History of Latvia between 3000 BC - 2001 BC
In the Neolithic Age (3000—1500 BC) the Baltic area perhaps was populated by Finno-Ugrian tribes who as yet did not know agriculture, and whose only domestic animal was the dog. They lived in a so-called Narva culture or eastern Baltic archaeological culture found in present-day Estonia, Latvia, Lithuania, Kaliningrad Oblast (former East Prussia), and adjacent portions of Poland and Russia.
The Narva culture relied on local materials (bone, horn, schist). As evidence of trade, researchers have found pieces of pink flint and plenty of typical Narva pottery in the territory of the Neman culture while no objects from the Neman culture were found in Narva. Heavy use of bones and horns is one of the main characteristics of the Narva culture. The bone tools, continued from the predecessor Kunda culture, provide the best evidence of continuity of the Narva culture throughout the Neolithic period. The people were buried on their backs with few grave goods. The Narva culture also used and traded amber; a few hundred items were found in Juodkrantė.
The people were primarily fishers, hunters, and gatherers. They slowly began adopting husbandry in middle Neolithic. They were not nomadic and lived in same settlements for long periods as evidenced by abundant pottery, middens, and structures built in lakes and rivers to help fishing. The pottery shared similarities with Comb Ceramic culture, but had specific characteristics. One of the most persistent features was mixing clay with other organic matter, most often crushed snail shells. The pottery was made of small clay strips with minimal decorations around the rim. The vessels were wide and large; the height and the width were often the same. The bottoms were pointed or rounded, and only the latest examples have narrow flat bottoms. From mid-Neolithic Narva pottery was influenced and eventually disappeared into the Corded Ware culture.
References: Wikipedia, Latvians.com
The Château de Chaumont was founded in the 10th century by Odo I, Count of Blois. The purpose was to protect his lands from attacks from his feudal rivals, Fulk Nerra, Count of Anjou. On his behalf the Norman Gelduin received it, improved it and held it as his own. His great-niece Denise de Fougère, having married Sulpice d'Amboise, passed the château into the Amboise family for five centuries.
Pierre d'Amboise unsuccessfully rebelled against King Louis XI and his property was confiscated, and the castle was dismantled on royal order in 1465. It was later rebuilt by Charles I d'Amboise from 1465–1475 and then finished by his son, Charles II d'Amboise de Chaumont from 1498–1510, with help from his uncle, Cardinal Georges d'Amboise; some Renaissance features were to be seen in buildings that retained their overall medieval appearance. The château was acquired by Catherine de Medici in 1550. There she entertained numerous astrologers, among them Nostradamus. When her husband, Henry II, died in 1559 she forced his mistress, Diane de Poitiers, to exchange Château de Chaumont for Château de Chenonceau which Henry had given to de Poitiers. Diane de Poitiers only lived at Chaumont for a short while.
Later Chaumont has changed hands several times. Paul de Beauvilliers bought the château in 1699, modernized some of its interiors and decorated it with sufficient grandeur to house the duc d'Anjou on his way to become king of Spain in 1700. Monsieur Bertin demolished the north wing to open the house towards the river view in the modern fashion.
In 1750, Jacques-Donatien Le Ray purchased the castle as a country home where he established a glassmaking and pottery factory. He was considered the French "Father of the American Revolution" because he loved America. However, in 1789, the new French Revolutionary Government seized Le Ray's assets, including his beloved Château de Chaumont.
The castle has been classified as a Monument historique since 1840 by the French Ministry of Culture. The Château de Chaumont is currently a museum and every year hosts a Garden Festival from April to October where contemporary garden designers display their work in an English-style garden.