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The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
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Women account for only 30% of Europe's seven million people working in the information and communication technology sector, but boosting their number will be an economic necessity. The sector creates 120,000 new jobs each year and at this rate there will be up to 700,000 unfilled ICT-related vacancies by 2015. Experts discussed how to attract more women during an EP meeting organised by the industry and women's rights committees on the occasion of Girls in ICT Day on 25 April.
www.europarl.europa.eu/news/en/headlines/content/20130426...
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On 16th November 2007 I registered for my Pro Account.
Today, on 7th September 2008, I viewed my statistics and found a total of
100,000 views of my photos ! That's fantastic!!!
Thanks to all of you my dear flickr friends for those visits on my pictures, thousands of comments, more than thousand of favs and your inspiring emails!
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This one is almost full, so I made a new one! For now, this one will be for doll photos, and the other for human/other photos. Please follow me on there for more photos!
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Mike Cohen
I can't say i'm thrilled at Flickr's account changes, but you always used to have to pay to get the best out of it, and they've obviously realised that model is better than the advertising-funded one they have now.
Both of my accounts are over the 1,000 photo cap, so my choice is to leave, edit both collections or pay up. I like it here - this was my first social media site and whilst my activity is much diminished from what it used to be, I value the connections I've made here. And editing my accounts below the 1,000 mark? Well this account is growing at a rate beyond what i thought would ever be possible when I started it back in 2005. And my other account has over 11,000 pictures in it. They aren't going anywhere.
So I've paid up, and I'm staying.
This picture was taken at my recent burlesque evening, and was my 'after performance' look. Perfect for an Oxford Street hotel on a Thursday evening.
account on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
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My wife gave me a pro account for my birthday yesterday. Since I've been extra busy this month and haven't had much time to spend on Flickr or photography, I thought I should do something before the month is gone with this new gift.
This is a macro shot with my Canon S5 and a Raynox DCR-250 of the Flickr "Pro" gif as displayed by Firefox 3.05 running on Windows Vista Ultimate SP1 on the LCD of a HP Pavilion dv9000 at 1440 x 900 resolution. You can see every pixel is make up of a red, green and blue "light". It's interesting how your eyes fool you into thinking these red, green and blue lights are white!
This picture is an attempt to combine my birthday present (Pro Account) with my Christmas present (Raynox DCR-250).
And for those reading this that own an HP Pavilion dv9000, yes, my left screen hinge is broken too, just like every other one.
There's no accounting or apologizing for taste! To me, Crimewave and Joe's Apartment are two off-beat gems and true cult classics of the highest order. That said, I appreciate I'm . . well, let's say I'm in the minority with that opinion! Ok, so neither is likely to be added to the Criterion Collection anytime soon, but I'd argue if you start from the right frame of mind, Crimewave and Joe's Apartment are delightful fun.
What's it about
Crimewave is the movie Sam Raimi made right after the success of the original Evil Dead. While that film was his spin on horror, Crimewave was to be his ode to slapstick comedy.
Joe's Apartment reminds us of the bygones days when New York City was renown as an uncaring cesspool of crime and blight and Jerry O'Connell was famous enough to headline a movie. Oh, and cockroaches could sing and dance insanely catchy numbers while counting the days until humanity falls and they can finally take their place as the dominate lifeform on earth. Think of like a raunchy, disease-ridden Chimpmonks without the music management. Really the opening number lays it all out pretty well: www.youtube.com/watch?v=RFkMkcQwog4
Why it's great
Crimewave: = The Three Stooges + Blood Simple. Seriously, it was written by the Coen brothers! It was directed by Sam Raimi! It co-stars Bruce Campbell! We're talking the folks behind Evil Dead II, Spider-Man, The Big Lebowski, Raising Arizona, etc, etc, etc; how could it not be completely awesome?!
Well, it is (to me). Trick is that the tone (silly slapstick with a dark edge and a VERY vaudevillian flair) has to be something you're in the mood for, and the lead character is an irritatingly nebbish, naive, and clueless clod with a good heart . . . who pretty much stays that through the whole film as part of the grand meta-joke on those types of characters. Don't like him and sort of want to strangle him half the time? THAT'S THE POINT! Still, that's an understandably tough sell for many.
Joe's Apartment has a similar problem. Joe (O'Connell) isn't much a protagonist, never growing much beyond the "gee, shucks" Midwest-schtick as a newly-arrived Iowan in NYC. His only friends: the talking (singing, dancing) cockroaches who share Joe's dilapidated apartment with him and try to "help" Joe with his career and lovelife . . . usually to Joe's detriment.
Also a plus: both films are loaded with great character actors and personalities: Brion James! Paul L. Smith! Louise Lasser! Billy West! Robert Vaughn! Don Ho! David Huddleston!
All Nite Picture Marathon
To expand the fun, add in the Coen Bros classic (but slightly less seen these days) Raisin Arizona for more crazy slapstick fun and Nicholas Cage action.
See my main account for my photography, videos, fractal images and more here: www.flickr.com/photos/josh-rokman/
This is one of a series of images I made with the Bing Image Creator, which is an AI image generator powered by DALL-E 3.
For most of these images I tried to combine multiple elements together into one, rather than creating a scene with multiple separate elements. This pushes the limits of what the AI model can do, and maximizes the amount of human control over the images. For example, I might use the text prompt ‘photo realistic snake plane made out of carbon fiber and gold’.
Here is my take on AI generated images vs. human made art: I think that the quality of AI generated images will NOT dramatically improve, even many years into the future. The ultimate goal of a creative image is to create a certain emotional state in the viewer. - Emotions themselves - are the main tool used to do this. A purely logic driven machine can only create a crude, generalized model of something meant to create a certain emotional state. When someone makes a piece of art, it is always some combination of using logic and emotions to guide the process. Remember that the ultimate goal is to create a certain emotional state in the viewer. Only having access to logic, but not emotions, will always create a very generic looking work. You need to actually be able to feel emotions to fine-tune the work beyond that, since creating emotions is the ultimate goal.
The main difference between an AI model and a human is not the difference in the power of the logic that can be deployed. The difference is that a human can feel emotions, which is key to creating an image (or text) made to create a certain emotional state. The logic that the best AI image generator models currently have seems to already be at the level of what the best human can do (based on some of the results I got, which was quite a shock). The results are still crude and generic compared to what a human can do, because the AI models have no access to emotions, which are the main tool for making and refining a creative work designed to create certain emotional states.
All creative work is built with a combination of logic and emotions (emotions should always be the main tool), and by not having direct access to emotions, a machine can only create crude, generic results. When I make music I always try and use emotions rather than logic to guide the process as much as possible, since creating a certain emotional state in the listener is the ultimate goal. The best AI models have an amazing ability to use logic to mix two different styles of images together since that is a logic driven process. They can’t make those images from scratch, since that is an emotion driven process, since it is all about creating certain emotions in the viewer.
Imagine you were a chef trying to develop a new dish, but you were not allowed to taste the food at any point as you made it. Your ability to determine the correct amount of salt and other seasonings would be very crude and limited. There would always be the possibility of a disaster happening, since you could not add a bit of seasoning at a time and taste it, so you would have to just dump it all in at once. This is the same idea of an AI model that is trying to ultimately create emotional states using sophisticated logic, but without having any access to emotions to guide the process.
The results will always be very generic looking, with the occasional unexpected gruesome image being returned. The power of the logic I have seen in some of the images I have created is quite shocking, but the results are still crude and generic compared to what a human can do, since the AI model is trying to create emotional states without being able to actually feel emotions itself, which is vital to creating emotional states through an image (or text).
The AI models have an amazing ability to combine multiple types of images together into one, but they have no understanding of what the individual elements they are combining together truly are. Again, this is because the individual images are designed to create certain emotional states, and an AI model has no ability to feel emotions, meaning it has no ability to understand them.
Having said all that, there is a good chance that the ability of humans to customize AI generated images will keep going up, and this will allow for this tool to create highly creative works close to what a human could do from scratch after all. I don’t think that the AI models will ever be able to do this by themselves with a simple button push though, as I have made the case for above. Also, I would expect that the number of images that are generated with a button push will keep going up and up.
Now, does making good AI generated images take talent? I say the answer is yes simply because these images are not all equal in quality. To create the best image in a set of 1,000 to 100,000,000 images, and to do so consistently, takes skill. You need to learn something from every single image you create about what the AI model does well and does not do well. You also need creative and artistic skills to come up with really good text prompts, in addition to this. The skills involved in this are similar to the skills involved in coming up with a great line in text, like in books, poems, speeches, scripts, ect. This is like abstract art. I know from experience that randomly applying different colors of paint never yields anything impressive. It takes a lot of talent to make good abstract art. Random combinations of words in text prompts will never create the results that highly targeted ones will, when it comes to AI generated images.
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Formal opening of the renovated Port Arthur Public Utilities Office.
Visitors examine new accounting equipment while touring the renovated building.
Accession 1993-01 #292
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I saw Holy Trinity come up on the Heritage Weekend website, so I thought a nice Sunday afternoon out, a drive, an ice cream, and visit a new church.
But turns out that Holy Trinity is the Victorian church the other end of the High Street, and I came to the much older one, which happened to be open, but also explains the rest of the account below......
The passing of HM the Queen changed plans somewhat, but I didn't know that.
Sittingbourne is not a pretty town. It has a main road driven through the middle of it, and the area around the church, not pretty either. Four Ne'er-do-wells were drinking and smoking in the churchyard, and in time would attract the attention of two PCOs.
The blurb talked about visiting the crypt and so on, so I was looking forward to the visit. And upon entering, I was pretty much the only one looking round, in the south aisle a coffee shop had been set up.
A woman came up to me and asked:
"Are you SFM?", which I assume to be Swale FM, the local radio station.
I told her I wasn't. But then I did have my new Tron t shirt on, and and looked like a nerd. The actual nerd came out from behind the organ carrying leads and mics. He was SFM.
I introduced the woman to the guy and got on with my shots.
A voice behind me asked:
"Are you SFM?"
Again, I said I wasn't, but there was a guy around who was.
It seems a service was being broadcast, and they were setting up equipment, and in time members of the choir arrived and people carrying instruments. Either that or it was the mafia.
By then I had my shots, and so we made to leave, as yet more people came into the church, while outside people waited for the service to start.
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SITTINGBORNE.
THE next parish westward from Murston is Sittingborne, antiently written Sedingbourne, in Saxon, sœdingburna, i. e. the hamlet by the bourne, or small stream.
THE PARISH and town of Sittingborne is situated about forty miles from London, the high road from thence to Dover leading through it. The parish, though rather above the level of the marshes, which bound the northern side of it, from which the ground rises to the town, is still a damp situation, and both from the air and water is not accounted a healthy one, though much more so than several of the neighbouring parishes equally northward, than which it has a more chearful and populous aspect; from the town the ground still keeps rising southward till it joins Tunstall, in the road to which about a quarter of a mile from the town is a good modern house called Glovers, which lately belonged to Thomas Bannister, esq. who resided in it, and died in 1791, and his widow, Mrs. Bannister, now owns it; eastward from which, at about the same distance, are the estates of Chilston and Fulston, and Hysted Forstall, with Golden-wood at the boundary of the parish, part of which is within it, adjoining to Bapchild and Rodmersham. The parish, which is but small, contains little more than eight hundred acres of land, consisting of arable, pasture, orchards, hop ground, and woods. In the upper and western parts it is much inclined to chalk and thin land, but the rest of it is in general a fertile loam, especially about the town, which was formerly surrounded by orchards of apples and cherries, but many of them have been destroyed to make room for plantations of hops, which, however, are not so numerous as formerly, and several of those which remain are kept up only as nurseries for young plantations of fruit trees, to which they must soon in their turn give place. Northward from the town the grounds are entirely pasture and orchards, lying on a descent to the town of Milton and the creek, both about half a mile distant from it; on the latter is a key called Crown key, of great use to this part of the country for the exporting of corn and wood, and relanding the several commodities from London and elsewhere. At a small distance north-west from the town is Bayford-court.
It appears by a survey made in the 8th year of queen Elizabeth, that there was then in this parish houses inhabited eighty-eight; lacking inhabitants five; keys two, Crown key and Holdredge key; ships and boats three, two of one ton, and one of twenty-four tons.
THE town of Sittingborne is built on each side of the high road at the fortieth mile-stone from London, and stands on a descent towards the east. It is a wide, long street unpaved, the houses of which are mostly modern, being well built of brick, and sashed, the whole having a chearful aspect. The principal support of it has always been from the inns, and houses of reception in it for travellers, of which there are several.
The inhabitants boast much of John Northwood, esq. of Northwood, having entertained king Henry V. on his triumphant return from France, at the Red Lion inn, in this town; and though the entertainment was plentiful, and befitting the royalty of his guest, yet such was the difference of the times, that the whole expence of it amounted to no more than 9s. 9d. wine being then sold at two-pence a pint, and other articles in proportion. The principal inn now in it, called the Rose, is perhaps the most superb of any throughout the kingdom, and the entertainment afforded in it equally so, though the traveller probably will not find his reckoning near so moderate as that of John Northwood before-mentioned. About the middle of the opposite side of the town there is a good family seat, which was once the residence of the Tomlyn's, and then for many years of the Lushingtons, several of whom lie buried in this church, of whom a further mention has already been made under Rodmersham manor, which they possessed. At length Thomas Godfrey Lushington left it to reside at Canterbury, and his second son the Rev. James-Stephen Lushington, becoming possessed of it afterwards, sold it to Mr. John May, who resided in it for some time. Since which it has been converted into an inn. At this house, whilst in the possession of the Lushingtons, king George the 1st. and 11d. constantly lodged, whenever they travelled through this town, both in their way to, and return from visiting their German dominions.
The church and vicarage stand almost at the east end of the town, near which there rises a clear spring of water in the high road, which flows from thence northward into Milton creek.
Queen Elizabeth, by her charter, in her 16th year, incorporated the town of Sittingborne, by the name of a guardian and free tenants thereof; and granted to it a market weekly on a Wednesday, and two fairs yearly, the one at Whitsuntide, and the other at Michaelmas, with many other privileges: which charter was used for several years, and until the queen was pleased, through further favor to grant to it another more ample charter, in her 41st year, by which she incorporated this place, by the name of a mayor and jurats, and regranted the market and fairs, with the addition of a great number of privileges, and among others, of returning two members to parliament.
This charter does not appear ever to have been used, or the privileges in it exercised. The market, after having been used for several years, was dropped, and only the two yearly fairs have been kept up, which are still held on Whit-Monday and the two following days, for linen and toys, and on October 10, and the four following days, for linen, woollen, cloaths, hardward, &c. and on the second day of it, for the hiring of servants, both in the town, and in a field, called the Butts, at the back of it.
Lewis Theobald, the poet, made famous by Mr. Pope, in his Dunciad, was born at Sittingborne, his father being an attorney at this place.
SOME FEW of our antiquarians have been inclined to six the Roman station, called, in the second iter of Antonine, Durolevum, at or near Sittingborne; among which are Mr. Talbot, Dr. Horsley, Baxter, and Dr. Stukeley in his comment upon his favorite Richard of Cirencester; (fn. 1) but they have but little to offer in support of their conjecture, except the distances made use of in one or two copies, which are so different in many of them, that there is no trusting to any one in particular; consequently each alters them as it suits his own hypothesis best. The reader will find more of this subject under the description of both Lenham and Newington.
In the year 893, the Danes having fitted out a great number of ships, with an intention of ravaging the coasts of this kingdom, divided them into two fleets; with one of which they failed up the river Limene, or Rother, and with the other, under the command of Hastings, their captain, they entered the mouth of the river Thames, and landed at the neighbouring town of Milton. Near Milton they built a castle, at a place called Kemsley-down, about a quarter of a mile north-east from where the church of Milton now stands, which being overgrown with bushes, acquired the name of Castle rough. King Alfred, on receiving intelligence of these depredations, marched his forces towards Kent, and in order to flop their incursions, some time afterwards built on the opposite or eastern side of the creek, about a mile from the Danish intrenchments, a fortification, part of the ditches of which, and a small part of the stone-work, is still to be seen at Bayford-castle, in this parish.
Gerarde, the herbalist, found on the high road near this place,
Tragoriganum Dodonæi, goats marjorum of Dodo- næus.
Ruta muraria sive salvia vitæ, wall rue, or rue maidenhair; upon the walls of the church-yard here.
Colutea minima five coronilla, the smallest bastard sena; on the chalky barren grounds near Sittingborne, (fn. 2) and lately likewise by Mr. Jacob.
Hieracium maximum chondrillæ folio asperum; observed by Mr. John Sherard, very plentisully in the road from this place to Rochester.
Lychnis saponaria dicta, common sopewort; by him on the same road.
Tithymalus Hybernicus, Irish Spurge; between this place and Faversham.
Erysimum sophia dictum; found by Mr. Jacob, on the road sides near Sittingborne, and on the Standard Key.
Oenanthe cicutæ facie Lobellii, hemlock dropwort, found by him in the water lane between Sittingborne and Milton. (fn. 3)
THE MANOR OF MILTON is paramount over this parish, subordinate to which is
THE MANOR OF GOODNESTON, perhaps so called from its having been the property of Goodwyne, earl of Kent, who might have secured himself here at Bayford castle, in the year 1052, when having taken up arms against king Edward the Consessor, he raised an army, and ravaged the king's possessions, and among them the town of Milton, which he burnt to the ground.
On his death it most probably came to his son king Harold, and after the battle of Hastings into the hands of the crown, whence it seems to have been granted to the eminent family of Leyborne, of Leyborne, in this county. William, son of Roger de Leyborne, died possessed of it in the 3d year of king Edward II.
His grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his life-time, became her grandfather's heir, and succeeded in this manor, to which she entitled her several husbands successively, all of whom she survived, and died S. P. in the 41st year of king Edward III. when no one being found, who could make claim to any of her estates, this manor, among the rest of them, escheated to the crown.
After which this manor of Goodneston, as it was then called, seems to have been granted by the crown to Robert de Nottingham, who resided at a seat adjoining to this manor, called
BAYFORD-CASTLE, where his ancestors had resided for several generations. Robert de Nottingham lived here in the reign of king Edward I. and dates several of his deeds apud castellum suum de Bayford, apud Goodneston. Robert de Nottingham, his successor, who became possessed of the manor of Goodneston as beforementioned, was sheriff in the 48th year of king Edward III. and kept his shrievalty at Bayford, bearing for his arms, Paly, wavy of two pieces, gules and argent, in which year he died, and was found by the inquisition to die possessed of lands at Sharsted, Pedding in Tenham, Newland, La Hirst, Higham in Milsted, Bixle, now called Bix, in Tong, and lastly, Goodneston, with Bayford, in Sittingborne; all which descended to his only son John Nottingham, who died without issue male, leaving Eleanor his daughter his sole heir, who marrying Simon Cheney, of Crall, in Sussex, second son of Sir Richard Cheney, of Shurland, he became, in her right, entitled to it. His grandson Humphry Cheney alienated both Goodneston and Bayford, at the latter end of king Henry VI.'s reign, to Mr. Richard Lovelace, of Queenhyth, in London.
His son Launcelot Lovelace was of Bayford, and purchased the manor of Hever in Kingsdown, near Farningham, under which a more ample account of him and his descendants may be seen. His second son William, heir to his eldest brother Sir Richard, who died S. P. at length became possessed of Goodneston, with Bayford, at which he resided, and dying anno 17 king Henry VII. left two sons, John and William Lovelace, esqrs. who possessed this manor and seat between them; the former of whom resided at Bayford, where he died in the 2d year of Edward VI. holding the moiety of this manor in capite, by knight's service, and leaving seven sons, of whom Thomas Lovelace, esq. his eldest son, inherited his interest in this manor and seat. He procured his lands to be disgavelled, by the act passed anno 2 and 3 Edward VI. and afterwards in the 10th year of queen Elizabeth, together with his cousin William Lovelace, by a joint conveyance, alienated Goodneston, with Bayford, to Mr. Ralph Finch, of Kingsdown, in this neighbourhood, whose son Mr. Thomas Finch, of that place, passed it away by sale to Sir William Garrard, who had been lord mayor in 1555, whose ancestors had been of this parish for several generations before, and perhaps were seated at Fulston in it, as many of them lie buried, in the chancel belonging to that seat, in this church. (fn. 4)
He died in 1571, and was buried in St. Magnus's church, in London, bearing for his arms, Argent, on a fess sable, a lion passant of the field; which arms, borne by his ancestors, are carved on the roof of the cloysters at Canterbury. After which it descended down to his grandson Sir John Garrard, or Gerrard, as this family now began to spell their name, who was of Whethamsted, in Hertfordshire, and was created a baronet in 1621. He was succeeded in it by his eldest son of the same name (at which time Bayford was become no more than a farm-house, being called Bayford-court farm). He died in 1700, leaving an only daughter and heir Mary, who carried the manor of Goodneston, with Bayford, among the rest of her inheritance, in marriage to Montague Drake, esq. of Shardeloes, in Agmondesham, in Buckinghamshire, who bore for his arms, Argent, a wivern, with wings displayed, and tail moved, gules. In whose descendants it continued down to William Drake, esq. M. P. for the borough of Agmondesham, as his ancestors had been, some few intermissions only excepted, ever since its being restored to its privilege of sending members to parliament, as a borough, anno 21 James I. He died possessed of this estate in 1796, and his heirs are at this time possessed of it.
A court baron is held for the manor of Goodneston, with Bayford.
CHILTON is a manor situated in the south-east part of this parish, which was formerly accounted a manor, and had owners of that furname, who held the manor of Chilton in Ash, near Sandwich, both which William de Chilton held at his death in the 31st year of king Edward I. one of whose descendants, in the beginning of king Edward III.'s reign, passed it away to Corbie, whose descendant Robert Corbie, of Boughton Malherb, died possessed of this manor of Chilton, alias Childeston, in the 39th year of that reign. (fn. 5) After which it passed by a female heir of this name in like manner as Boughton Malherb, to the family of Wotton, and from them again to the Stanhopes, (fn. 6) in which it continued till Philip, earl of Chesterfield, about the year 1725, alienated it to Richard Harvey, esq. of Dane-court, whose grandson, the Rev. Richard Harvey, died possessed of it in 1772, leaving his widow surviving, since which it has been sold to Balduck, and by him again to Mr. George Morrison, who now owns it, and resides in it.
FULSTON, called antiently Fogylston, was a large mansion, situated at a small distance southward from Chilton last-described, which, from the burials of the Garrards in the chancel belonging to this estate in Sittingborne church, seems to have been the early residence of that family in this parish. However that be, in the reign of Henry VIII. it was become the estate and residence of John Cromer, esq. the third son of Sir James Cromer, of Tunstall, who died in 1539, and was buried in this church, leaving his three daughters his coheirs; and in one of the windows of this church were the arms of John Cromer, esq. of Fulston, and his two wives, Guldeford and Grove, and their several quarterings.
Probably, by his will, or by a former entail, on his dying without male issue, this seat descended to his nephew Sir James Cromer, of Tunstall, whose grandson, of the same name, dying without male issue in 1613, Christian, one of his daughters and coheirs carried it in marriage to John Hales, esq. eldest son of Sir Edward Hales, of Tenterden, knight and baronet, as has been already more fully mentioned before under Tunstall, and in his descendants it has continued down to Sir Edward Hales, bart. of St. Stephen's, near Canterbury, the present owner of it. The greatest part of this mansion has been pulled down within memory, and a neat farm-house has been erected on the ruins of it.
Charities.
JOHN ALLEN, of Sittingborne, by his will in 1615, gave 40s. per annum for repairing the alms-houses in Crown-key-lane, and firing for the poor in them, to be paid out of Glovers, now Mrs. Bannister's.
ROBERT HODSOLE, by will in 1684, gave 10s. per annum to the poor, payable every Christmas-day yearly, out of Mrs. Rondeau's land.
JOHN GRANT, by will in 1689, gave 20s. per annum, to be paid in corn and bread on January 1, out of Mrs. Trott's farm.
FIVE SEAMS of boiling peas are yearly paid from the parsonage, to be distributed to the poor on every Christmas-day yearly.
KATHERINE DICKS, by her will, left the sum of 25l. to be put out on land security, the interest of it to be said out for ever in six two-penny loaves, to be given to six poor widows &c. who attend divine service, beginning every year on the first Sunday after Christmas-day, of the annual produce of 1l.
The poor annually relieved are about forty; casually eight hundred and fifty.
SITTINGBORNE is within the ECCLESIASTICAL JU RISDICTION of the diocese of Canterbury, and deany of Sittingborne
The church, which is dedicated to St. Michael, is a large, handsome building, of three isles and two chancels, and two cross ones; at the west end is a tower beacon steeple, in which is a clock, a set of chimes, and six bells.
On the stone font, which is an octagon, are the arms of archbishop Arundel, a shield, having on it a cross story; and another with the emblems of Christ's crucifixion on it.
On the 17th of July, 1762, the wind being exceeding high, a fire broke out on the roof of this church, occasioned by the plumbers, who were repairing the leads, having left their fire burning during their absence at dinner, which consumed the whole of it, except the bare walls and the tower. Next year a brief passed for rebuilding of it, which with the contribution of the inhabitants, and a gift of fifty pounds from archbishop Secker, they were enabled to set about.
This was stopped for some little time by the owners of the three chancels, belonging to the Bayford, Chilton, and Fulston estates, refusing to contribute to the rebuilding of them, and they were at length rebuilt at the same cost with the rest of the church; and the whole of it was afterwards completed and fitted up in a very handsome manner. By the fire the monuments against the walls were destroyed, and most of the gravestones broken by the falling of the timbers. The latter, in the rebuilding of the church, have, the greatest part of them, been most absurdly removed from the graves over which they lay, to other parts of the church, and some even from the church-yard, as it suited to make the pavement complete; so that there is now hardly a guess to be made, where the bodies lie, that the inscriptions commemorate, but the gravestones of the Lushingtons, I believe, were none of them removed. In the south cross chancel belonging to the estate of Fulston, is a monument for Thos. Bannister, gent. obt. 1750, arms, Argent, a cross story, sable. The brass plate, on which the inscription was, for John Crowmer, of Fulston, and his two wives, in this chancel, being loose, there was found on the under side of it one in Latin, for Robert Rokele, esq. once dwelling with the most revered lady, the lady Joane de Bohun, countess of Hereford, Essex, and Northton, who died in 1421, an instance of œconomy which has been discovered at times in other churches.
The south-east chancel belonged to the Chilton estate; there are many gravestones of the family of Lushington in it. Dr. Lushington's monument was entirely destroyed at the time of the fire. In the upper part of this chancel is a vault, belonging to the Chilton estate, in which is only one coffin, of Mr. Harvey, who died in 1751, and a great quantity of bonespiled up at one end of it.
The archdeacon's court, in which he holds his visitation, is at the upper end of this chancel.
The coats of arms in the windows of the church, which were many, were entirely destroyed, and they have been since entirely resitted with modern glass.
The middle chancel is the archbishop's, and belongs to the parsonage; in which there is a memorial for Mathew, son of Sir John, and grandson of archbishop Parker, who died in 1645. The north chancel is made use of now as a vestry. The north cross chancel belongs to the Bayford estate. In the north wall of it there is the effigies of a woman, lying at length, in the hollow of the wall, with an arch, carved and ornamented, over her, and midway between the arch and figure, a flat table stone of Bethersden marble: the whole of it seems very antient.
In this church there was, before the reformation, a chantry, called Busherb's chantry.
The church of Sittingborne belonged to the Benedictine nunnery of Clerkenwell, to which it was appropriated before the 8th year of king Richard II. and it remained part of the revenues of it till its dissolution, in the 31st year of king Henry VIII.'s reign.
¶This church thus coming into the king's hands, seems to have remained part of the revenues of the crown till queen Elizabeth, in her 3d year, granted the parsonage of it, with the advowson of the vicarage, the former being then valued at 13l. 6s. 8d. to archbishop Parker. Since which they have continued parcel of the possessions of the archbishopric, and remain so at this time.
The parsonage has been from time to time leased out on a benesicial lease, at the yearly rent of 13l. 6s. 8d. In 1643 John Olebury, gent. was lessee; in later times, Cockin Sole, esq. of Bobbing, whose son John Cockin Sole, esq. died possessed of it in 1790, since which this lease has been sold under the directions of his will.
In the 8th year of king Richard II. this parsonage was valued at 23l. 6s. 8d.
In 1578, on a survey of the diocese of Canterbury, it was returned, that this parsonage was impropriate to the queen's majesty; the vicarage also in her gift; dwelling-houses eighty; communicants three hundred; the tenths twenty shillings.
The vicarage is valued in the king's books at ten pounds, the yearly tenths being one pound. In 1640, it was valued at fifty-six pounds. Communicants three hundred and eighty.
The vicarage is situated not far from the north side of the church-yard, adjoining to which is the only piece of glebe land belonging to it.
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After 10 years of service with EarthSTINK, I finally cancelled my account with them. Motherfuckers.
They started off as this kind of "earthy" indie internet provider, and grew into a bloated corporate menace. For the last couple of years, I have HATED having service with them, but was too lazy to do anything about it. One time, I was on the phone with them for THREE HOURS, at the end of which smoke was coming out of my ears and nostrils. I demanded that they give me discounts on my service for all of my troubles, and they did so... in fact I got free service for six months.
In recent years EarthSUCK outsourced all of their customer service to India. I have nothing but empathy for the underpaid workers in India, so this is not a rant about them. But outsourcing SUCKS. It saps jobs at home and egregiously exploits workers overseas.
The poor dude on the line today, when I called to cancel my account. I had to apologize to him several times for my short temper. He would ask me things like, "Please give me a reason for cancelling your account?" And I would say, "Because I just really dislike Earthlink, and I don't want to get into details." And then he would say, "But it would help if you gave more particular feedback." And then I would retort: "Sir, I am sorry you have to be caught up in all this, but I just really fucking hate Earthlink and I don't want to get into it. Please just cancel my account and don't ask me any more questions. I know you are just doing your job but this is one of the MANY reasons I hate Earthlink."
I did not want to cite customer service as one reason for hating Earthlink cuz the poor guy is just doing the job he was hired to do. Of course my incessantly terrible DSL connection is one of the main reasons I hate Earthlink. I don't know how many times I called their ass about that, and they would walk me through the same scripted shit, all to no avail.
Customer service dude also told me that hopefully the account was fully cancelled. I had to laugh sarcastically at this - "hopefully?" I did apologize to him for my sardonic cackle but WTF!
I FUCKING HATE EARTHLINK AND I HOPE THAT THE GREEDY CORPORATE MOTHERFUCKERS AT THE TOP DIE A VIOLENT DEATH.
There are several forums devoted to Earthlink sob stories. Here is one:
I have been a Flickr member since 2005 and I'm happy to say I was able to update my expiring Pro Account to a recurring subscription today.
Thanks to Thomas Hawk for tipping me to this option in my settings page!
Now for the most painful work-in-progress, my accounting class. It has been a struggle all semester and the most work I've ever had to put into a class. From a grade standpoint it has been a rollercoaster! There were time where I thought there was no way I could have a good grade at the end, but the end is here and I"m done! I'll need to do it again next semester in Accounting 2 but it will get done and I can HAVE a good grade!