Salaspils concentration camp was established at the end of 1941. The Nazi bureaucracy drew distinctions between different types of camps. Officially, Salaspils was a Police Prison and Work Education Camp. It was also known as camp Kurtenhof after the German name for the city of Salaspils. Planning for the development of the camp and its prisoner structure changed several times. In 1943, Heinrich Himmler briefly considered converting the camp into an official concentration camp, which would have formally subordinated the camp to the National Security Main Office, but nothing came of this.
The camp site was prepared in October 1941 by Soviet prisoners of war from the Salaspils branch camp Stalag 350/Z of the Riga of base camp 350 and by deported Czech Jews as well as few German Jews from KZ Jungfernhof. In the middle of January 1942 at least 1,000 Jews from the Riga Ghetto were forced to work building the camp. Insufficient accommodation and sanitary conditions, lack of nutrition and severe cold weather caused an extraordinarily high number of deaths.
The Nazis had planned to deport the last remaining Jews from Germany by the end of the summer of 1942. To support this, the plans for the Salaspils camp were revised in an effort to allow the camp to accommodate 15,000 Jews deported from Germany. The camp by then played three roles, general police prison, later the security police prisoner camp, and then a forced labor camp. However the last expansion plan was not carried out.
In the autumn of 1942 the camp comprised 15 barracks of the 45 that were planned, housing 1,800 prisoners. Although a police prison and work education camp, Salaspils became comparable to a German concentration camp in the way the work was organized, the types of prisoners, as well as their treatment, as they recounted later.
By the end of 1942 the Salaspils camp held mainly political prisoners (who had originally been incarcerated at the Riga central prison without due process under 'protective custody orders') and interned foreigners such as Latvian returnees from Russia, whom the Nazis considered politically suspect. Furthermore work education prisoners and recruits to local Latvian collaboration units who had committed routine crimes. There were in the camp only twelve Jews; many had died or been returned to Riga in weak condition.
Typhoid fever, measles and other diseases killed about half of the children at the camp. In one of the burial places by the camp, 632 corpses of children of ages 5 to 9 were revealed.
About 12,000 prisoners went through the camp during its existence. In addition to the German Jews who perished during the construction phase about 2,000 to 3,000 people died here due to illness, heavy labour, inhuman treatment, epidemy, etc.
Starting in 1949 legal proceedings were brought against some of the persons responsible for the Nazi crimes in Latvia, including the Riga Ghetto, and the Jungfernhof and Salaspils concentration camps. Some accused were condemned to life imprisonment. Gerhard Kurt Maywald is one such nazi, convicted of crimes committed in the camp.
In 1967 a memorial was established in Salaspils, which included an exhibit room, several sculptures and a large marble block. During the time of the Soviet Union, the Russian group “Singing Guitars” had dedicated a song “Salaspils” to the children's camp.References:
Kroměříž stands on the site of an earlier ford across the River Morava. The gardens and castle of Kroměříž are an exceptionally complete and well-preserved example of a European Baroque princely residence and its gardens and described as a UNESCO World Heritage Site.
The first residence on the site was founded by bishop Stanislas Thurzo in 1497. The building was in a Late Gothic style, with a modicum of Renaissance detail. During the Thirty Years' War, the castle was sacked by the Swedish army (1643).
It was not until 1664 that a bishop from the powerful Liechtenstein family charged architect Filiberto Lucchese with renovating the palace in a Baroque style. The chief monument of Lucchese's work in Kroměříž is the Pleasure Garden in front of the castle. Upon Lucchese's death in 1666, Giovanni Pietro Tencalla completed his work on the formal garden and had the palace rebuilt in a style reminiscent of the Turinese school to which he belonged.
After the castle was gutted by a major fire in March 1752, Bishop Hamilton commissioned two leading imperial artists, Franz Anton Maulbertsch and Josef Stern, arrived at the residence in order to decorate the halls of the palace with their works. In addition to their paintings, the palace still houses an art collection, generally considered the second finest in the country, which includes Titian's last mythological painting, The Flaying of Marsyas. The largest part of the collection was acquired by Bishop Karel in Cologne in 1673. The palace also contains an outstanding musical archive and a library of 33,000 volumes.
UNESCO lists the palace and garden among the World Heritage Sites. As the nomination dossier explains, 'the castle is a good but not outstanding example of a type of aristocratic or princely residence that has survived widely in Europe. The Pleasure Garden, by contrast, is a very rare and largely intact example of a Baroque garden'. Apart from the formal parterres there is also a less formal nineteenth-century English garden, which sustained damage during floods in 1997.
Interiors of the palace were extensively used by Miloš Forman as a stand-in for Vienna's Hofburg Imperial Palace during filming of Amadeus (1984), based on the life of Wolfgang Amadeus Mozart, who actually never visited Kroměříž. The main audience chamber was also used in the film Immortal Beloved (1994), in the piano concerto scene.