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Taken during a day trip to London, led by Sheffield Uni's Civil & Structural Engineering department.
View of the shadow of the SLS structural test stand SLS structural test stand at Marshall Spaceflight Center in Huntsville, AL
Structural Drafting Sample for Foundation Plan.
View more samples at www.outsourcestructuraldrafting.com/portfolio.php
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The 2018 WIDER Annual Lecture was given by Professor Ernest Aryeetey in Helsinki, Finland at the 2018 Think development - Think WIDER conference.
Ernest Aryeetey discussed the political economy of structural transformation in Africa. The lecture looked at how various political regimes and economic policies have shaped the African development trajectory, and what are the necessary next steps for achieving economic transformation.
The large crane will leave the Integrated Sciences Complex site as ironworkers near the end of installing structural steel. Crews are pouring concrete for the floors in the new building.
Photos by: Harry Brett
MSSA International Convention 2010 (PWTC 2 Nov 2010) - Convention Organising Committee Chairman Ir Stephen Tam. He is also MSSA Deputy President.
Above image is an example of Capstone's work for Seismic Retrofiting of Office Building, Mumbai. The design developed by the structural engineering experts shows their expertise in this field.
Nam June Paik, Born Seoul, Korea 1932-
died Miami Beach, FL 2006
Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995, fifty-one channel video installation (including one closed-circuit television feed), custom electronics, neon lighting, steel and wood; color, sound, approx. 15 x 40 x 4 ft.,
Paik predicted, in 1965, that "someday artists will work with capacitors, resistors, and semiconductors as they work today with brushes, violins and junk." Over the decades, his own work stayed in constant conversation with how new technologies reshape the world. Electronic Superhighway playfully engages three such forces--the US interstate highway system, cable television, and the emergent internet of the 1990s.
In this TV map, neon-outlined states play a mix of borrowed and original footage. Each distinct channel reveals Paik's associations with or understanding of that state. Some video collages draw from personal connections, like Paik's recordings of longtime collaborator and cellist Charlotte Moorman filling the screens in her home state of Arkansas (along with images of then president Bill Clinton, also from Arkansas). Others incorporate existing media representations, with the movie musical Oklahoma! filling Oklahoma, and edits from a documentary on the 1950s Montgomery bus boycotts echoing from Alabama. A closed-circuit camera marks Washington, DC, where gallery visitors can see themselves in real time. This suggests the map is also a portrait, reflecting how media and mediation shape views of ourselves and each other at national, regional, and individual levels.
Audio Note: Synced television sounds match a handful of states' channels, so the audio spreads and blends across the length of the map. At different moments, various soundtracks become louder and dominate; at other times it is a noisy collage. The appropriated movie musicals--Oklahoma! in Oklahoma, Meet Me in St. Louis in Missouri, and The Wizard of Oz in Kansas--are each audible when standing nearby and as their songs reach a crescendo. Uniquely, the audio related to the Montgomery bus boycotts, which includes speeches by Malcolm X and Martin Luther King Jr., plays through speakers on both sides of the map, not just near Alabama, making it the most prominent and legible part of the sound mix.
Nam June Paik (1932–2006), internationally recognized as the "Father of Video Art," created a large body of work including video sculptures, installations, performances, videotapes and television productions. He had a global presence and influence, and his innovative art and visionary ideas continue to inspire a new generation of artists.
Born in 1932 in Seoul, Korea, to a wealthy industrial family, Paik and his family fled Korea in 1950 at the outset of the Korean War, first to Hong Kong, then to Japan. Paik graduated from the University of Tokyo in 1956, and then traveled to Germany to pursue his interest in avant-garde music, composition and performance. There he met John Cage and George Maciunas and became a member of the neo-dada Fluxus movement. In 1963, Paik had his legendary one-artist exhibition at the Galerie Parnass in Wuppertal, Germany, that featured his prepared television sets, which radically altered the look and content of television.
After immigrating to the United States in 1964, he settled in New York City where he expanded his engagement with video and television, and had exhibitions of his work at the New School, Galerie Bonino and the Howard Wise Gallery. In 1965, Paik was one of the first artists to use a portable video camcorder. In 1969, he worked with the Japanese engineer Shuya Abe to construct an early video-synthesizer that allowed Paik to combine and manipulate images from different sources. The Paik-Abe video synthesizer transformed electronic moving-image making. Paik invented a new artistic medium with television and video, creating an astonishing range of artworks, from his seminal videotape Global Groove (1973) that broke new ground, to his sculptures TV Buddha (1974), and TV Cello (1971); to installations such as TV Garden (1974), Video Fish (1975) and Fin de Siecle II (1989); videotapes Living with the Living Theatre (1989) and Guadalcanal Requiem (1977/1979); and global satellite television productions such as Good Morning Mr. Orwell, which broadcast from the Centre Pompidou in Paris and a WNET-TV studio in New York City Jan. 1, 1984.
Paik has been the subject of numerous exhibitions, including two major retrospectives, and has been featured in major international art exhibitions including Documenta, the Venice Biennale and the Whitney Biennial. The Nam June Paik Art Center opened in a suburb of Seoul, South Korea, in 2008.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Structural shoring towers supporting a section of wall prior to Building 2 demolition at the VA Canandaigua Medical Center construction project, Canandaigua, NY, March 12, 2020.
The large crane will leave the Integrated Sciences Complex site as ironworkers near the end of installing structural steel. Crews are pouring concrete for the floors in the new building.
Photos by: Harry Brett
The 2018 WIDER Annual Lecture was given by Professor Ernest Aryeetey in Helsinki, Finland at the 2018 Think development - Think WIDER conference.
Ernest Aryeetey discussed the political economy of structural transformation in Africa. The lecture looked at how various political regimes and economic policies have shaped the African development trajectory, and what are the necessary next steps for achieving economic transformation.
I thought I'd post more images of these flowers so you can see the differences between it and Queen Anne's Lace, though now I wish I had detailed shots of the latter to post for comparison. QAL grows more straight, I think, and is much more delicate and thin. You can see this is hefty, and it makes lots of umbels. I also noticed that the umbels seem to emerge from these "sleeves" along the stems, and don't recall seeing those on QAL.
Cow Parsnip, Heracleum maximum
Potter Marsh, Anchorage, AK
Day 2 of 17
As long as architect is not creative and ready to think of unique possibilities, structural designer is always least interested in the work
The structural glass floor used at the Wolfe Center for Arts at Bowling Green State University. The glass is used to showcase a collection of Roman artifacts that are over 1500 years old. The glass floor allows the patrons to visually see the artifacts but also protects them from any damage.
A major programme of refurbishment at Cardington to return the Grade II listed building to its former glory. The completed project received a commendation from the Civic Trust at their awards ceremony in London in March 1995.
These exposures in Dinosaur National Monument, Utah consist of structurally tilted, Jurassic-aged sedimentary rocks. The rocks in most of the photo are in the Morrison Formation (Upper Jurassic).
Stratigraphy: Morrison Formation, Upper Jurassic
Locality: Fossil Discovery Trail, western Dinosaur National Monument, northern Uintah County, northeastern Utah, USA
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See info. at:
en.wikipedia.org/wiki/Dinosaur_National_Monument
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Geologic map of Dinosaur National Monument:
The 2018 WIDER Annual Lecture was given by Professor Ernest Aryeetey in Helsinki, Finland at the 2018 Think development - Think WIDER conference.
Ernest Aryeetey discussed the political economy of structural transformation in Africa. The lecture looked at how various political regimes and economic policies have shaped the African development trajectory, and what are the necessary next steps for achieving economic transformation.
There are between 50 and 60 butterflies in the UK and Ireland, some are more common than others, and of the rarer species, some like to bask, while others play hard to get.
Or see.
Of the latter is the Purple Emperor, which emerges for a few weeks in high summer, spending most of its time in the tree tops of sallow trees feeding on aphid honeydew.
But sometimes males come down to ground, so can be snapped. Over the years, various lures or substances, mostly fish-derived, have been tried to lure the butterflies down. And last week, a friend tried his brew, named "butterfly juice", and got at least two males to land in the car park of a country park and stay for over 15 minutes.
As that was just two days before, I said I would go up, and Billy armed with a new batch of juice would meet up and we hoped that the weather would play ball.
This meant having to get up promptly, get to Tesco, have breakfast and be out before half eight to travel to west Kent to be there to meet Billy.
We had a load of stuff to get at Tesco, so took a half hour to get round, spending what seems like a king's ransom for a week's provisions and supplies.
Jools decided to download Windows 11, but the final stage created a loop of requests, so she had to go into town to drop it off to be fixed, but said she was happy for me to go on my own to chase butterflies.
The forecast had not mentioned rain, or strong winds, but it seems no one told the weather.
Travelling up the M20, I went through two heavy showers, and when I got to the park, the ground was wet for another recent shower.
I met up with another snapper, Mike, and he showed me where the tree was near the car park where the males had come down from on Thursday.
It was cool, breezy and of the Emperor there was no sign.
We wandered round the meadows surrounding the trees, and found Meadow Browns, Ringlets and Gatekeepers, and when the sun came out, a single Silver Washed Fritillary and a White Admiral were seen, though only at a distance.
Billy arrived at 11, and dropped the juice, on the ground where he had on Thursday.
The strong winds blew clouds across the sky, brief periods of blue sky brought sunshine and clouds of brown butterflies.
A while later, we set off on the circular walk which shortly brought us to another of the hotspots, the cross roads of four tracks with hogweed in the centre, perfect for snapping basking butterflies and sever White Legged Damselflies, an uncommon species, but frequently seen here.
The sun came out, so I stayed there while the others walked off. So it was that I was buzzed by a single Purple Emperor, the only sighting of the day, as it swooped past me, the upper winds reflected bright purple. I swung round, but it was gone.
And that was that.
And then the rain came.
I had gone to meet with the others, so we had to shelter for twenty minutes under a tree, while day turned to night and the rain hammered down.
The sun came out and brought brilliant bright light, so we walked back to the car park, I waited half an hour more to see if the sun would come back.
It didn't.
So, I said goodbye and began to long drive back home.
Before leaving home I had checked the area for churches, and two sprung up: Shipbourne and Plaxtol, both were either on the road back home, or just off it.
Shipbourne is a small village set round a large area of grass that I guess was, and maybe still is, common grazing land. It is now a destination for dogwalkers judging by the cars, but of the church there was no sign.
I took the road north, came to to the edge of the village and there was still no church. I turned round and went back, and over the tree tops I could see the tower of the church. Back by the village pub, and behind it, was the church, accessible via a short lane with parking spaces.
I drove in, parked up grabbed all my camera gear and walked to the lych gate. A walker held it open for me, the church rose close the other side, reaching for the skies.
Along the path, I came to the porch with its very welcoming sign sayin "church open".
On the way up, there was a queue of six miles of trucks for the port, so I drove back along the Alkham Valley, through River and up Whitfield Hill, getting back just before three, in time for a brew.
I had some cheese and crackers and a brew, as Jools had already eaten.
Then at five the football: England v Switzerland.
Two evenly matched teams, that cancelled each other out. Ten minutes to go, the Swiss scored thanks to a defensive lapse, and it all looked lost. But 5 minutes later, Saka cut in from the right and curled a shot into the far corner to level things.
It stayed that was to the end of normal time, and extra time, which meant penalties.
I had used the BBC i player to watch the BBC whilst listening to the commentary from Radio 5, this is usually a few seconds behind the actual TV feed, but a technical issue meant it was closer to two minutes. Which meant when the winning penalty went in in real time, our TV was two penalties behind, so heard the cheers from Bev and Steve next door. And I was watching the feed from the BBC website, which meant I knew when a penalty was missed or not.
Long gone are the days when this would have meant a defeat, so it was England scored all five of theirs, but the Swiss missed their first, so Trent Alexander Arnold hammered the winning spot kick to send England into the semi finals.
Almost straight away the last quarter final, Netherlands v Türkiye kicked off, and a great game it was, end to end stuff with lots of shots.
The Turks scored and looked like they would cling on, but two goals in five minutes in the last quarter put the Oranj armie through to play England on Wednesday.
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The church of St. Giles in Shipbourne, near Tonbridge, overlooks a large open common. Its history is intertwined with the large nearby country estate of Fairlawne, and in 1879-81 the then owners, the Cazelet family, paid for the previous church to be completely demolished and rebuilt. The original church was a small 14th century chapel which was itself replaced between 1721-22 with a Palladian church designed by architect James Gibbs which was paid for by Fairlawne's previous owners, the Lord Barnard, Christopher Vane. Nothing structural remains of either Gibbs' church or the medieval church it replaced; only a large monument to Christopher Vane (died 1723) and his wife and daughter (both named Elizabeth). This monument, carved by Michael Rysbrack, was rehoused in the south transept of the Victorian church we see today. The church is built of local Kentish ragstone with Bath stone dressings. The style is based on 13th century Gothic and it has a Normanesque capped central tower. The architects are quite obscure: they are listed simply as Mann and Saunders. It could be that this pairing were William G. Saunders and F. Mann. Both worked in Sussex around the same period. The interior has hardly changed since it was built. The total cost was £20,000 - a huge sum at the time, indicating that the Cazelet family of Fairlawne had sufficient wealth to pay for it! Various monuments and plaques in the chancel are dedicated to members of this family including a recent one to Peter Cazelet (died 1973) who trained the Queen Mother's racehorses. The church is of a cruciform shape with a central tower. The transepts are small, with the south transept being used as a small chapel, as well as housing the Vine monument dedicated to the Fairlawne estate's former owners and the benefactors of the first rebuilding of the church. The north transept holds the organ and contains a small vestry with a turreted staircase leading to the tower. The stained-glass windows are German in design, emanating from the workshops of Mayer of Munich. The nave and chancel are beautifully decorated throughout with an eccentric mix of stencilling and sgraffito. The west wall has an intriguing set of canopied and pinnacled wooden stalls running the entire width of it and sited directly behind the font. This was the baptismal pew used by members of the Cazalet family. The west window above the pew previously contained the family crests and coats-of-arms, although the windows were destroyed in WWII. Photography was all-the-rage among the upper classes in 1881 and the idea was that the Cazelet family and the priest performing the baptism could have the event captured via this new medium using this purpose built baptismal pew located beneath the family heraldry. Text by Rob Baker.
www.kentchurches.info/church.asp?p=Shipbourne
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SHIPBORNE.
SOUTHWARD from Ightham lies SHIPBORNE, called in the Textus Roffensis, SCRIBURNA.
THIS PARISH lies the greatest part of it below the sand hills, and consequently in that part of this county called the Weald. The village is situated at a small distance southward from the foot of the hill, round Shipborne green, having the church at the west side of it; and about half a mile further westward, near the boundary of the parish, is Budd's green, On the rise of the hill is the mansion of Fairlawn, the offices and great part of the grounds of which are within this parish, where the soil is a clay, being a heavy tillage land; in the southern part, at and about the hill, it is a sand and rock stone; at the southeast part of it there is much coppice wood, a deep and miry country at all times, most of it being exceedingly unpleasant either to live in or to travel through.
The fair continues to be held on the day of St. Giles the abbot, being Sept. 1, yearly.
JOHN DE SAY seems in the reign of Henry III. to have held in Siburne, of the earl of Gloucester, one knight's fee, and the fifth part of one, (fn. 1) which soon afterwards passed to Adam de Bavent, the principal possessions of whose family lay in Sussex and Surry.
Adam de Bavent, in the 12th year of Edward I. obtained a grant of free warren for his lands in Shipborne, and a market to be held weekly on a Monday, at his manor of Shipborne, and one fair yearly on the feast of St. Giles the abbot. In the 28th year of that reign, he was with the king at the siege of Carlaverock, in Scotland.
Hawis, widow of Sir Roger de Bavent, his descendant, in the 36th year of king Edward III. released to the prioress and convent of the priory of Dartford, then newly erected, all her right, in the manor of Shipborne, which that king by his patent of endowment, in his 46th year, confirmed to them, together with all knights fees, and other things belonging to it.
This manor continued part of the possessions of the priory of Dartford till the general dissolution of it in the reign of king Henry VIII. when it was surrendered into the king's hands, who in his 36th year granted to Sir Ralph Fane, and Anthony Tutsham, esq. the manor of Shipborne, late belonging to the monastery of Dartford, and the manor of Shipborne, alias Puttenden, lying on the east side of this parish, next to West Peckham, and late belonging to the monastery of Tunbridge, and the lands and chapel of Shipborne, with all their appurtenances, &c. to hold of the king in capite by knight's service; (fn. 2) Soon after which Anthony Tutsham released all his right and interest in them to Sir Ralf Fane.
He had been knighted at the siege of Bulleyn in 1544, and afterwards for his valour at the battle of Musselborough, in the 1st year of king Edward VI. made a knight banneret; but in the 6th year of that reign, having warmly espoused the interest of the duke of Somerset, he was accused of being an accomplice with him, and being found guilty was hanged on Tower-hill, that year. After his death, without issue, these manors, together with the lands and chapel of Shipborne, came into the possession of Henry Fane, great grandson of Henry Fane, of Hilden, in Tunbridge, who was grandfather of Sir Ralph Fane, above-mentioned.
Henry Fane, esq. was of Hadlow, and after the decease of his father was unwarily drawn into that infurrection raised by Sir Thomas Wyatt, in the 1st year of queen Mary, and being taken was committed to the Tower and attainted, but on consideration of his youth he had pardon, and was released from his imprisonment.
Next year being the 1st and 2d of Philip and Mary, he had a grant of these manors, and chapel of Ship borne, from the queen, to hold to him and his heirs, by the same services, by which they were held before his attainder. He died in 1582, the 25th year of queen Elizabeth, possessed at the time of his death, as appears by the inquisition then taken of these manors.
Henry Fane, his grandson, assumed the name of Vane, the antient one of his ancestors, which his posterity have continued to use ever since.
In the 17th year of king James I. he was knighted at Whitehall, from which time he acted a conspicuous part in the public affairs of this nation, and was chosen to sit in every succeeding parliament, both in that and the next reign. King Charles I. entrusted him much in different negociations with foreign princes, made him cofferer of his houshold, and of his privy council, and in 1632 one of the commissioners for executing the office of lord high admiral. He was afterwards much employed in commissions of the greatest weight, with others of the highest office and quality, and was made comptroller of the houshold, at which time he purchased of Sir George Chowne, THE MANSION OF FAIRLAWN, with the lands belonging to it, situated in the borough of Plaxtool, in Wrotham and this parish. (fn. 3) After which he was made treasurer of the king's houshold, and principal secretary of state, and empowered to hold those two offices together.
But not long after, on his appearing forward in the prosecution of the earl of Strafford, who had implacably offended him, by obtaining the title of baron Raby, which was Sir Henry's house, and an honor which he had hopes of acquiring himself, the king took such umbrage at it, that he removed him from all his places, and Sir Henry from that time concurred in all the malicious designs of the king's enemies, and forgetting all former obligations, sacrificed every principle of honor and loyalty to his implacable thirst of revenge; but in the end, finding himself growing into the hatred and contempt of those who had made most use of him, as well as of his own son, (fn. 4) he retired to his seat of Raby-castle, in the bishopric of Durham, where he died in the latter end of the year 1654. He left several sons and daughters, of whom Henry became his heir, and George was of Long Melford, in Durham. (fn. 5)
Henry Vane, esq. succeeded his father in his estate, in Shipborne. He had been knighted at Whitehall in 1640, but from his education at Geneva had imbibed such a sharp prejudice and bitterness, as well against regal government as the hierarchy of the church, and this being heightened by the king's giving away the barony of Raby from his family, that following his inclination, he associated with the most discontented persons of that time, so that he became one of the most inveterate of the independent and republican faction. He had been made by the king joint treasurer of the navy, by the interest of the earl of Northumberland, during which he affected to be satisfied with government, and afterwards, when his real inclinations came to be more openly known, he was intrusted with the same office solely by the appointment of the parliament. On the restoration of king Charles II. being excepted out of the general pardon, he was committed to prison, where he was kept some time, and at length being brought to his trial, he was convicted of high treason, and receiving sentence of death, was executed on Tower-hill in 1662. Thomas Vane, esq. his eldest son, succeeded his father in his estates in this parish. He married Frances, daughter of Sir Thomas Liddel, of Ravensworth, in Durham, and died without issue, on which his estates devolved to his brother Christopher Vane, esq. who was of Fairlawn, and was afterwards knighted by Charles II. In 1688, he was made by king James of his privy council, and in the 10th year of king William III. anno 1699, created lord Barnard, of Barnard castle, in the bishopric of Durham. (fn. 6)
He married Elizabeth, eldest daughter of Gilbert Holles, earl of Clare, and sister and coheir of John, duke of Newcastle, by whom he left surviving two sons, Gilbert and William, and a daughter Grace. He died at his seat of Fairlawn, in 1723, and was buried in the new church of Shipborne, built by his own bounty. On which Gilbert, his eldest son, succeeded him in title, and in his estates in the north, and William, his second son, became possessed of his father's estates in Shipborne, Plaxtool, and elsewhere in this county.
The arms of the several branches of the Fanes, or Vanes, are three gauntlets, though differently borne. The earl of Westmoreland bears, Azure, three dexter gauntlets, with their backs affrontee, or; as did the lord viscount Fane, a descendant of the same branch. The earl of Darlington bears, Azure, three sinister gauntlets, with their backs affrontee, or. And lord viscount Vane bore, Azure, three sinister gauntlets, or, on a canton ermine, a pile sable, charged with a mullet of five points, argent.
William Vane, esq. the second son, was of Fairlawn, and was chosen to serve in parliament for Durham, in the year 1708, and in 1720 was created viscount Vane, and baron of Duncannon, of Tyrone, in Ireland. He died suddenly of an apoplexy at Fairlawn, May 20, 1734, having on the Friday before, the 17th, been declared duly elected to serve in parliament for this county, and was buried in Shipborne church. Upon which, William Hollis Vane, his only surviving son, became his father's heir, and succeeded him in titles and estate. He married Frances, daughter of Francis Hawes, esq. one of the South Sea directors in 1720, and widow of lord William Hamilton, younger brother of James, duke of Hamilton, by whom he had no issue, and dying in 1789, by his will gave these manors, his seat of Fairlawn, and the rectory of the chapel of Shipborne, among his other estates to David Papillon, esq. of Acrise, the present possessor of them.
BUDDS is a hamlet in this parish, lying about three quarters of a mile westward from Shipborne church, where a family of the name of Collins formerly dwelt. Henry Collins resided here in the reigns of king Henry VIII. king Edward VI. queen Mary, and queen Elizabeth, and dying in the 35th year of the latter, was buried in this church. His eldest son, Richard Collins, gent. was likewise of Budds. They bore for their arms, Vert, a griffin segreant, or, beaked argent, gorged with a coronet of the third. How long it continued afterwards in this name I have not found, but John Turner, gent. in the reign of king James I. resided at Budds, and bore for his arms, Argent and ermine, three fer de molins, or, a pale counterchanged in fess, on a chief, or, a lion passant guardant between two roses. It is now the property of George Children, esq. of Tunbridge.
Charities.
FRANCIS COLLINS, by will in 1599, gave for the use of the poor the annual sum of 1l. charged on the house called the Bull inn, in Rochester, and 2l. likewise on lands in Gillingham, vested in Mr. Page.
N. B. This last pays the land tax, and the two bequests by journeys, expences, &c. reduces them to the annual produce of 2l. 7s. 6d.
JOHN SWAN gave by will 10l. and his executors by deed in 1614, purchased with it an annuity of 10s. for the use of the poor, charged on lands in this parish, vested in the heirs of John Bellingham, lately deceased, and now of that annual produce.
STEPHEN FREMLYN, by will in 1717, gave by deed, for the use of the poor, the annual sum of 1l. to be paid out of lands and tenements in this parish, vested in Mr. William Collias, and now of that annual produce.
SHIPBORNE is within the ECCLESIASTICAL JURISDISCTION of the diocese of Rochester, and deanry of Malling.
The church is dedicated to St. Giles, and is a neat fabric. It was entirely rebuilt from the ground by the bounty of Christopher, lord Barnard, in the beginning of this century.
It was antiently esteemed as a chapel to the church of Tunbridge, and paid six-pence chrism rent to the mother church of the diocese.
John, bishop of Rochester, in the 7th year of king Edward II. certified to the king's treasurer and barons of the exchequer, in obedience to the king's writ, directed to him for that purpose, that the prior of the hospital of St. John of Jerusalem had within his diocese the appropriation of the church of Tonebregge, with the chapels of Schibourne and St. Thomas the Martyr, which was worth yearly thirty-four marcs, being part of the antient possessions of that hospital, and upon a like writ in the 20th year of Edward III. Hamo, bishop of Rochester, certified to the king's treasurer, &c. a like return. (fn. 7)
The chapel of Shipborne belonged to that part of their revenues which was under the cognizance of their preceptory or commendary of Peckham, otherwise called the chantry magistrale in this neighbourhood, and it remained part of the possessions of the abovementioned hospital till the time of its dissolution in the 32d year of king Henry VIII. when this order of knights was suppressed by an act then specially passed for that purpose, by which all their lands and revenues, &c. were given to the king and his heirs for ever. After which the king, in his 36th year, granted to Sir Ralph Fane, and Anthony Tutsham, esq. among other premises in this parish, the lands and chapel of Shipborne, with their appurtenances, in fee, to hold in capite by knight's service. (fn. 8) Soon after which, Anthony Tutsham released all his interest in them to Sir Ralph Fane, in whose family they continued, as has been already fully related in the account of the manor of Shipborne, down to William Holles viscount Vane, who devised them by will to David Papillon, esq. the present owner of them.
This chapel is now esteemed as a curacy, and is not in charge in the king's books. It pays a fee-farm rent of eight shillings yearly to the crown.
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