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- Volume 25, Issue 1, 2023
Pro Memorie - Volume 25, Issue 1, 2023
Volume 25, Issue 1, 2023
- Redactioneel
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- Artikelen
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Het privilege van Filips de Goede aan de vrije schippers van Gent (1436)
More LessAbstractIn 1436, the free shippers received a written confirmation of their privileges from Philip the Good, following their help in suppressing a rebellion of tradesmen in Ghent. This contribution aims to explain the privileges of the free shippers in more detail through a substantive and formal analysis of the charter of 1436. One of the most important sentences in this charter turns out to be the most enigmatic as well: the free shipper from Ghent were said to have been ‘founded’ on the Scheldt, the Lieve and the Lys. This verb appears to imply that the free skippers had the right to exercise control over these waterways; moreover, the free shippers believed that their corporation had been created for the sole purpose of steering the economic traffic on these waterways. Supposedly, their privileges already existed as customary law, and this charter provided them with written proof.
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W.L. Lutkie (1887-1968), priester-publicist-fascist, en de Nederlandse juristen W.P.J. Pompe (1893-1968), J.C. Baak (1897-1945) en P.P.J.M. Geradts (1892-1974)
By Corjo JansenAbstractWouter Lutkie was in the twenties and thirties of the 20th century one of the key figures in the right-wing movements in the Netherlands. Since 1922 he was a priest out of office, so he had time to publish and correspond with many lawyers. In this article the author gives an overview of his correspondence with important men as W.P.J. Pompe, J.C. Baak and P.P.J.M. Geradts. Fascism was always on the background.
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De lange weg naar huis
More LessAbstractDuring his time in office Hitler and more structurally Nazi Germany wreaked havoc across the entire European art world. They bought, destroyed, pillaged and consequently displaced so many works of art, the period 1933-1945 is still considered to be one of the darkest pages in the history of the art world. Belgium and the Netherlands both fell victim to the Nazi art looting regime. The acquisition of publicly owned as well as private property was envisioned in the Nazi looting policies which consisted among others of being active on the art market, instating specialized looting organizations emptying out empty houses of fled or deported Jews or other state enemies.
While the measures adopted by Belgium and the Netherlands shared (and in a way still share) a common core, over time they have each developed their own systems that differ from the other. This article delves into the Belgian and Dutch approach of Nazi-looted art in three periods. The (pre-) wartime period, the post-war initiatives and the resurgence of the ’90 up until today. Through the analysis and subsequent comparison of the approaches taken in both states, the article reaches the conclusion that whereas the Netherlands have grown to be a evaluator state that regularly rethinks and changes their policies, Belgium has taken up the role of a reaction state, needing outside catalyzers to adopt new initiatives.
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