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You searched for: More Like: 'Battle of Fyvie - take two'
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Lower Justice Mill, Union Glen
810 Justice Mills of one kind or another are first mentioned in the 1300s, and were the site of a famous battle. In their final form, an Upper Justice Mill occupied a site later partially covered by the Odeon Cinema building, while the Lower Mill stood in Union Glen, at the bottom of the steep slope with its mill dam above and behind it (see water wheel centre left). The left hand part of the building and the wheel were removed when the cinema was built, the dam was drained and a thoroughfare created into Union Glen, but the central and right hand parts survived, albeit derelict, into the 1960s.
The wagon in front of the buildings is painted with the business name James Alexander & Son, Grain Merchants. The 1866-67 Ordnance Survey large scale town plan of Aberdeen indicates that Lower Justice Mill was a corn mill.
A black cat can also be seen in the centre right of the image and a woman carrying some type of load is in front of the waterwheel.
Correspondent Geoffrey Mann has been in touch to inform us that in 1793 there was a miller at the Justice Mills called George Reid. This information was found from an Old Machar baptismal record for his and Margaret Smith's (his wife) daughter Elizabeth.
Coincidentally, there was another George Reid (1826-1881) who was a partner in the prominent seedsmen and agricultural implement makers, Messrs Benjamin Reid & Co., who had their Bon-Accord Works just to the east of the Justice Mills. The obituary of this later George Reid from The Aberdeen Journal 16/07/1881 states that at the time his death he lived with his two sisters in Justice Mill Lane. Central School (Aberdeen Academy)
1458 In 1901, Aberdeen School Board planned to build a new central higher grade school and plans were drawn up by John A. O. Allan for a building on the corner of Schoolhill and Belmont Street. The new school was opened in November 1905. It planned to cater for pupils aged 12 - 15 years coming from all the town's elementary schools, with over 1,000 on the roll initially. In 1954, the school changed name to become Aberdeen Academy, and its intake comprised those pupils who successfully passed their 11+ exams in Primary 7. The school closed in 1969 and the pupils moved to the newly built Hazlehead Academy. The building became a Resources centre for the Department of Education and then in the late 1990s became a shopping centre named "The Academy". Stop 6: Annie Inglis MBE (1922-2010), Aberdeen Arts Centre, Catherine Hollingsworth (1904-1999) and Isabella Fyvie Mayo (1843-1914), 31 King Street
2305 Aberdeen's first lady of the theatre Annie Inglis MBE dedicated her life to drama in Aberdeen, founding Aberdeen Arts Centre and inspiring generations to take to the stage. Born Annie Nicol in 1922, Annie studied English at Glasgow University before taking up a career in teaching. She joined the Monklands Rep in the 1940s, perfecting her directing skills which she would use to great effect in Aberdeen where she founded the Attic Theatre Group, an amateur group, which enjoyed an enviable reputation for performance. Over the years Annie founded Aberdeen's Arts Carnival, Texaco Theatre School, and Giz Giz Theatre Project for Youth. When the Arts Centre was threatened by closure in 1998 Annie ran a hugely successful campaign to save it involving many famous theatre actors who had trod the boards there.
Born in 1904 in Brechin and known by local folk as the 'speakin'wifie' Catherine Hollingworth started her teaching career in 1927 and might have remained a drama teacher but for the road traffic accident in 1933 which led her to use her learning to address the injury to her own speech. This ignited a lifelong interest in speech therapy at a time when there were very few speech therapists. While another pioneer of the profession Lional Logue (as dramatised in The King's Speech) was supporting King George VI in London, Catherine was appointed as the first superintendent of Speech & Drama and Speech Therapy in Aberdeen. In 1942 she founded the Children's Theatre, which went on to develop an international reputation. She had the theory that if you allowed children to play only to children, with no adults in the audience, their creativity and imagination would be much greater.
Another woman of culture associated with 31 King Street was Isabella Fyvie Mayo a prolific poet and novelist who wrote under the pen name Edward Garret. Although she was to spend most of her life living in Aberdeen, Isabella was born in London in 1843. She was also a pioneering translator for Tolstoy and became not only his friend but was also friends with Mahatma Gandhi. She became an ethical anarchist, pacifist, anti-imperialist, anti-racist and suffragette campaigner. In 1894 she was elected a member of the Aberdeen School Board, the first woman elected to any public board in Aberdeen and it is in this building that the Aberdeen School Board convened. Fingal's Cave on Staffa
3332 This photograph was taken by George Washington Wilson.
Wilson made arrangements with a local man, Sandy Macdonald, for a rowing boat with four oarsmen to take them to Staffa. George Walker described the problems experienced by Wilson when small clouds racing across the sky caused variations in the light levels thus affecting the exposure times needed for his glass plates.
However, Wilson's skill was such that only one plate of two dozen images was under-exposed. Walker notes "so much were Wilson's views in demand at this time that he could have sold each of these negatives for £10, (about £800 today), thus making £230 (nearly £20,000 today) as his day's work but by selling the views taken from these he must have turned out much more than this large sum". Aberdeen Cinemas: Regent / Odeon
3417 The Regent was opened as the second, companion cinema of Jack Poole, after his transformation of the Palace on Bridge Place that had opened in 1931. The Justice Mills location was selected and the cinema was constructed on the eastern end of the historic Upper Mill. A cinema was able to utilise the sloping nature of the site in the way few other projects could.
Michael Thomson in Silver Screen in the Silver City (1988) states that work progressed on the new cinema at an excellent rate with virtually all material and labour coming from local sources. The sparkling Rubislaw granite frontage was the work of masons Edgar Gauld of Gilcomston Terrace. Wood for the joinery work came from Sweden and Finland.
The Regent was Aberdeen's first all-new cinema since the Torry Picture House a decade before. It was also the first cinema designed by Thomas Scott Sutherland, who had previously been a designer of, and dealer in, houses, notably the granite bungalows of the Broomhill estate.
The impressive new cinema opened on Saturday 27th February 1932, to an audience mostly of guests, with the main feature being a melodrama called Over the Hill. Reporting on the opening, the Evening Express wrote the following:
"Even though Aberdeen has many magnificent edifices, there is nothing quite so distinctive as the modern design of the front of the new Regent. Fine use has been made of straight lines and curves placed in sharp contrast, and the face that looks through the entrance to Justice Mill Lane on Holburn Street has an imposing dignity about it and yet an elusive gaiety in its composition. It is built of grey granite decorated with bands of red terracotta, and a polished black granite base."
The frontage was floodlit by night and outlined by Aberdeen's neon display. Above the gantry was the large, neon "Regent" sign which made the cinema a beacon at night. The Regent and the Palace were then advertised as "Aberdeen's Super Two".
The Regent's manager John K. Stafford Poole, son of Jack Poole, was aged only 21 when the Regent opened and his innovative promotion and displays became a signature of the cinema. The younger Poole regularly invited the Gordon Highlanders to screenings and in return they would afterwards march, pipes a-skirl, through the cinema and along Union Street back to their barracks.
The Regent proved hugely popular and was soon out-performing the Palace. The success of Poole's Regent prompted Aberdeen Picture Palaces to undertake the creation of their own super-cinema, the Capitol, which would open in 1933. The same year also saw the release of King Kong and the publicity stunt of a human dressed as an ape rampaging on the frontage of the Regent.
On 16th July 1936 it was announced that another southern company called County Cinemas had acquired all the Poole picture houses, those in Devonport, Derby and Plymouth, as well as the Palace and Regent in Aberdeen. In 1939 County Cinemas merged with the larger Odeon chain. In July 1940 the "Regent" sign came down to be replaced with one that read "Odeon". As part of this powerful national circuit, the cinema could rival any in Aberdeen for showing major features.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Aberdeen Cinemas: City
3431 An Aberdeen Journals Archive photograph of the City Cinema on George Street in 1963. The cinema is showing a war film called Battle of the Beach starring Audie Murphy.
The City Cinema at 197-199 George Street was opened by Aberdeen Picture Palaces on 4th November 1935. The building, the main part of which was tucked away behind George Street, was designed by Thomas Scott Sutherland.
Michael Thomson in Silver Screen in the Silver City explains that until after the second world war, the City's stock and trade was showing second-runs and lesser features from the programmes of up-town cinemas. The City was also popular with Aberdeen's crowds of holidaymakers in the 1930s. See Thomson's book for more on the design and history of this cinema.
The final film shown at the City was Sign of the Pagan on 20th July 1963. The venue was then converted at a cost of £300,000 into a two-floor bowling alley. Originally called ABC Bowl (later known as the Aberdeen Bowl, Super Bowl and Mega Bowl), it opened on 1st May 1964 with celebrity guests Oliver Reed, Jess Conrad and Julia Foster.
The bowling alley, and with it what remained of the City cinema, was demolished in 2007 to make way for an apartment block and the Hilton Garden Inn hotel.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson]
Image © Aberdeen Journals Ltd. Mearns' Quay
3542 A photograph looking east along Mearns' Quay. Multiple trawlers with designations from Aberdeen and Great Yarmouth can be seen along the quayside.
The fishing boat Trustful (BF369) can be seen in the middle distance. The Scottish Built Ships website states that this boat was built in 1906 by Carnegie & Matthew of Peterhead.
The boat's first owner was George Mair Snr & Sons, Portknockie. By 1920 it was registered in Peterhead, for a new owner, with the number PD366. This gives a probable date for this photograph of between 1906 and 1920.
The ornate granite building on the quayside in the distance is one of two Valve House Siphon Outlets of Aberdeen Corporation Sewage Works located on either side of the River Dee.
These valve houses were vital pieces of infrastructure in the Girdleness Outfall Sewerage Works. This engineering scheme, completed in 1907, involved tunnelling under the river to provide a safer outlet for much of a growing Aberdeen's sewage.
An article on the ceremonial opening of the system featured in the Aberdeen Daily Journal of 14th November 1907 on page 7. The complete sewer was 3 1/2 miles long and a total £137,000 had been spent on it at the time of opening.
Due to Aberdeen's growing population, which was approaching 200,000 at the time, a more systematic method was needed to take the city's sewage to the North Sea, as opposed to simply using nearby rivers and burns.
The scheme, which appears to have been primarily designed by burgh surveyor William Dyack, took sewage to the North Sea at Girdleness and aimed to prevent harm to both residents of the city and visitors to the Bay of Nigg.
As the two harbour side valve houses continue to stand, the final drainage works building and the outflow pipe can still be found today to the east of Girdleness Lighthouse. Treasure 15: Tramways routes
185 This plan of the tramway routes in Aberdeen was produced about 1914 and shows the route colours which were displayed as coloured bands on the top-deck of the Corporation tramcars. There were nine routes which covered most of the city as it existed at this time.
Trams were first introduced to Aberdeen in the 1870s when a group of local businessmen successfully obtained Parliamentary sanction under the Aberdeen District Tramways Act 1872 to set up the Aberdeen District Tramways Company. By 1874, they had constructed their first two lines - one running from Queen's Cross, via Albyn Place and Union Street, to the North Church (now Aberdeen Arts Centre), King Street and the second from St Nicholas Street and George Street to Kittybrewster.
Their horse-drawn trams were opened to the public in September 1874 with two cars which could each carry 20 inside passengers and 4 cars for 20 inside and 20 outside passengers. A fare of 3d was charged for the full route. In their first year they carried 1.1 million passengers.
Over the years additional routes were constructed to Woodside, Mannofield, Bridge of Dee, and Bridge of Don.
By the late 1890s, consideration was being given to the introduction of electric traction in place of horse haulage. After lengthy discussions, the decision was made to sell the company to Aberdeen Corporation and the transfer was completed in August 1898. By 1902 all the tracks had been converted to electric traction and new routes to Torry and Ferryhill were opened in 1903.
Motor buses had first appeared in 1920 and a service from Castle Street to Footdee opened in January 1921.
By the 1930s the expansion of the city was creating problems for the tramway system. It was far too expensive to build new track while maintaining the existing routes. The non-profitable Torry and Ferryhill services closed in 1931. The ongoing housing developments in the 1950s forced the Town Council to take the decision in January 1955 that the tramway system would close by 1959. Over the next few years individual routes ceased until the last trams ran in May 1958. Most of the remaining cars were burnt at the Links and the metal was sold for scrap.
Treasure 87: His Majesty's Theatre Posters
299 December 2016 marks 110 years since His Majesty's Theatre (HMT) was built on Rosemount Viaduct. The venue was designed by the renowned English theatre architect Frank Matcham (22 November 1854 - 18 May 1920) and opened with a production of Red Riding Hood.
His Majesty's Theatre is now operated by Aberdeen Performing Arts and remains an important part of the cultural life of the city. On its construction HMT replaced The Tivoli as Aberdeen's leading venue for plays and pantomimes. The Tivoli was sold two days prior to the opening of His Majesty's with the stipulation that it would not programme competing productions.
His Majesty's is the largest theatre in the north east of Scotland and continues to be a popular venue on UK's touring circuit. The venue's varied programme includes shows from London's West End and productions by Scotland's national arts companies.
Over the last 110 years Aberdeen City Libraries have collected a number of posters, flyers and programmes from throughout the history of our theatrical neighbour, some of which are on display here.
Take a closer look at posters from HMT's history on our interactive exhibition on the touchscreen. Doorway of Cumberland House
452 This image was digitised from Artistic Aberdeen: A Sketch Book (1932) by W. S. Percy.
The book describes the scene as follows:
"For many years this lovely piece of work has lain hidden in a network of slums, but these have now been partially cleared, and the doorway stands plain to view. The coat of arms is that of the Lumsdens - a Buckle Or, with two Wolves' Heads couped in chief and escallop in base. The house did at one time belong to Matthew Lumsden, a famous magistrate of Aberdeen, before it was owned by Sir George Skene. Another source of the arms has been conjectured in that Dr. Andrew Skene married Margaret Lumsden, daughter of David Lumsden of Cushnie. But conjecture, though it adds interest to this doorway, cannot take away from its beauty." The Dying Confessions of William Gordon and Robert McIntosh
479 Five days before his execution, having murdered his wife, William Gordon recounts his crime. He recalls the evening of the murder. Both intoxicated, he and his wife went out. They had an amicable time. Gordon does not recall much from their return home, bar that he went for his pipe. He later discovered his wife dead. He declares having had no recollection of her death. Three weeks later, Gordon remembers having shoved her to the floor, to which she shouted 'Murder!'. Gordon also remembered having scissors in his hand, which leads him to believe that to have been the murder weapon.
This confession begins by citing the book of Hosea from the Christian Bible. Gordon then articulates the nature of his sin, confessing it to be the 'sin of drunkenness'. He compares the severity of his sin to the eternality of God's omnipotence. His confession warns its readers against sinning as he has. He does not apologise for the murder of his wife, instead expressing regret for becoming intoxicated. This marks the text particularly interesting for understanding perceptions of alcoholism and alcohol related crimes in nineteenth-century Scotland. Fascinatingly, though facing death, Gordon still devotes two paragraphs to acknowledging various people that supported him during his incarceration. Gordon concludes the main body of the text by imploring his audience to take up Christianity.
The confession is reprinted in Aberdeen's Journal, on 5th June 1822, five days after Gordon's execution. The paper confirms that Gordon authored this text, saying it was distributed by the Reverend Thom. The confession is well written and articulate, revealing the author's profound knowledge of Christian scripture. Gordon himself was from the parish of Cabrach, made a livelihood selling fishing tackle, and was aged around forty-five at the time of the murder.
The accompanying editorial declares that many had come to believe that the murder 'had been perpetrated by the unhappy man while under the influence of that most baneful of human vices, and, of course, a prey to all the evil passions which it naturally engenders.' The view that the death was caused by excessively drinking, and that the defendant had not consciously decided to murder her, was prevalent. Remarkably, 'many Gentlemen (including several of the Jury who tried him)' lobbied King George IV to commute Gordon's sentence. The judge, however, refused to capitulate.
Accompanying Gordon's confession is that of the twenty-two-year-old Robert McIntosh, on 29th May 1822. McIntosh describes the conditions of his imprisonment in the dungeon, expresses regret for the repercussions of his crime and prostrates himself before God. The Journal reports that McIntosh had murdered the forty-year-old Elizabeth Anderson of Crathie. The paper continues that McIntosh had slit Anderson's throat. At the time, Anderson had been promised marriage by him and was pregnant with his child.
The Journal reports the day of their execution. In the Old Court Room, Psalm 51 was sung. Gordon joined in loudly. As they went to the scaffold, both prayed. The paper reports McIntosh's nerves getting the better of him, and him being brought a glass of water. After Gordon finished praying, at twenty minutes past three, they were hung. Gordon passed very quickly. McIntosh, on the other hand, 'struggled considerably, and was convulsed for several minutes', due to the rope being improperly set up. The Journal reports that countless thousands witnessed their hanging, the first of its kind in seventy-years. |