Involvement, photos on Flickr

PantherPalooza Student Involvement Fair by Eastern Illinois University

The PantherPalooza Student Involvement Fair was held on the Library Quad on August 30, 2022. (Dominic Baima)

Involvement Fair 2015 by Lafayette College

Students got a chance to explore some of Lafayette’s organizations, clubs, and programs during the Involvement Fair on the Quad. The College boasts more than 200 opportunities for students to become involved in campus life, including academic honor societies, cultural and social organizations, community outreach, arts programs, sports clubs, and living groups. The fair is sponsored by Student Government and the Office of Student Leadership and Involvement.

Photos by Zachary Hartzell

Sept. 8, 2015

Dorothea Puente Boarding House by Wayne Hsieh

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At various times a brothel owner, vagrant, and forger preying on old men on benefits, in 1981 Dorothea Puente began renting this boarding house in a quiet, tree-lined declining neighborhood of Sacramento. There she took her predation to the next level. Tenants complained about her stinginess, collecting their government checks and doling out small stipends, while others praised her cooking and personal involvement-- in short, nothing out of the ordinary. She became popular with social workers for taking on "difficult cases", including alcoholics and abusive tenants.

Puente's boarding home began arousing suspicion after a tenant disappeared after extensive work digging holes in the garden and working in the basement, before filling it all with a layer of concrete. Neighbors also complained of a terrible stench coming from the property, making the house notorious in the neighborhood, though Peunte blamed bad sewage pipes.

This came to a head on November 11, 1988, after a social worker brought up a missing case who had boarded at Peunte's. While looking around, police came upon disturbed soil, and on a hunch began digging. Very quickly, an officer came up with human clothing--and a bone. Everyone was stunned. The next day, while a team of forensic investigators began working through the property and a crowd of neighbors watched outside, 59-year old Puente asked if she could get a cup of coffee nearby and was allowed to leave. By afternoon, investigators had comes across an additional three bodies under a concrete slab and another under a gazebo. Eventually seven bodies were found: Alvaro "Bert" Montoya, Dorothy Miller, Benjamin Fink, Betty Palmer, Leona Carpenter, James Gallop, Vera Faye Martin. All were found to have flurazepam. When someone decided to ask the landlady about this situation, they found that she had disappeared.

Further investigation found that Dorothea Puente had been taking advantage of her tenants, forging their disability and social security checks to earn some $5000/month, enough for a face-lift (contrary to what she had been telling everyone, she was actually 71), perfume, and silk dresses. She would spend evenings visiting bars, finding old, lonely men and ask about their finances, inviting in those who she felt were profitable targets.

The murders appeared to begin in 1982. A potential business partner for the boarding house, Ruth Munroe, died after apparently overdosing on acetaminophine and codeine. Puente had been arrested soon after when a tenant stated that she had drugged and robbed him. While on parole (barring her from working with the elderly), she became a fiancee and signatory on the pension of Everson Gillmouth. His body was found in a box dumped in the Sacramento River, found in 1986 and not identified until the Puente case exploded.

In 1988, apparently fleeing by bus to Los Angeles, Dorothea Puente was identified a few days later by Charles Willgues after she gave a story of being widowed and asked about his pension. She was arrested without incident.

After a massive trial, Puente was found guilty of three counts of murder (the jury strangely deadlocked on the other six) and was sentenced to life in prison without parole. She died in 2011.

The boarding house where 7 of the 9 potential murders took place is at 1426 F Street in Sacramento and occasionally opened to the public for home tours. The new owners appear to have a good sense of humor: there is a ghost placed at the front gate, a statue of Dorothea Puente hidden near the basement entrance. Three signs are posted: "Do Not Park Across Driveway--the Ghosts like to Get Out to TERRORIZE the Neighborhood!" "Trespassers Will Be Drugged and Buried in the Yard" and "IT WAS THAT TERRIBLE, TERRIBLE WOMAN THAT DID IT, DON'T BLAME ME!--"THE HOUSE""

Capitol District, Sacramento, California

Street Art/Graffiti. by HISTOGRAPHY by DM & DBM.

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Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

St Mary, Hadlow, Kent by Jelltex

In contrast to the chilly reception at West Peckham, Hadlow was a delight. Though it did involve a bit of a wait, as there was a wedding on. The poor couple we met outside had been invited to the wedding, but that week's updated advice meant guests inside the church had been cut from 30 to 15, so they lost out.

We talked as they waited, and told me some of the history of the town, the church and the castle next door. And of the Hop-picker's Memorial in the churchyard, which I went out to photograph.

There was no guarantee that we would be let in once the wedding was over, and once they did troop out, and the photographs taken, I thought that the west door would be locked and the hours wait wasted.

But it swung open, and the poor vicar was getting the chairs ready for the next day's service, and mentioned several years in seminary all to be a furniture mover.

I explained the project, and asked if I could take shots, explaining I would be quick and when he was done I would leave. But he was fine, let me take my time and showed me detail I would have otherwise missed.

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The first record of a church in Hadlow was in 975.[2] This church would probably have been a wooden building. In 1018, the early church was replaced by a building of stone. In the 12th century, the church was rebuilt and extended by Richard de Clare, then lord of the Manor of Hadlow. De Clare granted the church to the Knights Hospitallers in 1166. The Knights Hospitallers later had a preceptory at nearby West Peckham, which was their local administrative base. From the Norman Conquest until the 18th century, Hadlow did not have a resident Lord of the Manor, being held under Tonbridge Castle.[3] It is thought that the tower was raised and the spire added in the 15th century.[4] Little money was spent on the maintenance of the church, although some 15th- and 16th-century bequests are recorded. Thomas Walter, Yeoman bequeathed 20s in 1448 "To make a window on the north side of the church by the altar of Our Lady". John Tatlyngbery bequeathed 10 marks "For repair of the great door of the church". In 1456, Richard Bealde bequeathed 13s 4d "For repair of the tower of Hadlow church".[5] In 1461, Dionysia Ippenbury left 3d for masses to be said each year for 12 years.[6] In 1465, William Palle, yeoman left a cow to the church. It was to be sold and "the profits therefrom to be devoted to the maintenance of a lamp in the chancel".[5] In 1509, Thomas Fisher, yeoman bequeathed £20 "for making a new rood loft". The rood screen may not have been in existence long, although it was mentioned in bequests dated 1510 and 1513.[7] The church remained under the ownership of the Knights Hospitallers until 1540, when the order was dissolved by Henry VIII.[3] In 1533, Henry Fane left two chalices valued at £4.[6]

The west door is inscribed "WB 1637 ES". The tower and steeple were repaired in that year. The churchwardens were Walter Barton and Essau Simmons.[7] In 1791, the clock was installed in the tower. It was made by John Thwaites of Clerkenwell.[8] At the beginning of the 19th century, the church was in disrepair. In 1847, the chancel was rebuilt and the vestry added. In 1853, the south porch was blocked up. The north aisle was added in this year at a cost of £470, which was raised by public subscription. A private gallery was erected by Walter Barton May, owner of Hadlow Castle. This had its own private access and was located at the west end of the nave. In 1885, an altar reredos was erected to the memory of Sir William Yardley and his wife Amelia. Yardley was a former judge in the High Court of Bombay, India. In 1936, the gallery was removed.[5] Work on the doorway at the west of the church in 1936 exposed some small crosses carved in the stonework. These are attributed to Nicholas de Hadloe and his son, who lived at Hadlow Place. They were carved to commemorate their safe return from the Third Crusade in 1189.[4] St Mary's was listed on 20 October 1954. It is currently Grade II* listed.

St Mary's is mostly constructed from ragstone, with some ashlar detail and quoins of Tunbridge Wells sandstone. The church is built in the Early English and Decorated style. The chancel roof is of slate, while the nave and aisle roofs are tiled. The spire is covered in shingles. The stained glass windows date from the 19th and 20th centuries,[9] the most recent of which is "The Visitation" created by Francis Skeat in 1956.

In 1919, the Coverdale Chair was presented to St Mary's by T E Foster MacGeagh of Hadlow Castle. The chair is so-named because it was owned by Miles Coverdale, Bishop of Exeter, who made the first translation of the Bible into English. In 1954, the chair was transferred to Rochester Cathedral, but it was returned to St Mary's in 1967.

en.wikipedia.org/wiki/St._Mary%27s_Church,_Hadlow

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The lowy of Tunbridge: Hadlow

HADLOW.

THE BOROUGH OF HARDLOW, within the lowy of Tunbridge, contains the parish of Hadlow, with the church, except a small district of the northern part of it, which is in the hundred of Littlefield.

THE PARISH of Hadlow is of large extent, joining to West Peckham northward, and to the river Medway, its boundary southward; to the west it extends to the Northfrith woods and the parish of Tunbridge. It is far from being a pleasant situation, being a flat low country, much covered with large and spreading oaks, and broad hedge rows; the soil is in general a stiff clay, much of which is very swampy and wet; towards the upper part of the parish it is but poor, being very panny, and in some places inclining to gravel; lower down it is much more fertile, and bears good corn, and is kindly for hops, of which there are many plantations, which have much increased of late years. Near the river the grass lands are very rich, and capable of fatting beasts of a large size. The rivulet called the Sheet, which flows from Plaxtool by Oxenhoath, crosses this parish, joining the river Medway, a little above Brandt bridge, near which at Hartlake bridge, at the east end of this parish, is what is here called a flowing bolt, being an ingenious contrivance to pen up the water to a certain height, by which means it is capable of being let out in dry seasons, to flow over and moisten the adjoining meadows, which is at that time of the greatest advantage to them. The high road from Maidstone through Mereworth to Tunbridge, crosses this parish over Hadlow common, at the northern boundary of it, whence it goes through the town or village of Hadlow, between which and the river is Fish-hall and Hadlow-place, and more eastward the small hamlets of Goldwell-green, Barnes, and Mill-street.

On the bank of the Medway, at the west end of the parish, is a wharf and landing place, called Hadlow-stairs, for the lading and unlading of timber, coals and other merechandize.

A fair is yearly held in Hadlow town on WhitMonday.

IT APPEARS from the survey of Domesday, that this place was part of those vast possessions with which William the Conqueror enriched his half-brother Odo, bishop of Baieux, whom he afterwards made earl of Kent, under the title of whose lands it is thus entered there.

Richard de Tonebridge holds of the bishop (of Baieux) Hastow. It was taxed at six sulings. The arable land is twelve carucates. In demesne there are three, and forty-seven villeins, with fifteen borderers, having fifteen carucates. There is a church and ten servants, and two mills of eleven shillings, and twelve fisheries of seven shillings and six-pence, and twelve acres of meadow, Wood for the pannage of sixty hogs. In the time of king Edward the Consessor, and afterwards, and now, it was and is worth thirty pounds. Eddeva held it of king Edward.

In the reign of king Henry III. the seignory of this manor was claimed by the archbishop of Canter dury, and an agreement was entered into in the 42d year of it, between archbishop Boniface and Richard de Clare, earl of Gloucester and Hertford, concerning the customs and services which the archbishop required of the earl, on account of the tenements which the latter held of him in Tunebregge, Hanlo, &c. that is, the manors of Tunebregge and Hanlo, together with the whole lowy of Tonebregge, whence the archbishop required of the earl that he should do him homage, the service of four knights fees, and suit to his court at Canterbury, and that he should be the high steward of him and his successors, at their great feast, whenever it should happen that the archbishop should be inthroned.

The above-mentioned Richard de Clare, earl of Gloucester and Hertford, dying at Eschemerfield, in this county, in the 46th year of the reign of king Henry III. anno 1261. Gilbert, earl of Gloucester and Hertford, his son, succeeded him in this manor, and whose son of the same name, earl of Gloucester and Hertford, dying in the 7th year of Edward II. anno 1313, without surviving issue, his three sisters became his coheirs. (fn. 1) Upon which the manor of Hadlow, with the adjoining manor and castle of Tunbridge, and others in these parts, seem to have been allotted to the share of Margaret, the second sister, wife of Hugh de Audley, who in her right became possessed of this manor, and in the 11th year of king Edward III. was, in respect of this marriage, in parliament created earl of Gloucester.

Margaret, countess of Cornwall and Gloucester, died in the 16th year of that reign, and her husband, earl Hugh, outliving her about five years, died then possessed of this manor by courtesy of the realm, and leaving by her an only daughter and heir Margaret, then the wife of Ralph Stafford, lord Stafford. He before the end of that year obtained a special possession of all the lands of her inheritance, and among them of this manor, and in his descendants, earls of Stafford, and afterwards, by creation, dukes of Buckingham, of high estimation for the great offices of state which they held in the different reigns in which they lived. This manor continued down to Edward, duke of Buckingham, who in the 13th year of Henry VIII. being accused of conspiring the king's death, was found guilty, and beheaded that year; and although there was an act passed for his attainder, yet another act passed likewise for the restitution in blood of Henry his eldest son, but not to his honors and lands, which remained forfeited to the crown, and the king in his 16th year, granted the manors of Hadlow and Northfrith, aud several messuages, tenements, parks, &c. in the parishes of Hadlow, Shipborne, and Tunbridge, late belonging to Edward, duke of Buckingham, attainted, to Sir Henry Guildford, comptroller of his household, to hold by knight's service.

Sir Henry Guildford had greatly signalized himself by his valour against the Moors in Spain, and being first knighted, afterwards created a knight banneret, and made master of the horse. In the 17th year of king Henry VIII. he was made one of the chamberlains of the exchequer, and next year was elected a knight of the garter, being only thirty-nine years of age at the time of his election. (fn. 2)

On his death in the 23d year of king Henry VIII. this manor seems to have reverted to the crown, where it remained till king Edward VI. in his 4th year, granted the manor and park of Hadlow to John Dudley, earl of Warwick, who was afterwards created duke of Northumberland, and he by indenture, in the 7th year of that reign, inrolled in the Augmentation-office, sold this manor, among other premises, to the king, in exchange for lands in several other counties. (fn. 3)

The manor of Hadlow remained in the crown till the accession of queen Elizabeth, who in her 1st year granted it, together with the park called Northfryth, to her kinsman, Henry Carey, lord Hunsdon, to hold in capite; and he seems to have given it before his death to his eldest son, Sir George Carey, who possessed it.

in the 25th year of that reign, and on his father's death in the 38th year of it, succeeded to the title of lord Hunsdon. He died in the 1st year of king James I. without male issue, upon which this manor came to his next brother John, who succeeded him likewise as lord Hunsdon, and died in the 15th year of James I. and his eldest son Henry, lord Hunsdon, soon afterwards conveyed this manor by sale to James Faircloth, M. D. of London, who alienated it to George Rivers, esq. of this parish, second son of Sir George Rivers, of Chafford, in this county, whose son Edward Rivers, esq. was of Fishall, in this parish, and dying possessed of this manor in 1660, was buried near his father in this church. His successor alienated it in the reign of king Charles II. to Jeffry Amherst, gent. and he in the year 1699 sold it to Mr. John France, who dying without male issue, his two daughters, Mary and Elizabeth, became his coheirs; the eldest of whom married Walter Barton, gent. and the youngest George Swayne, gent. On his death, the former by settlement succeeded to this manor, as did his son Mr. John Barton, (by the entail in the same settlement, on his father's decease) and his son Walter who has since taken the name of May, is the present proprietor of it.

This manor holds a court leet and court baron, which seems to be entirely independent of the court leet of the manor of Tunbridge, for in 1759 a constable of Tunbridge was chosen at the court leet of that manor, and as such claimed jurisdiction over the parish of Hadlow; but on a trial had on a suit concerning it, at the Lent assizes for this county in 1761, it was proved, that the courts leet of Tunbridge and Hadlow had no connection with each other, and a verdict was found accordingly.

HADLOW-PLACE is a seat and estate in this parish, which, in all probability, gave both name and residence to a family of no small note in antient time.

John de Hadloe, a descendant of Nicholas de Hadloe, was among those gentlemen of this county, who attended king Edward I. in his expedition into Scotland, in the 28th year of his reign, and for his remarkable service there, at the siege of Carlaverock, was made knight banneret by that prince. The Hadlows bore for their arms, three crescents, to which was afterwards added, seven cross-croslets, in token of some exploit or expedition against the Saracens in the holly land; a usual mark of honor in those times. This addition was most likely granted to Nicholas de Hadloe, who is in the list of those Kentish gentlemen, who were with king Richard I. at the siege of Acon, in Palestine.

How long Hadlow-place remained in the above mentioned family I do not find; but most likely till it was alienated to that of Vane, aliasFane. Henry Fane, the eldest son of John Fane, esq. of Tunbridge, was possessed of it in the reign of king Henry VII. and was sheriff in the 23d year of it. (fn. 4) He died in the 30th year of king Henry VIII. anno 1538, leaving no issue by Alice his wife, sister of John Fisher, gent. of this parish. By his will he gave this manor-place, in which he then dwelt, with all his lands in Hadloe and Capel, to his kinsman Ralph Fane, son of Henry, his father's youngest brother, in tail male, remainder to each of the sons of his youngest brother, John Fane, successively in like tail. (fn. 5)

¶Ralph Fane was afterwards knighted at the siege of Bulleyn in 1544, and for his gallant behaviour at the battle of Musselborough, in the 1st year of king Edward VI. was made a knight banneret; but in the 6th year of that reign, being found guilty of high treason, he was executed. He died without issue, and Hadlow-place, with the adjoining lands, by virtue of the above entail, came to Henry Fane, the eldest son of John Fane, deceased, the youngest brother of Henry, of Hadlow, before-mentioned, who was of Hadlow-place; being concerned in Sir Thomas Wyatt's insurrection, he was attainted, but the queen pardoned him on account of his youth, and his estates were restored to him; his son Henry, wrote himself, as his ancestors had formerly done, Vane, which his posterity have continued to do ever since. He removed his residence to Raby-castle, in the bishopric of Durham, and was afterwards knighted, from which time he acted a conspicuous part in public affairs, and was greatly favored by king Charles I. (fn. 6) But in the year 1642, the king being offended at his forwardness in the prosecution of the earl of Strafford, he was removed from his place of secretary of state, and from the privy council, and became one of the most malicious of the king's enemies, soon after whose death he alienated this seat, with the estate belonging to it in this parish, to Mr. Thomas Petley, of Filston, in Shoreham, who at his death gave it to his son, Ralph Petley, by his second wife Elizabeth, daughter of Ralph Cam, of London, and he removed from Shoreham to Riverhead, in Sevenoke, where he afterwards resided, and in his descendants resident there this estate continued down in like manner with that seat to Ralph Robert Carter Petley, esq. who died in 1788, leaving his wife, Mrs. Elizabeth Petley surviving, who is the present possessor of this estate. (fn. 7)

HADLOW is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.

The church, which stands on the east side of the town, in Hadlow borough, is dedicated to St. Mary. It is a small building with a low pointed steeple at the west end. There is a monument in it for Sir John Rivers and his lady. It was part of the possessions of the knights of St. John of Jerusalem, commonly called the knights hospitallers, so early as the reign of king John; for in the last year of it, anno 1216, Benedict, bishop of Rochester, at the presentation of the prior and brethren of that hospital, admitted and instituted Adam de Fontibus to this church, saving to the prior and brethren the antient pension of two shillings yearly paid to them from it; and the right likewise of the church of Rochester in all matters, and the right of those who were accustomed to take tithes in this parish, separated from the mother church.

Thomas de Inglethorpe, bishop of Rochester, in 1287, appropriated this church, then vacant, and of the patronage of the prior and brethren, to them and their house, for ever; reserving a competent vicarage in it, which he decreed should consist of all the small tithes, oblations, obventions, and all other matters belonging to the altarage, excepting the tithe of the hay of the parish; and he decreed, that the vicar should have one acre of land, where he might conveniently build a house, and two acres of meadow, fit to be mowed, of the demesne of the church; and that he should sustain the ordinary burthens of the church, viz. the procurations of the archdeacon, and should pay yearly to the rector of the church of Adintone, eighteen pence, which the rector of the church of Hadlo used to pay to it, time out of mind; and that the prior and brethren should pay to the prior and convent of Rochester five shillings yearly, as had been accustomed to be paid to them from this church from antient time.

On the establishment of the preceptory in the adjoining parish of West Peckham by those knights, this church was allotted as an appendage to it; in which state it continued till the general dissolution of their hospital in the 32d year of king Henry VIII. when that order was suppressed by an act specially passed for the purpose, and all their lands and revenues given by it to the king. At which time the parsonage or rectory of Hadlow, appears to have been esteemed a manor.

King Edward VI. July 16, in his first year, granted the rectory and advowson of Hadlow, to Sir Ralph Fane, and lady Elizabeth Fane his wife, to hold in capite by knights service. (fn. 10) On Sir Ralph Fane's death, lady Elizabeth Fane, his widow, became possessed of it, and soon afterwards alienated one part of it, by the description of the manor of the rectory of Hadlow, together with all houses, glebes, tithes, and other appurtenances, lying in Hadlow-ward in this parish, to Thomas Roydon, esq. of East Peckham, whose daughter and coheir Elizabeth, married William Twysden, of Chelmington, who became in her right possessed of this manor and rectory; and his descendant, Sir William Jarvis Twysden, bart. lately sold it to Mr. Walter Barton, who is the present pos sessor of this tithery, with the manor and appurtenances belonging to it.

¶The other two parts of the rectory of Hadlow, consisting of the tithes of this parish, in the tithe wards of Goldwell, alias Coldweld and Stair, as well as the advowson, remained (after the above-mentioned alienation to Roydon) in the possession of lady Eliz. Fane, who in the 1st and 2nd year of king Philip and queen Mary, alienated the remainder of the parsonage of Hadlow to Henry Fisher, and he, in the first year of queen Elizabeth passed it away to Richard Smithe, who next year alienated it to John Rivers; his son, Sir George Rivers, possessed this parsonage, as well as the advowson of the church, which seems to have passed with it from lady Fane, and his eldest son, John Rivers, esq. was created a baronet, and in the 21st year of king James I. procured an act of parliament to disgavel as well his lands as those of Sir George Rivers, his father, and to settle the inheritance of them upon himself and his heirs by dame Dorothy his wife, daughter of Thomas Potter, esq. of Westerham. His grandson and heir, Sir Thomas Rivers, bart. son of James Rivers, esq. who died in his life time, in 1657 conveyed that part of this parsonage, which consisted of the tithes arising within the ward of Stayer, to Edward Rivers, esq. son of George Rivers, esq. of this parish, next brother to Sir John Rivers, created a baronet as above-mentioned, and he died possessed of it in 1660, and was buried in this church. His son, George Rivers, esq. possessed it near seventy years, and then dying, by will gave it to his god-son, George Rivers, esq. of the Inner Temple, who in 1737, reserving to himself a life estate in this tithery, sold the reversion of it to Stephen Hervey, esq. of London, and he soon after Mr. Rivers's death, in 1777, conveyed the fee of it to Mr. Robert Simmons, of Hadlow, who gave it by will to his nephew Mr. William Simmons, the present possessor of this part of the parsonage of Hadlow.

The remaining part of the parsonage of Hadlow, consisting of the tithe within Goldwell, commonly called Colweld-ward, passed afterwards into the possession of Wm. Lea, gent. of Hadlow, whose granddaughter, Mrs. Eliz. Leavens, of Hadlow, in 1701, conveyed it to Mr. John Weekley, of Town Malling, who in 1738 gave it by will to his brother, Mr. George Weekley, late of Ware, in Hertfordshire, on whose death in 1777 it descended to his only daughter and heir, Miss Jane Weekley, since whose death this tithery has been sold by her devisees to Mr. Thomas Swayne, of Tunbridge, the present possessor of it.

THE ADVOWSON of the vicarage of Hadlow seems to have continued in the Rivers family, till the death of Sir George Rivers, in 1734, when, on disputes arising concerning the devise of his estates, they were put into chancery, and after several decrees and process at law, this advowson, among his other estates, was in 1743 ordered by the court to be sold, (fn. 11) and it was accordingly conveyed to the Rev. Arthur Spender, vicar of this parish, who died in 1750, and his son Arthur, dying unmarried, it came to his brother, Mr. John Spender, of Northamptonshire, who sold it not long since to Mr. Monypenny, who is the present patron of it.

It is valued in the king's books at 13l. and the yearly tenths at 1l. 6s.

The income of this vicarage greatly depends on the hop-plantations in this parish, which have been some years so advantageous as to increase the income of it to 240l. per annum.

In 1608 the communicants in this parish were in number three hundred and seventy-six.

www.british-history.ac.uk/survey-kent/vol5/pp177-193

Invictus Games 2017 .... Archery Competition .... Fort York / Toronto, Ontario, Canada by Greg's Southern Ontario

3 2

.... Archery involves using a bow to propel arrows at a target from a set distance. This sport is fully integrated, meaning it is played among able-bodied competitors as well as competitors with varying physical disabilities, such as a spinal cord injury or amputation. Competitors can shoot from a standing or sitting position while aiming towards the center of a target. Archery is a test of accuracy, strength and concentration ....