO Adam Hiorth, 1943, BKM Kong Haakon 7, 1948, Oslo Rådhus Kronprins Olav, 1948, Oslo Militære Samfund Fartein Valen, 1948, Riksgalleriet og Stavanger faste galleri Prins Harald, 1950, Smestad skole, Oslo Ragna Wettergreen, 1951 Nationaltheatret Kronprinsesse Märtha, 1957, Det kgl. Slott Kristian Schjelderup, 1960, Hamar domkirke Gerd Grieg, 1965, Nationaltheatret Einar Gerhardsen, 1969, Regjeringsbygningen Anne Holtsmark, 1970, UiO Odd Hassel, 1972, UiO Representert i bl.a.: Nasjonalgalleriet, Oslo. Bergen Billedgalleri. Lillehammer Bys malerisamling. Stavanger Faste Galleri. Skiens Faste Galleri. Riksgalleriet. Selskapet Kunst på Arbeidsplassen. Oslo kommunes kunstsamlinger. Bryne Kunstforening. Horten/Borre Kunstforening. En lang rekke institusjoner, i Oslo og omegn bl.a.: Slottet, Stortinget, Regjeringsbygningen, Rådhuset, Universitetet, Domkirken, Norges Bank, Nationaltheatret, Det Norske Teatret, Aschehougs forlag, Nationen, Det Militære Samfund, Videnskaps-Akademiet, Nobelinstituttet, Rederforbundet, Rikshospitalet, Ullevål sykehus, Lovisenberg og Martina Hansens sykehus, Kronprinsesse Märthas institutt, Den Norske Frimurerorden, Oslo Sparebank, Håndverkernes Sparebank, Landkreditt, Norske Folk, Norges Kreditforening, Borregaards Oslo-kontor, Centralkassen for Bøndernes Driftskreditt. Utenfor Oslo: NLH, Moss Glassverk, Arendal og Kristiansand rådhus, Hamar, Stavanger og Trondheim domkirker, Stavanger sykehus, Universitetet i Bergen, Haukeland sykehus, Norges Tekniske Høyskole, Studentersamfunnet i Trondheim, Socialskolen og Norges geologiske undersøkelser i Trondheim, Frimurerlosjen Bodø, Stevnekirken ved Otta, Fredspalasset i Haag. Utstillinger: Blomqvists Kunsthandel, 1924 Kunstnerforbundet, 1931 Kunstnernes Hus, 1940 Bergens Kunstforening, 1940 Prydkunst, 1949 Fredrikstad Kunstforening, 1950 Kunstnernes Hus, 1957 1957 Permanenten, Kunstnernes Hus, 1963 Bryne Kunstforening, 1969 Galleri, Notodden, 1975 Ski Kunstforening, 1976 Gall. Pettersson, 1980 Høstutstillingen, 1922 Høstutstillingen, 1923 Høstutstillingen, 1924 Høstutstillingen, 1925 Høstutstillingen, 1926 Høstutstillingen, 1930 Høstutstillingen, 1931 Høstutstillingen, 1934 Høstutstillingen, 1935 Høstutstillingen, 1936 Høstutstillingen, 1937 Høstutstillingen, 1938 Høstutstillingen, 1939 Høstutstillingen, 1945 Høstutstillingen, 1947 Høstutstillingen, 1948 Høstutstillingen, 1950 Høstutstillingen, 1952 Høstutstillingen, 1953 Høstutstillingen, 1955 Høstutstillingen, 1958 Høstutstillingen, 1959 Høstutstillingen, 1960 Høstutstillingen, 1962 Høstutstillingen, 1965 Høstutstillingen, 1966 Høstutstillingen, 1971 De refusertes utst., Blomqvists Kunsthandel, 1920 De unges utst., Blomqvists Kunsthandel, 1921 De unges utst., Blomqvists Kunsthandel, 1922 De unges utst., Blomqvists Kunsthandel, 1923 De unges utst., Blomqvists Kunsthandel, 1924 Vårutst., 1927 Norwegian Art, 1928 11 unge malere, Kunstnerforbundet, 1929 Landsutst., 1930 Bildende Kunstnerinners utst., Blomqvists Kunsthandel, 1932 Verdensutst. i Paris, 1937 Mitt første bilde på Statens Kunstutst., Oslo Kunstforening, 1937 Nasjonalgalleriets retrospektive utstilling over norsk kunst, Nasjonalgalleriet, 1940 Portrettutst., Oslo Kunstforening, 1946 Nordisk konst, 1946 Nordisk konst, 1947 Norsk kunstudst., 1947 Utstillingsrevy, Kunstnernes Hus, 1930 Utstillingsrevy, Kunstnernes Hus, 1931 Utstillingsrevy, Kunstnernes Hus, 1932 Utstillingsrevy, Kunstnernes Hus, 1933 Utstillingsrevy, Kunstnernes Hus, 1934 Utstillingsrevy, Kunstnernes Hus, 1935 Utstillingsrevy, Kunstnernes Hus, 1936 Utstillingsrevy, Kunstnernes Hus, 1937 Utstillingsrevy, Kunstnernes Hus, 1938 Utstillingsrevy, Kunstnernes Hus, 1939 Utstillingsrevy, Kunstnernes Hus, 1940 Utstillingsrevy, Kunstnernes Hus, 1941 Utstillingsrevy, Kunstnernes Hus, 1942 Utstillingsrevy, Kunstnernes Hus, 1943 Utstillingsrevy, Kunstnernes Hus, 1944 Utstillingsrevy, Kunstnernes Hus, 1945 Utstillingsrevy, Kunstnernes Hus, 1946 Utstillingsrevy, Kunstnernes Hus, 1947 Utstillingsrevy, Kunstnernes Hus, 1948 Utstillingsrevy, Kunstnernes Hus, 1949 Utstillingsrevy, Kunstnernes Hus, 1950 Utstillingsrevy, Kunstnernes Hus, 1950 Ung norsk konst, 1950 Ung norsk konst, 1951 Norsk Nutidskonst, 1951 Norsk utst., 1952 Unge Kunstneres Samfunn, 1957 Norsk nutidskunst, 1958 Nordisk utst. Hässelby, 1964 Nordisk utst. Hässelby, 1965 Statens Kunstakademi 60 år, 1969 Kilder og litteratur: Leif Østby: biografi i NKL,bd.2, 1983. B. Rise: Agnes Hiorth, i Ku&K, 1948. NGs dokumentasjonsarkiv, inkl. avisutklipp. Portretter m.m. Maleri av Halvdan Holbø, 1936; NG. Maleri av Gerda Knudsen, 1939; NG. Maleri av Else Christie Kielland, ca. 1957; p.e. Selvportrett, 1957, NG.	Hiorth, Agnes Sofie Margaret (I17734)
811	Agnethe sto åpenbar Skrifte i Ager for Lejermaal med Bogholder paa Eidsvold Verk, Peter Petersen, hos han hun tjente.	Nielsdatter Muus, Agnethe (I7157)
812	Aix-la-Chapelle, som er fransk navn på den tyske byen Aachen. Keiser Ludvig 1's første hustru døde i 818 og han giftet seg om igjen. Denne hustruen, Judith av Bayern, var berømt for sin store skjønnhet, sto høyt over sin mann både når det gjaldt begavelse og viljestyrke, og Ludvig ble snart bare en kasteball i hennes hender. Den ærgjerrige dronningen satte alt inn på å skaffe sin og keiserens sønn Karl - som er kjent i historien som Karl den skallede - så stor makt som mulig. Hun oppnådde å få drevet igjennom at han allerede i barneårene fikk seg tildelt en betydelig del av riket som len, og det gikk rykter om at Karl også var utsett til å bære keiserkronen etter sin far. Forholdet mellom Ludvig og hans sønner og mellom sønnene innbyrdes var et sørgelig kapitel, fullt av hat og fiendskap. Maktlyst og tarvelig egennytte fikk uhemmet drive sitt spill og tro og lover ble trampet under fot. After the death of Louis first wife and mother of his sons, Louis the German, Peppin and Lothar, Queen Ermengard, on the 3rd of October 818 Louis was urged by his counselors to remarry. Shortly after Christmas in 819 he married Judith in Aachen (North Rhine-Westphalia, Germany). Like many of the royal marriages of the time Judith was selected, prior to the marriage through a bridal show. It is at the bride show that, at the age of forty, Louis chose the teen-aged Judith - after inspecting noble maidens who were brought to his court from all districts. In Frankish society, only women of the nobility were eligible to compete; this specific trait is highlighted in the Regesta Imperii, where Judith is referred to as stemming from a noble lineage (Edlen Geschlecht). Contemporary witnesses such as Ermoldus Nigellus, Walahfried Strabo, and Louis’ biographer Thegan attributed Judith’s selection to her extraordinary beauty, intelligence, and musical ability. It is just as likely, however, that Louis was attracted to the geographical and political advantages offered by Judith’s family. While scholars differ as to whether the Welfs were of Frankish or Alemannian descent, it is clear that they controlled significant territories to the east of the Rhine, and were predominant political actors in both Bavaria and Alemannia. This fact would have made them desirable allies for Louis, since any military campaign in the empire’s eastern frontiers would require the emperor to travel through this region. By marrying Judith, in other words, the emperor would effectively gain friends and allies, an important military and political stronghold, and the support of the nobility in that region. Marriage; Location of Aachen in Germany. Judith married Louis in 819 in Aachen. It was not uncommon that brides were given some form of dowry upon marrying into royalty. Judith’s marriage was no exception to this practise and she received, according to soucres, The Kloster San Salvatore, which was located in Brescia (in the region of Lombardy in northern Italy). The monastery of San Salvatore and all the assets that fall under its jurisdiction, would fall under the protection with the protection of the King - laut der vorgelegten urkunde seines vaters k. Karl immunität mit königschutz und den in dessen gewere stehenden besitz. Although, according to modern sources, the dowry was indicative that the marriage was in fact a - Vollehe - it did not mean that the dowry was static, insofar that it would remaine solely within the possession of the Queen in perpetuity; rather it could be taken from her depending on the political climate, as would later be the case in Judith’s life, after her fall from power and influence. Historical sources show a gap in information available on Judith in the 4 years between her marriage in 819 and the birth of Charles in 823. The most likely cause of this gap is that Judith's would only rise to historical prominence when she became involved in her sons, Charles The Bald, life as an advocate for his career as successor to the throne. However, various sources like the Capitulare de villis and the De ordine palatii of Hincmar von Reims can be drawn upon to provide information on roles and responsibilities that Judith would have most likely played in court. Specifically, the Capitulare de villis and the De ordine palatii define the role and consequently the realm of influence of the empress to that of the court. If these documents are indicative of empresses role in the court and palace in general, then it may be reasonably inferred what roles Judith would have acted in. Sources tell us that Judith’s and the steward of the court (Kämmerer) duties included, among others: caring that she, her servants and the King himself, particularly his jewelry, looked presentable and of appropriate appearance, overseeing the transfer of the yearly tribute (Abgabe der Vasallen) and ensuring that the emperor was free to focus on ruling the kingdom, without distraction of minor details like the courts appearance. It is not to be inferred from this brief sketch however, that her role was in any sense superfluous and relegated to the realm of aesthetics. She had a working relationship with the Kämmerer of the court, who, when one considers that he was the top administrator for the incomes, goods and running of the household, means that she was in an influential position when it came to the functioning and the running of the court. It is not unlikely that, in order to complete these tasks, Judith would have had her own court personnel. This was not an uncommon phenomenon, it having existed according to sources since the time of the Merovingians. Having her own administration was not only instrumentally important in ensuring a smooth running of the court and the daily affairs of the palace, but also a political necessity. The King and Queen were technically seen as a single entity, them often being mentioned together in the Capitulare de villis. Her command was therefore no less significant or important than that of the King. However, in time of separation, be it war, sickness or pregnancy, this single ruling couple/entity would be separated. Consequently, when Louis endeavoured on his campaign in 824 against the Bretons or a similar campaign in the same region in 830 Judith would not only have to take care of the running of the courtly society, but also step in as a representative of the King. In this capacity she would come to be involved in the politics of the realm. But, she also had other avenues to influence the politics of the realm and the court. It is not unreasonable to consider that she had some influence acting as a counsel women for her husband. Judith’s very position and proximity to the emperor as his wife and meant she was in immediate proximity to him and consequently had the ability and opportunity to influence the decisions of her husband. Judith’s role and prominence in court would see a dramatic rise after the birth of her son, as she sought to establish a political and courtly base for Charles, against the threat that Lothar posed for his succession. After having spent most of her second pregnancy in Frankfurt, she had another child named Charles, who was born on June 13, 823. More commonly known as - Charles the Bald - he would eventually become emperor, following in the footsteps of his father Louis. The birth of Charles’ had a significant effect on Judith’s life, because Charles was the only male heir of Louis’ second marriage. His birth put the ordinatti imperii and its designations for successor under question. The ordinatti imperii outlined that only a full heir could rule, but since there were several viable candidates that met the requirements, (mainly Lothar, Peppin and Louis the German from the marriage to Ermengard and Charles from the marriage to Judith) an eventual strain on rightful succession was inevitable. Consequently, it became of the utmost importance for Judith to secure the throne for her son and protect him from the attacks and threats that his half-brothers posed. Lothar, being the most prominent and the oldest of Ermengard children, presented the greatest threat to Judith and Charles. Yet, realizing this, Judith selected Lothar as Charles’ godfather. This strategic move meant Charles would have a political tie in the eventual disputes succession that would inevitably follow Louis’ death. Sources tell us that on the 9th of April 817 a timber roof collapsed on Louis and his men in Aachen. The event, we are told, shocked Louis and lead the emperor to reconsider the distribution of his power and succession for his heirs. The ordinatio Imperii was a reconfiguration and re-imagining of in the division of Charlemagne’s inheritance, which he had always envisioned but never fully implemented. The ordinatio imperii stated that Louis oldest son Lothar would become co-emperor upon the death of Charlemagne, and would receive the whole of Frankia. It also stated that Lothar’s younger brothers, Pippin, aged 19, and Louis the German, aged 10, would inherit Aquitaine and Bavaria respectively (the regna). A major sticking point that concerned Lothar was Louis’ nineteen-year-old nephew Bernard of Italy getting in the way of his eventual rise to power. Bernard had been ruling Italy since 810. Yet, the ordinatio imperii did not specify Bernard as the immediate successor and continued ruler of Italy. Consequently Bernard, alarmed by the fact that his future inheritance at stake, rose up against Louis. The rebellion was swiftly quelled by Louis’ forces. Bernard was blinded and would eventually die on April 17 818. The birth of Charles as well as Lothar’s marriage in 821 meant that two imperial households were now vying for control. Thus, the strain over how to interpret the ordinatio imperii coupled with the fact that Judith would most likely outlive her husband, meant that it became imperative for Judith to establish a political base of her own, not only for her own safety and the continuation of her queenship, but also for the safety of her son. In a letter written by Agobard of Lyons to Louis, Agobard articulates the way in which Louis altered the division of power amongst his sons. Here we see that Judith’s son Charles is granted more power than Louis’ other sons, which places Judith and the kingdom in a precarious state of affairs. And thus you carried out everything that should have been done in such a situation, with such faith, with such hope, that no one would doubt that this was infused and inspired in you by God. You assigned parts of your kingdom to the rest of your sons but – that the kingdom might be one and not three – you set [the son] whom you made the sharer in your title, over the others. And then you ordered these actions to be written down and, once written, to be signed and corroborated. Then, you sent [the son, Charles] who had been made consort in your title to Rome, your deeds to be approved and confirmed by the highest pontiff. Then you ordered all to swear that they would all follow and preserve such an election and division. No one considered this oath irrelevant or worthy of scorn but rather timely and legitimate, since it seemed to pertain to peace and concord. And over the course of time, whenever and wherever imperial letters were sent, they contained the names of both emperors. Agobard of Lyons. Most information on Judith surrounds the activities for her son and her attempts to ensure his succession to the throne. Their political futures depended on each other being that if Judith were widowed, her future as an empress could potentially be threatened by stepsons that no longer had familial or political concerns for her wellbeing. Outlined in a letter to Pope Nicholas 1 Judith, upon Charles’s birth, sent a ring to Eboo, the archbishop of Rheims, asking him to pray for the health of Charles, but also promising that if he ever sent the ring back to her in times of trouble she would help him. Politically this move is significant given that Eboo was one of the most powerful people in the land and a “milkbrother” and friend of Louis. This marks a distinct effort on the part of Judith to bolster her influence and secure the political future of her son. The poem by a court poet Ermoldus Nigellus, Poem in Honor of Louis, provides insight into Judith’s influence over her son Charles. The scene describes Judith and Charles interacting while Louis goes on a hunt: Judith, who has with her the young Charles; In a twinkling she passes by, placing her faith in her feet--If flight does not give her aid, surely she will perish.Seeing this, the young Charles begs for a horse,For he desires to do as his father does;Earnestly he pleads for weapons, for a quiver and quick-striking arrows,And wishes to go in pursuit, as his father so often does.He pours prayers upon prayers, but his beautiful motherPrevents him from leaving, and refuses his wishes.If his teacher and his mother do not restrain the impetuous youth (As youths are wont to do), he shall chase after on foot. Ermoldus Nigellus, Agobard of Lyons. Not only does this highlight Judith’s role as an influential force in Charles’ life, but it also establishes an ambitious young Charles as a son that follows in the footsteps of his father Louis, which aligns Charles as the natural heir to Louis throne. Later on Charles is showcased in procession in a collection of poetry by Ermold the Black. In the procession described by Ermold, Judith follows her son, but is flanked on either side by the magnates Hugh count of Tours, and Lothars father in law, and Matrfrid count of Orleans. This might be suggestive of two things: First, it might signify Charles dynastic right to rule and second that Judith was already by 826, during the childhood of Charles, attempting to cultivate Lothars sympathies and place herself and her son in a politically favourable position, given that both magnates had extremely close ties with Lothar. The three sons of Louis the Pious revolted against their father in order to control the ordering of the Carolingian succession.It was Judith’s dominance and control of the court, thereby being able to dictate who saw Louis and influence him, that was the focus of their revolt. In order to seize control of the king and consequently the Carolingian succession they had to replace the current court, controlled by Judith, with their own. Judith was accused of having an incestiouse relationship with Louis the Pious’s godson Bernard of Septimania (who was the lynchpin of her court). This led to her capture and exile to Italy at the nunnery of Saint Radegund in 830. After the crisis she returned to Aachen continued her effort to see that Charles would take control. Given Judith’s role in court and her rise in power, especially in the waning year of Louis life, the political ties that Judith had built in court became the political ties of Charles. These included, amongst others, Walahfrid, Lupus of Ferriers, the palace clerics Prudentius, Wenilo and Berno, and the seneschal Adalard. Several marriages in 839 sought to solidify a future for Charles and an entenete with Lothar. The first was the marriage of Gisele, the daughter of Louis and Judith, to Eberhard, the duke of Friuli, who was a leading supporter of Lothar. A second such marriage was that between Judith’s brother Conrad with Adelaide, Lothar’s sister in law. Judith also collaborated with the magnates that worked on the will of Louis in order to promote Charles. Fearing that Louis would pass before the matter was settled and thereby incur the wrath of his step brothers, Judith advised that Louis take to his aid one of his three sons (Pippin, Lothar or Louis) in order to unite Charles and one of the brothers in mutual interest should a revolt to happen after Louis death. After Louis death Judith helped and assisted Charles in his campaigns against Lothar. She sent troops to assist Charles in his endeavour to secure Aquitaine and the majority of Frankia was to reduce the number of competitors. Judith however did have influence over her son Charles. When archbishop George was taken prisoner after a battle in which 40,000 men fell on the side of Lothar and Pippin, Judith counselled Charles to be merciful towards the archbishop, which Andreas Agnellus of Ravenna recalled as - For my part I’ll let you go-as my mother tells me to. However, the rise of Judith’s power, influence and activity in the court did sparked resentment towards her. Agobard of Lyons, a supporter of Lothar, wrote two tracts Two Books in Favor of the Sons and against Judith the Wife of Louis in 833. These tracts were meant as propaganda against Judith from the court of Lothar in order to undermine her court and influence. The tracts themselves attack her character, claiming her to be of a cunning and underhanded nature and of corrupting her husband. These attacks were predominantly anti feminist in nature. When Louis still did not sever marital ties with Judith, Agobard claimed that Judith’s extramarital affairs were carried out - first secretly and later impudently. Paschasis Radbertus accused Judith by associating her with the engagement in debauchery and witchcraft. of filling the palace with - soothsayers... seers and mutes as well as dream interpreters and those who consult entrail, indeed all those skilled in malign craft. Characterized as a jezeble and a Justina, Judith was accused by one of her enemies, Paschasius Radberus, of engaging in debauchery and witchcraft with her puported lover, Count Bernard of Septimania, Louis’ chamberlain and trusted adviser. This portrayal and image stands in contrast to poems about Judith. The poems depict her as - a second biblical Judith, a Mary sister of Aaron in her musical abilities, a Saphho, a prophetess, cultivated, chaste, intelligent, pious, strong in spirit, and sweet in conversation. However, Judith also garnered devotion and respect. Hrabanus Maurus wrote a dedicatory letter to Judith, exalting her - praiseworthy intellect - and for her - good works. The letter commends her in the turbulent times amidst battles, wishing that she may see victory amidst the struggles she is facing. It also implores her - to follow through with a good deed once you have begun it - and - to improve yourself at all times. Most strikingly the letter wishes Judith to look to the biblical Queen Esther, the wife of King Xerxes I as inspiration and as a role model. Likewise, O queen, forever keep your eyes of your heart fixed upon Queen Esther as a model of dutiful and holy behaviour so that by equalling her holiness you might be able to climb from this earthly kingdom to the heights of the heavenly kingdom. Hrabanus Maurus. Judith was left alone in 830 in Aachen, as Louis decided to undertake a campaign into the Brittany. The campaign itself, however, was greatly opposed, because of its difficulties. (The Annals of St Bertin). Some of the magnates attempted to alter the attitudes of the people and turn them against Louis. The plot was to dispose of the Louis the Pious, - to destroy their stepmother and kill Bernard. Prior to Easter Week in 830 (17–24 April) Pippin, with Lothars consent, and with a large proportion of the people - took away from the Emperor his royal power, and also his wife. Judith was veiled, the female equivalent of tonsuring rival claimants to the throne, and sent to the convent of St.Radegund at Poitiers in the same year. At an assembly held on the October 1st at Nijmegen, between the Emperor, the Saxons and East Franks, it was adjudged, by - all the bishops, abbots, counts and other Franks - that Judith, even though she was taken unjustly, should be brought back and made to either stand trial for any crime she may have committed to - undergo the judgment of the Franks. In 831, around the 1st of February Judith stood trial at the assembly arranged by the Lord Emperor. At the assembly she - declared her willingness to purge herself on all the charges levelled against her. No one was found in the general assembly who wanted to charge her for any crime. She purged herself, by the customs of the Franks, of all the things that she had been accused of. In 833 Louis heard news of his sons, Pippin, Lothar and Louis the German, allying in order to orchestrate a revolt against him. Louis, however, failed to prevent the revolt and was overthrown, resulting in Lothar seizing power. For Judith the coup resulted in her exile in Italy at the civitas of Tortona. Louis spent the next year in Aachen as a captive of Lothar. Pippin and Louis the German, however, condemned the treatment of their father by Lothar and in 834 summoned armies from Aquitaine, Bavarians, Austrasians, Saxons, Alemans and the Franks to rise up against Lothar. Hearing of the vast armies approaching him Lothar fled, leaving his father behind. Louis thus regained control and offered to forgive Lothar for his actions. Lothar, however, scorned the offer. It was during this turbulent political to-and-fro that followers of Louis the Pious who were in Italy, Bishop Ratold, Count Boniface and Pippin among them, heard of a plot to kill Judith. With their help Judith escaped and returned to Aachen in the same year. Louis died in 840 at his palace in Ingelheim, leaving Judith a widow. She, however, continued to support her son Charles in his military campaigns and endeavours, gathering troops from Aquentine in 841. In April of that same year Charles received his crown and all of his royal attire, which contemporaries of the time herald as a divine act. Most likely, however, Judith was well aware of Charles’s location and had sent the royal artifacts to meet up with her son.	Family: Louis (Ludvig) av Franken, "Louis 1" / Judith av Bayern (F2083)
813	Aix-La-Chapelle. Det er også nevnt at de var gift i Aachen.	Family: Karl (Charlemagne) av Franken / Hildegard av Schwaben og Vinzgau (F2085)
814	Aker	Heiberg, Ørnulf (I2667)
815	Aker skifteprotokoll fol.125-6. Skiftet etter Gunder Mogensen 2.august 1681 viser at han hadde vært gift 2 ganger. Med første kone Alet (Alhed) Didriksdatter hadde han barna Hans Gundersen på Ofueland, Marte Gundersdatter på Tvetten, Anne Gundersdatter på Houg, Malene Gundersdatter på Rudstad, og Randi Gundersdatter. Av disse var Randi død, og hun hadde barna Alet Jonsdatter og Sara Jonsdatter. Deres bestefar var Alf på Hual. Med enken Gjertrud Hansdatter hadde Gunder Mogensen barna Mogens, Petter, Alet, Anne, Ingeborg (15 år) og Anne (12 år).	Mogensen Holmen, Gunder "Fornebu" (I15795)
816	Aktieselskapet Tønsbergs Hvalfangeri ble stiftet 1.oktober 1907 med hensikt å drive hvalfangst i Sydishavet. Til dette ble innkjøpt det eldre flytende hvalkokeriet Bucentaur (Busen), samt 2 gamle hvalbåter, Carl og Mathilde. En av selskapets disponenter var Oscar Hytten fra 1907 til 1918. Selskapet etablerte seg med Bucentaur i Husvik Harbour i Strømnesfjorden på Sør-Georgia 24. desember 1907. I sesongen 1910-1911 ble aksjekapitalen utvidet og en landstasjon etablert i Husvik. Tønsbergs Hvalfangeri drev fangst først med 2 fangstbåter, deretter 3 og etterhvert 4 fangstbåter fram til nedleggelsen av virksomheten i Husvik i 1931. I de 24 årene det var drift i Husvik ble 16.200 hval fanget og 900.000 fat hvalolje og 380.000 sekker guano produsert. Husvik ble reåpnet i 1945 og solgt i 1960.	Hytten, Oscar (I2028)
817	Aktiv i Hjemmefrontens arbeid som en av troppssjefene i en Milorg-gruppe (avdeling 13135 i Oslo). Arrestert av Gestapo på sitt kontor 1943 og ble skutt av tyskerne ved Nordstrands bad under fluktforsøk. Kyhns vei på Nordstrand fikk sitt navn i 1954 etter Kristian Kyhn Gløersen.	Gløersen, Kristian Ulrik Kyhn (I14742)
818	Aktiva var 111 riksdaler 1 ort, og overskuddet var 103 riksdaler 3 ort 4 skilling.	Jonsen Seter, Henrik "Røstad" (I6424)
819	Alder 49 år.	Pedersdatter Schjelderup, Birgitte (Berit) "Tausan" (I2160)
820	Alder i 1701 oppgitt til å være 45 år.	Jonsen Nagelhus, Lars "Navlus" (I1821)
821	Alder oppgitt til å våre 6 måneder.	Kiøstelsdatter Roverstad, Anna (I9360)
822	Alder oppgitt ved død 53 år.	Nielsen Hoff, Niels (I2448)
823	Alder oppgitt ved død 64 år.	Sivertsen Bjerkenaas, Mickel "Birkaas" (I1621)
824	Alder oppgitt ved død 69 år.	Bentsdatter Wormnæs, Ane (Anna) "Brustadtjerna" (I15569)
825	Alder oppgitt ved død 77 år.	Gievalsdatter Kvæstad, Jøren (Jøran / Giøran)) "Rogstad" (I15439)
826	Alder oppgitt ved død 82 år.	Olsdatter, Kari "Hoff" (I2446)
827	Alder oppgitt ved død 97 år.	Eriksen Navlus, Lars "Hildrum" (I1608)
828	Alder opplyst 1664: 35 år. Alder opplyst 1716: 94 år.	Amundsen Sæter, Christopher (I19167)
829	Alder under manntallet i 1701 var oppgitt til 57 år.	Moltzow, Jochum (I12968)
830	Alder ved død 46 år.	Michelsdatter Røysum, Gietloug (Gietlaug) "Husabø" (I253)
831	Alder ved død 53 år.	Gabrielsen Villingstad, Augustinus (I10924)
832	Alder ved død 56 år.	Andersdatter Gynnild, Olaug "Holte" (I12996)
833	Alder ved død 57 år. Fra Gløersens Dødfall i Norge: bernhoft, - jonas angell, kpt., t thm. 17/9 1823, 57 år , 1 s. (frav.), avertert av str.: m. a. sal. lysholm f. b.	Jørgensen Bernhoft, Jonas Angell (I2405)
834	Alder ved død 6 uker.	Nielsen Støver, Ole (I1579)
835	Alder ved død 61 år.	Christophersen Moss, Ole (I2234)
836	Alder ved død 62 år.	Johnsen Halland, Sjur (Siur / Sivert) "Berg" (I13057)
837	Alder ved død 64 år.	Olsen Holte, Erik (I12997)
838	Alder ved død 64 år.	Olsen Husebøe, John (Jon) (I250)
839	Alder ved død 69 år. I følge svigersønnen Laurits Holgersen sine opptegnelser i sin stambok: 1619 17/4 henved Kl. 7 Aften døde Hr. Johannes Andersen, en særdeles from og hæderlig Mand Præst ved vor Frue Kirke. Han var min Svigerfader og savnes meget av mig... Senere har han tilføyd: men hans Enke, Anna Pedersdatter, døde Aar 1627 16/5 mellem Kl. 12-1 første Dags Nat næst efter Pintsefest; hun blev begravet Trefoldigheds søndag.	Pedersdatter, Anne "Bernhoft" (I1716)
840	Alder ved død 72 år.	Olsdatter, Ragnhild "Berg" / "Rogstad" (I2426)
841	Alder ved død 73 år. Oppgitt dødsårsak var alderdom. Fra Gløersens Dødsfall i Norge: moss, christopher nielsen, angelmaker, t thm. 22/3 1815, 75 år, hos svs.: hans c. bjørn, fl. gjl. b.	Nielsen Moss, Christopher (I2230)
842	Alder ved død 74 år.	Andersen, Lars "Vollhaugen" (I14246)
843	Alder ved død 75 år.	Hammer, Inger "Moss" (I10764)
844	Alder ved død 78 år.	Lassesen Henjum, Ole "Husabø" (I252)
845	Alder ved død 78 år.	Jonsdatter Sverdal, Kari "Lillebudal" (I9758)
846	Alder ved død 80 år.	Svendsdatter Vålen, Marte "Forset" (I13760)
847	Alder ved død 81 år og 8 måneder.	Iversen Forset, Christen (I8647)
848	Alder ved død 81,5 år.	Larsen Lillebudal, Anders "Buedahl" (I1185)
849	Alder ved død 83 år.	Arnesdatter, Siri "Fossum" (I1666)
850	Alder ved død 85 år.	Olsen Berg, Elling "Rogstad" (I2425)