Otto van Veen known by his Latinized name Otto Venius or Octavius Vaenius, was a painter and humanist active in Antwerp and Brussels in the late sixteenth and early seventeenth century. He is known for running a large studio in Antwerp, producing several emblem books, for being, from 1594 or 1595 until 1598, Peter Paul Rubens's teacher, his role as a classically educated humanist artist, reflected in the Latin name by which he is known, Octavius Vaenius, was influential on the young Rubens, who would take on that role himself. Van Veen was born around 1556 in Leiden, where his father, Cornelis Jansz. van Veen, had been Burgomaster. He was a pupil of Isaac Claesz van Swanenburg until October 1572, when the Catholic family moved to Antwerp, to Liège, he studied for a time under Dominicus Lampsonius and Jean Ramey, before traveling to Rome around 1574 or 1575. He stayed there for about five years studying with Federico Zuccari. Carel van Mander relates that van Veen worked at the courts of Rudolf II in Prague and William V of Bavaria in Munich, before returning to the Low Countries.

In Brussels, he was court painter to the governor of the Southern Netherlands, Alexander Farnese, Duke of Parma until 1592, active in Antwerp. After becoming a master in the Guild of St. Luke in 1593, van Veen took numerous commissions for church decorations, including altarpieces for the Antwerp cathedral and a chapel in the city hall, he organized his studio and workshop, which included Rubens. Van Veen's connection to Brussels remained and when Archduke Ernest of Austria became governor in 1594, he may have aided the archduke in acquiring important Netherlandish paintings by the likes of Hieronymus Bosch and Pieter Bruegel the Elder; the artist served as dean in two prominent organizations in the city, the Guild of St. Luke in 1602, the Romanists in 1606. In the seventeenth century, van Veen worked for the Archdukes Albert and Isabella, but never as their court painter. Paintings include a series of twelve paintings depicting the battles of the Romans and the Batavians, based on engravings he had published of the subject, for the Dutch States General.

He had two brothers. His daughter Gertruid was a painter, he was the uncle of three pastellists, Pieter's children, Apollonia and Jacobus, he died in Brussels. Arnold Houbraken considered Van Veen to be the most impressive artist and scholar of his day and put his portrait on the title print of his three volume book De groote schouburgh der Nederlantsche konstschilders en schilderessen. Van Veen was active in producing Emblem books, including Quinti Horatii Flacci emblemata, Amorum emblemata, Amoris divini emblemata. In all these works, van Veen's skills as an artist and learned humanist are on display; the Amorum emblemata, for example, pictures 124 putti, or little cupids, enacting the mottoes and quotations from lyricists and ancient writers on the powers of Love. About van Veen's emblems Tina Montone has written, "In the course of the seventeenth century the Amorum emblemata was to become one of the most influential books of its time, functioning not only as a model for other Dutch and foreign emblem books, but as a source of inspiration for many artists in other fields."

Some of these emblems are as relevant today. A few examples of these mottoes read: "A Wished Warre: The woundes that lovers give are willingly receaved..." He depicts two Cupids exchanging arrows. Another example familiar to us today as the story of The Tortoise and the Hare, is titled "Perseverance winneth: The hare and the tortes layd a wager of their speed..." shows us a cupid and tortoise outpacing the hare and exemplifying the idea that the love, steady and constant will win the race. Emblem Project Utrecht – 3 editions of emblem books by Otto van Veen Amorum Emblemata on Internet Archive. Vita D. Thomae Aquinatis a manuscript by Kristin Lohse: Rubens. Phaidon Press, 1998. ISBN 0-7148-3412-2. Bertini, Giuseppe: "Otto van Veen, Cosimo Masi and the Art Market in Antwerp at the End of the Sixteenth Century." Burlington Magazine vol. 140, no. 1139. Pp. 119–120. Montone, Tina, "'Dolci ire, dolci sdegni, e dolci paci': The Role of the Italian Collaborator in the Making of Otto Vaenius's Amorum Emblemata," in Alison Adams and Marleen van der Weij, Emblems of the Low Countries: A Book Historical Perspective.

Glasgow Emblem Studies, vol. 8. Glasgow: University of Glasgow, 2003. P.47. Rijksmuseum Amsterdam, Otto van Veen's Batavians defeating the Roman Van de Velde, Carl: "Veen, Otto van" Grove Art Online. Oxford University Press. Entry at the Netherlands Institute for Art History Veen, Otto van. Amorum Emblemata... Emblemes of Love, with verses in Latin and Italian. Antwerp: Venalia apud Auctorem, 1608. Media related to Otto van Veen at Wikimedia Commons Othonis Vaenii emblemata

The Bow Brook is a substantial brook that flows for 28.8 miles through Worcestershire, England. It is a lower tributary of the River Avon which it joins near Defford downstream of Eckington Bridge, its principal tributaries include the Stoulton and Seeley brooks. It rises near Upper Bentley to the west of Redditch, flows due south through Feckenham beyond which it turns west to reach Shell, where it is known as the Shell Brook, onwards to Himbleton, it continues in a southerly direction flowing past Huddington and Upton Snodsbury where it is crossed by the A422, near Broughton Hackett, past Peopleton beyond which it is crossed by the A44. The brook is forded by a minor road between Walcot and Pinvin, here it turns south-west, past Ufnell Bridge on the B4084 until it reaches Besford Bridge where it is measured, it is bridged by the A4104 before it passes Defford the last village on its course, downstream of which it joins the Warwickshire Avon. The flow of the Bow Brook has been measured using a weir, in the lower reaches at Besford Bridge since 1969.

This long-term record shows that the catchment of 156 square kilometres to the gauging station yielded an average flow of 1.1 cubic metres per second. The highest river level recorded at the station occurred on 21 July 2007, with a height of 4.06 metres, although no corresponding peak flow is available. The lowest flows were measured in August 1976; the catchment upstream of the station has an average annual rainfall of 643 millimetres and a maximum altitude of 164 metres at Tardebigge. Land use is agricultural, consisting of arable and grassland, with some woodland. List of rivers of England Bow Brook water levels at Besford Bridge Bow Brook water levels at Feckenham

Nikola III Zrinski was a Croatian nobleman, a member of the Zrinski noble family, influential in the Kingdom of Croatia. Nikola was born as the son of Petar II Zrinski and Jelena Babonić, his father had fallen in the battle of Krbava field, as such Nikola lived on his large Zrin estate in central Croatia. He was married to Jelena Karlović, the princess of Krbava, a sister of Ivan Karlović, future Ban of Croatia, she bore him six children, among them Nikola Šubić Zrinski, one of the greatest military leaders in Croatian history and a national hero both in Croatia and in Hungary. Nikola is known for his attendance of the 1527 election in Cetin when Ferdinand I, Archduke of Austria was elected the new king of Croatia. Among the seals of six Croatian noblemen on the charter confirming the election there is his seal. Moreover, some historians believe that Zrinski was the one who played the crucial role for Ferdinand's choice. In his Gvozdansko Castle, not far from Zrin, he had his own silver coins minted, like his father had done before.

There were silver and lead ore mines, smelteries and mints in his property. In the time of the threatening Ottoman danger, Nikola III Zrinski died in Zrin and was buried in the neighbouring Franciscan church of St. Margaret, he was succeeded by future Ban of Croatia and hero of Szigetvár. Nikola III Zrinski in an essay of the archaeological topography of the regions Kostajnica and Dvor The mining and minting rights of Croatian aristocracy