165

Powis Gateway, Old Aberdeen. These curious towers stand at the gate leading to Powis Lodge, almost opposite King's College, Old Aberdeen. They were constructed by John Leslie of Powis, who succeeded his father, Hugh Leslie of Powis, the builder of Powis House (1802). John Leslie succeeded his father in 1812, and the towers were finished in 1834. The crescent on the top of one of the towers is the crest of the Frasers, the predecessors of the Leslies in the property of Powis. As indicated in the bottom right, this etching of the gateway is by Aberdeen artist Henry Jackson Simpson (1893-1963), known professionally as Jackson Simpson. He was a prolific and successful local artist who specialised in etchings and watercolours of architecture, land and seascapes and wildlife. Simpson died at his home at 58 Craigton Road, aged 70, on 28th March 1963. His obituary, which gives an account of his life, featured in the next day's Press & Journal. He was a native of Aberdeen, the son of William Jackson, an art dealer in Diamond Street. He trained as a lithographer and joined his father in business. He served in WWI with the Northumberland Fusiliers and was awarded the Military Cross for bravery. In 1935 he took over the family business following the death of his father. He was well travelled around Aberdeenshire and Kincardineshire and this is reflected in his art. University related subjects such as Marischal College, King's College and, here, the Powis Gateway, were among his most well known works. A keen sportsperson, and prominent freemason, he also set-up the Craigton Club and was highly involved with the Northern Arts Club. An article titled 'The charming story of Jackson Simpson: Scotland's celebrated etcher' featured on the Press & Journal website, in partnership with the McEwan Gallery near Ballater, on 8th June 2022. The feature was produced to highlight an exhibition of Simpson's work at the aforementioned gallery.

485

A lithograph print of a drawing by James Skene of Rubislaw (1775-1864). The illustration depicts the Mercat Cross and Tolbooth in the centre of Aberdeen in around 1800. James Skene was a lawyer, amateur artist, and a notable friend of Walter Scott. A short article from the Aberdeen Daily Journal of 23rd February 1912, page 9, indicates that this image was made to illustrate an edition of The History of the troubles and memorable transactions in England and Scotland, from M.DC.XXIV TO M.DC.XLV by John Spalding that was published by the Bannatyne Club in 1829. An engraved version of this image can be found facing page 9 in volume 2 of the abovementioned publication. Titled 'Tolbooth of Aberdeen', James Skene is given as the illustrator and William Penny as the engraver. Walter Scott was the founder of the Bannatyne Club, a text publication society, and James Skene was a member. The club's two volume edition of Spalding's history, drawn from three manuscript copies, was published under Skene's superintendence. John Spalding was a 17th century Aberdeen historian and clerk. His Memorialls of the trubles in Scotland and in England, ad 1624 - ad 1645 is of note as a detailed account of the impact of the Wars of the Three Kingdoms in North-East Scotland. See David Stevenson's entry about Spalding on the Oxford Dictionary of National Biography for more information on his life and his written history. Spalding was commemorated in the name of three Aberdeen clubs devoted to publishing historical sources; the Spalding Club, New Spalding Club, and Third Spalding Club (collectively active between 1839-1960). In 1850-51, the first of these clubs published an improved edition of Spalding's Memorialls of the Trubles. The attributions on the version of the image shown here indicates that it was printed by Aberdeen bookseller and publisher D. Wyllie & Sons and the lithography was undertaken by Taylor & Henderson, another prominent local firm. This image looks north east and depicts the Mercat Cross, carved by Aberdeen master mason John Montgomery and erected in 1686, in the middle distance. The market cross is likely shown in use either as shops or a post office, both purposes it historically served. The cross was repaired in 1821 and moved to its present location, approximately 83 metres east, in 1827. The Tolbooth, a prison, in the centre of this image was built in 1615. Much of the building, which was developed progressively over the years, is now obscured by the Peddie & Kinnear designed Town House completed in 1874. The Tolbooth was converted into a museum which opened to the public in 1995. To the east of the Tolbooth, partially obscured by the market cross in this image, is the New Inn. This building, once the most important hostelry in Aberdeen, was demolished and replaced by the North of Scotland Bank, now the Archibald Simpson's pub, in 1840-42. The illustration otherwise shows a busy scene on Aberdeen's Castle Street. This was a centre of civic activity and important market place for the town. In the foreground are a number of pynours (an Aberdeen term for porters), then an organised craft. Some sense of life in the Castle Street/Castlegate area at the time, particularly of its more eccentric characters, can be found in the book The Aberdeen Worthies (1840) by William Bannerman.

811

A photograph showing Wellington Lodge on the corner of Justice Mill Lane and Holburn Street. The top of Holburn Street, towards Holburn Junction, was previously known as South Street and later as Wellington Place. In the background of this image, on the far left, can be seen the John Smith designed Water House on Union Street. Wellington Lodge stood across the road from Holburn Church, roughly where the Glentanar Bar stands today. It can be seen on the large scale Ordnance Survey town plan and map sheets from the 1860s. The property appears to have belonged to the Whytes of Dalhebity, Cults. For some time Wellington Lodge was the residence of Helen Whyte and she was likely the house's final resident. Helen Whyte died aged 85 on 31st January 1898 (death notice: Aberdeen Weekly Journal, 09/02/1898, p. 4). Newspaper references suggest she was involved in various charitable activities. She was the daughter of Baillie John Whyte, a merchant, and had a brother also called John Whyte (1845-1904), a prominent citizen and advocate. Another death notice indicates that Mary Ann Hardie, of 48 Victoria Road, Torry, was employed for 38 years as the servant for Miss Helen Whyte. Hardie died in 1895 (death notice: Aberdeen Journal, 17/08/1895, p. 4). Newspapers also suggest the villa was the home of Miss Mary Murray Gordon. She would likely have been a relation of James Murray Gordon who was a partner in the same law firm as John Whyte, Helen's aforementioned brother. Wellington Lodge was probably demolished shortly after the death of Helen Whyte. It made way for the extension of the larger tenement buildings on Holburn Street that can be seen in the background of this photograph. The Aberdeen Weekly Journal's 'Granite Chips' column of 17th May 1899 (p. 9) states "A very large and handsome block of buildings for Mr Peter Farquharson has been erected in Holburn Street, stretching from the office of the Union Bank of Scotland to Justice Mill Lane." This most likely refers to this development. David Miller in Archibald Simpson, Architect, His Life and Times 1790-1847 (2006) states that this villa was designed by Simpson for Mrs Yeats of Auquharney (page 174).

1459

Virginia Street, drawn by W.S.Percy in July 1932. Percy was an actor who sketched in his spare time. The published works of Percy most relevant to Aberdeen are Artistic Aberdeen (1932) and Strolling Through Scotland (1934).

2586

In September 1850 an advert appeared in the local papers of Aberdeen for "Hays' Isometrical View of Aberdeen, giving a Distinct and Correct View of the Whole City and Environs". We hold copy of the plan from 1850 in our Local Studies collection. The plan was available to purchase for 3s. 6d. and measured 34 inches by 19 inches. Carvers and gilders, J. & J. Hays, had premises at 2 Market Street where they also sold prints and optical instruments. At the bottom left of the image we see the words George Wilson, Delt. (abbreviation of delineator, i.e. the artist). George Wilson was to find fame a few years later as George Washington Wilson when he became one of Scotland's premier photographers. George Washington Wilson George Washington Wilson was born in 1823 at Waulkmill of Carnousie in Banffshire and left school at 12 years of age to be an apprentice carpenter. He practised his artistic skills by drawing portraits of friends and neighbours and, after training at art schools in Edinburgh and London, he returned to Aberdeen to become an art teacher and portrait painter. By the late 1840's Wilson was attracted by the work of Fox Talbot in the new art of photography and after initial experiments with a homemade camera, he advertised a business offering photographic portraits before eventually expanding into landscape photography. A Bird's Eye View of History Wilson created this panoramic view of the city by making numerous sketches from the roofs of high buildings and then merging them into one comprehensive drawing. We are looking north across the city from the harbour with Union Street running horizontally across the centre and Old Aberdeen in the far distance. We can see how small the city actually was at this time - open fields are visible just to the north of the west end of Union Street. A key to the most prominent buildings was provided and it is interesting to see which buildings have survived until today, often with additions, and which had yet to be built. Robert Gordon's Hospital (now College), Marischal College, and various churches including the Triple Kirks and St Nicholas East and West are all still standing but the West Prison, Castlehill Barracks and the Poorhouse have been demolished. Bird's Eye View 1889 In December 1889, the Aberdeen Free Press offered its readers an updated version of the Bird's Eye View as a supplement to their newspaper. Numerous changes to the landscape of the city had taken place since Wilson's view.

2879

During WW2 Scotland and Poland fought together as allies. The Poles were particularly involved in the war's many aerial battles. After WW2, approximately 38,000 Polish soldiers remained in Scotland due to the Soviet Union's occupation of their home country. Polish fighter pilots had the most outstanding record of any RAF squadron whilst fighting alongside the British. The Polish squadron were only 5% of the allied crew but they managed to shoot down 12% of German aircraft. The Polish fighter pilots were said to be fierce and courageous; many of them willing to be martyrs to protect the allied forces. "Some crews of Nazi bombers jumped out of the planes with parachutes before Poles opened fire" - Stanley Vincent (commander of Northolt RAF station) "By summer 1941, 8 fighter and 4 bomber squadrons were created. Polish pilots protected Britain by not only shooting down Nazis but also destroying V1 missiles, participating in many operations over the continent, escorting the bombers, bombing different targets in Germany as well as providing air support to the landing troops during invasion in June 1944." During 1940-1945 the Polish pilots fighting in British units had managed to accumulate 621 confirmed kills. The photograph on the left shows bombing damage on Market Street in Aberdeen after an air raid on 7th August 1942.

2905

A group portrait believed to show some of the congregation and officials of John Knox United Free Church on Gerrard Street. This church was formed after the Disruption of 1843 when Rev. John Stephen, the then minister of John Knox Parish Church, located nearby at Mounthooly, left the established Church to join the Free Church of Scotland. The first John Knox U. F. Church on Gerrard Street was opened for worship by Stephen on 31st March 1844. The later church on the same site was opened in January 1900, during the ministry of Rev. Robert Macleod. It is in this later building that this photograph is believed to have been taken. Likely during the late 1920s or 1930s. This print was kindly donated to Aberdeen Local Studies by David Parkinson. His grandfather, David Charles Kelly Parkinson, is the tall, left most chap in the back row.

3400

An Aberdeen Journals Archive photograph of the interior of the ABC Cinema on Shiprow and Union Street in 1976. This was shortly after the "tripling" of the cinema which was completed on 8th July 1974. This was the process of dividing the cinema's original, single large auditorium into three distinct screening rooms. This allowed cinemas to show a greater variety of films and to cater to smaller audience numbers. The Odeon on Justice Mill Lane had been the first cinema in Aberdeen to be tripled, reopening as such on 8th April 1974. This photograph shows ABC 1, the largest screen, that sat 566 people. Silver Screen in the Silver City (1988) explains that the largest screen (cinema one) would mainly show first runs. The smaller screens (cinemas two and three) would be used for less commercial attractions or the retention of popular features already shown in the main screen. This is the format of cinema exhibition that is most common today but marked a significant change from the tradition of single large auditoriums. The tripling of major circuit cinemas like the ABC and Odeon had a knock-on effect on the viability of cinemas such as The Cosmo on Diamond Street. These smaller cinemas had previously been a home for the less commercial features that the larger venues were now taking on. In 1986 the ABC Cinemas chain became part of the American-based Cannon company, which already had extensive cinema interests in the UK. The vertical ABC sign above the Union Street entrance gave way to the Cannon logo in June 1987. Some highlights of the cinema's time as the Cannon included hugely popular runs of E.T., the Tim Burton Batman, and Robin Hood Prince of Thieves. The cinema's name reverted to the ABC for a period before closing for the final time in early 1998. Aberdeen and cinema-going was shortly to experience a period of expansion. In August 1999 Aberdeen company Craiglair Properties got the go-ahead to demolish the abandoned ABC and build a new seven screen cinema on the site. The cinema was called The Lighthouse and opened in April 2001. Since 2004 it has operated as The Vue Aberdeen. [Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Image © Aberdeen Journals Ltd.

3401

An Aberdeen Journals Archive photograph of the Capitol cinema at 431 Union Street in February 1980. At this time the Capitol was in more regular use as a concert venue than as a cinema. This image shows large numbers of people queuing to get tickets for a performance by the band Genesis. The Capitol was built as a cinema back in 1933. A few days before its opening, it was advertised in local papers as "Aberdeen's wonder cinema". Opened to large crowds on Saturday 4th February 1933, the Capitol was then the largest venue of its kind in the north of Scotland and had a stage that could be adapted for both film and variety entertainment. The Capitol was built by Aberdeen Picture Palaces Ltd. on the site of an earlier upmarket cinema called the Electric Theatre that dated from 1910. When the Capitol opened, it was regarded as the most up-to-date theatre in the country due to its complex lightning system, organ music and other modern features, some of them being introduced for the first time in Scotland. The venue could accommodate more than 2,000 people. The building's plans were prepared by Aberdeen architects A. G. R. MacKenzie and Clement George. Local newspapers stressed the local ownership of the cinema and the local craftsmanship that went into its construction. Aberdeen City Libraries hold a souvenir brochure of the cinema's opening. One interesting feature of the brochure is the inclusion of specially created adverts for all the companies involved in the construction and furnishing of the new cinema. Some of the adverts provide rich information on the history of the companies and give an insight into how the companies saw themselves. The brochure details the companies behind every aspect of the buildings from the cinema seating and terrazzo work to the innovative lighting. On the opening day, Mrs A. D. Hay, wife of the chairman of the Aberdeen Picture Palaces, unlocked the main entrance door with a gold key. This key is still held by the Hay family today. The cinema's first, busy evening featured a variety of entertainment. In addition to the showing of films, there was a ballet performance by the Henrietta Fuller Dancers and Mr Edward O' Henry played the theatre's new top of the line Compton organ. During the opening ceremony, Bert Gates, another director of Aberdeen Picture Palaces, said: "It was a long lane that had no turning. They had built the Capitol not for to-day, but for the generations of Aberdeen people to come. The company had dedicated the Capitol to the people of Aberdeen, their children, and their children's children in the hope that in generations to come they might appreciate what had been given them." [Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Image © Aberdeen Journals Ltd.

3418

An Aberdeen Journals Archive photograph showing the Odeon on Justice Mill Lane in 1973. The cinema is advertising screenings of Ohh... You Are Awful a comedy vehicle for Dick Emery. Odeon had acquired control of the venue in 1939 when they purchased previous owners County Cinemas. The cinema's name had changed from the Regent to the Odeon in 1940. This photograph shows the cinema shortly before it was "tripled" to become the first multi-screen film centre in the north of Scotland. This was the process of converting a traditional single large auditorium into three screens of varying sizes. This was the modern method of cinema development that had been introduced throughout Britain by the Rank and ABC-EMI chains. The Rank Organisation had acquired the Odeon company in 1938. The tripling of Aberdeen's Odeon cost £65,000 and was fully completed on 8th April 1974. The Odeon had a long and successful time as a cinema. The 1960s saw it showing long runs of hit films like Cleopatra with Elizabeth Taylor and Richard Burton and The Sound of Music. The cinema was also known for its Saturday morning children's show known as "The Mickey". Being part of a nationwide chain, and its central location, enabled the Odeon to survive through the 1970s whereas many of Aberdeen's independent cinemas, unable to adapt, closed down and were either demolished or converted to a different use. Michael Thomson in Silver Screen in the Silver City (1988) states that the cinema had a close reprieve from Rank Organisation rationalisations in 1981. This enabled the cinema to celebrate its 50th birthday with a special gala evening on 13th March 1982. The film shown was a provincial premiere of On Golden Pond, starring Peter Fonda and Audrey Hepburn. The cinema's original manager, J. K. S. Poole, was a guest of honour. Two new 215-seater screens were opened at the cinema in March 1991 at a cost of £350,000. Their opening was marked with a screening of Dances With Wolves. There were just two cinemas in Aberdeen at the time, the other being the Cannon at the other end of Union Street. The Odeon continued up until the modern multiplex era. It finally closed down 13th June 2001. It was subsequently converted into a health centre and is currently occupied by Nuffield Health Centre. [Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Image © Aberdeen Journals Ltd.

3505

This photograph looks northwest across Victoria Dock from Blaikie's Quay. Featured prominently is a locomotive marked GNSR (Great North of Scotland Railway). It looks like an Aveling and Porter steam shunter. It is pulling wagons loaded with sacks, most likely contain coal. Workers for the train can be seen riding and walking alongside it. A movable shed, street lamp and signalling device can also be seen on the left of the image. In the background, across the dock, the front elevation of 33 Regent Quay is visible. This long and narrow, neo-classical building, located at the bottom of Marischal Street, was designed by Robert Gordon Wilson and was built in 1901-02 as a harbour branch for the Aberdeen Town and County Bank.

3805

A photograph of John Knox U. F. Church on Gerrard Street. This image, credited to "G. Brodie, Aberdeen.", is from page 44 of a book of the bazaar held by Aberdeen City Libraries. The book is called Life of John Knox: with an account of John Knox Free Church and its Ministers. Issued in connection with Bazaar to be held in Music Hall Buildings, Aberdeen on Thursday, Friday, and Saturday 26th, 27th, 28th., 1899 (1899). The photographer is most likely Geddes Mackenzie Scott Brodie, an Aberdeen photographer who died at Yoker, aged 50, on 16th April 1919 (see Aberdeen Daily Journal, 8th July 1919, page 2). This new church building was built during the ministry of Rev. Robert Macleod. It cost around £6,000 and was opened in January 1900. At August 2021, this church is occupied by the Gerrard Street Baptist Church congregation.

4402

A photograph, taken on 3rd February 2024, of the West Church of St. Andrews at 333 Union Street, Aberdeen. This church has also been known as the Free West Church and the Langstane Kirk. The West Church of St. Andrew was built in 1869 by James Matthews (1819-1898), originally as a Free Church. The building is in the Gothic revival style, built of stugged ashlar with a slated roof, it has a vast galleried nave, and is set back from the street to form a small square in front. The early history of the West United Free Church congregation, including the creation of this church building, is detailed in Alexander Gammie's Churches of Aberdeen (1909), pages 227-230. Gammie states that the church was opened on 14th February 1869 with services by the Rev. Dr. Alexander Dyce Davidson (1807-1872). The Langstane Kirk congregation was formed in 1973 with the union of the West Church of St. Andrew and St. Nicholas, Union Grove (see Evening Express, 1st November 1983, page 3). The Langstane Kirk congregation was dissolved and the church ceased to function as an active church in 1998 (Evening Express, 8th December 1998, page 3). At 2024, the church is occupied by a bar called Soul. The bar's website states that its owner, PB Development Co Ltd., purchased the building from the Church of Scotland in 2001 and the venue was opened in 2005 (website accessed: 6th February 2024).

4450

A photograph by Roddy Millar, taken 06/09/2021, from a series surveying the architecture of the north side of Union Street. This image is of Aberdeen's Music Hall. Managed by Aberdeen Performing Arts, the venue is at the forefront of the city's cultural events. It hosts music concerts featuring local talent and internationally acclaimed artists across various genres. It also serves as a venue for comedy shows, exhibitions, and community events making it a hub of social activity in the city. Looking north across Union Street, the section of the building shown here was constructed 1820-21 to the design of Archibald Simpson and was originally known as the Assembly Rooms. The neo-Greek style Union Street entrance comprises a raised portico with six Ionic columns and a plain tympanum within a triangular pediment above. A large 2-leaf panelled timber main door is flanked by two tall windows on either side. The main auditorium, to the rear of the original Assembly Rooms, was added to a design by James Matthews in 1858-59. Further history and architectural detail about the building can be found in its entry on Historic Environment Scotland's Listed Building Portal. Aberdeen's Music Hall was renovated between August 1984 and May 1986 and again from October 2016 to 8th December 2018. For the most recent renovation, the architects were BDP, the contractor was Kier and it was project managed by Axiom.

4558

A photographic portrait of prominent Aberdeen architect James Brown Nicol (1867-1953) that featured in the Bon-Accord and Northern Pictorial newspaper on 27th October 1938, page 5. As indicated in the accompanying caption, this image was included in the newspaper in relation to the new Students' Union buildings on the Gallowgate, designed by Nicol, which were nearing completion at the time. There is a detailed entry for Nicol on the Historic Environment Scotland's Dictionary of Scottish Architects website. An obituary for him can also be found in the Evening Express of 26th January 1953 on page 1. Nicol, who died aged 85 in a road accident, was a prominent member of the Aberdeen Society of Architects, a governor of Robert Gordon's College, and a president of Aberdeen Business and Professional Club. He lived at 123 Cranford Road and, prior to his retirement in May 1952, run his architectural firm from 367 Union Street. One of his most notable works, in a long and distinguished career, was designing the new Aberdeen Royal Infirmary buildings at Foresterhill. At its completion in 1936, it was Nicol who handed King George VI (then Duke of York) the golden key for the official opening of the hospital complex. Born in Dumbarton, Nicol was educated at Aberdeen Grammar School and trained with A. Marshall Mackenzie (1848-1933) and gained experience working in Edinburgh. He later went into partnership with Dr William Kelly (1861-1944), creating the firm of Kelly & Nicol.

4576

A photographic postcard image looking east along Auchmill Road, in the direction of Aberdeen to the south. The turnoff on the left of this image is that of Old Meldrum Road. Note the sign on the large street light indicating that the airport is 2 miles in that direction. This photograph, which likely dates from around the 1950s, shows the then centre of Bucksburn. This location has since changed a great deal with Auchmill Road having been enlarged and now serving as a busy thoroughfare. Most of the buildings shown on the left side of the road, including the branch of the Aberdeen Savings Bank, have been demolished. The building occupied by the Clydesdale & North of Scotland Bank branch remains at the time of writing in 2025 and currently houses Total Endurance Coaching and Aberdeen Sports Therapy. This postcard image also shows a variety of cars, vans, motorcycles and bicycles. Additionally, beyond the Aberdeen Savings Bank, a garage can be seen advertising Regent Petrol.

64

A lithograph print of a drawing by James Skene of Rubislaw (1775-1864). The illustration depicts the Mercat Cross and Tolbooth in the centre of Aberdeen in around 1800. James Skene was a lawyer, amateur artist, and a notable friend of Walter Scott. A short article from the Aberdeen Daily Journal of 23rd February 1912, page 9, indicates that this image was made to illustrate an edition of The History of the troubles and memorable transactions in England and Scotland, from M.DC.XXIV TO M.DC.XLV by John Spalding that was published by the Bannatyne Club in 1829. An engraved version of this image can be found facing page 9 in volume 2 of the abovementioned publication. Titled 'Tolbooth of Aberdeen', James Skene is given as the illustrator and William Penny as the engraver. Walter Scott was the founder of the Bannatyne Club, a text publication society, and James Skene was a member. The club's two volume edition of Spalding's history, drawn from three manuscript copies, was published under Skene's superintendence. John Spalding was a 17th century Aberdeen historian and clerk. His Memorialls of the trubles in Scotland and in England, ad 1624 - ad 1645 is of note as a detailed account of the impact of the Wars of the Three Kingdoms in North-East Scotland. See David Stevenson's entry about Spalding on the Oxford Dictionary of National Biography for more information on his life and his written history. Spalding was commemorated in the name of three Aberdeen clubs devoted to publishing historical sources; the Spalding Club, New Spalding Club, and Third Spalding Club (collectively active between 1839-1960). In 1850-51, the first of these clubs published an improved edition of Spalding's Memorialls of the Trubles. The attributions on the version of the image shown here indicates that it was printed by Aberdeen bookseller and publisher D. Wyllie & Sons and the lithography was undertaken by Taylor & Henderson, another prominent local firm. This image looks north east and depicts the Mercat Cross, carved by Aberdeen master mason John Montgomery and erected in 1686, in the middle distance. The market cross is likely shown in use either as shops or a post office, both purposes it historically served. The cross was repaired in 1821 and moved to its present location, approximately 83 metres east, in 1827. The Tolbooth, a prison, in the centre of this image was built in 1615. Much of the building, which was developed progressively over the years, is now obscured by the Peddie & Kinnear designed Town House completed in 1874. The Tolbooth was converted into a museum which opened to the public in 1995. To the east of the Tolbooth, partially obscured by the market cross in this image, is the New Inn. This building, once the most important hostelry in Aberdeen, was demolished and replaced by the North of Scotland Bank, now the Archibald Simpson's pub, in 1840-42. The illustration otherwise shows a busy scene on Aberdeen's Castle Street. This was a centre of civic activity and important market place for the town. In the foreground are a number of pynours (an Aberdeen term for porters), then an organised craft. Some sense of life in the Castle Street/Castlegate area at the time, particularly of its more eccentric characters, can be found in the book The Aberdeen Worthies (1840) by William Bannerman.

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.

488

This broadside advertises a play on Saturday 20th November 1813 at the Theatre Royal on Marischal Street. The play is Douglas; or, The Noble Shepherd. Printed locally by John Booth of North Street, the broadside modestly declares the play to be of equal quality to any production outside of London. Accompanying the play were comical songs, a ballad, and a reworking of Shakespeare's Taming of the Shrew by David Garrick, titled Catharine & Petruchio. The broadside indicates locations that tickets may be bought, the "Public Library" and the "Musical Repository", and other productions available for viewing. The play's cheapest ticket, for the gallery, cost 1 shilling. This was approximately half a shilling shy of the cost of a loaf of bread (Aberdeen Journal, 7th July 1813). Douglas was a five-act tragedy authored by John Homes. Performed first in 1756 Edinburgh, it was a resounding success, with productions put on across the eighteenth and nineteenth centuries, travelling as far a field as North America. That being said, that week's edition of Aberdeen's Journal only gave the announcement of the play's arrival one line, buried in the third page. The play's contents was often changed by Home, depending on its audience. The play examines the deep tension between Scotland's people and its nationhood, particularly in regard to Scotland's cultural independence from Britain. On the play's first night in 1756, the play so inspired one playgoer with patriotism that he shouted "Whar's yer Wully Shakespeare noo!" in the middle of the performance. (Megan Stoner Morgan, Scottish Literary Review, vol. 4, no. 1 (2012)). The play also left a deep impression on the Scottish Enlightenment philosopher David Hume. Regarding the broadside, it is interesting to note that Douglas, not the Shakespearean comedy, was the headline act. The play's protagonist, Douglas, is played by an H. Johnston, most likely a 36-year-old Henry Erskine Johnston. A portrait of him playing the title role is held at the National Portrait Gallery. Impressively, he also serves as Petruchio in Garrick's Catherine & Petruchio. Likewise, other actors play characters in both productions.

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A colourised lithographed sketch of the Grand Reform Meeting that took place on Broad Hill, Aberdeen on Friday 18th May 1832. Popular and parliamentary support for electoral reform had been growing across the United Kingdom in this period. At the time, only a small number of wealthy landowners had the right to vote, the franchise was geographically inconsistent, and the representation by members of parliament was out-dated. This Aberdeen meeting, like many that took place around the country at the time, was organised following the House of Lords blocking the Third Reform Bill of Prime Minister Charles Grey (1764-1845), 2nd Earl Grey, and the subsequent resignation of Grey and his Whig ministers. Newspaper accounts of the meeting indicate that attendees had just learnt that the Duke of Wellington (1769-1852), a Tory opponent to reform, had been unable to form a government following the resignation of the Whigs and an invitation from King William IV, and that the monarch had recalled Earl Grey. Organised by prominent local supporters of electoral reform, the Reform Committee, the meeting agreed seven resolutions for presentation to parliament including the following: consternation at the bill not being passed, support of Earl Grey and colleagues, agreement to withholding national supplies (funding) from the government until the bill is passed, and that Joseph Hume (1777-1855), then MP for Middlesex, present the petition instead of the member for the Aberdeen boroughs, Horatio Ross (1801-1886), who was accused of backsliding on reform. The report in the following day's Aberdeen Chronicle newspaper suggests the meeting was attended by 30,000 to 40,000 people. The Tory-leaning Aberdeen Journal, in its issue of Wednesday 23rd May 1832, page 2, gives an estimate of 15,000 to 20,000. Contingents of various trades began to muster at Union Street West at about 1.30pm. A large procession proceeded east along the street and were joined by the Reform Committee from the Royal Hotel, 63 Union Street, located just after the junction with Market Street. The full procession, with the Committee at its head and joined by deputations from the country, travelled to the Links via Castle Street, King Street, Frederick Street and Constitution Street. Several bands accompanied the procession and there were a large number of banners with reform slogans. On the motion of Reverend William Jack (1768-1854), principal of King's College, Sir Michael Bruce of Stenhouse and Scotstown (1798-1862) was called to chair the meeting. John Angus (1799-1878), an advocate and later Town Clerk of Aberdeen, was the secretary. Speakers included General Andrew Leith Hay of Rannes (1785-1862), Alexander Bannerman (1788-1864), Sir John Forbes of Craigievar (1785-1846), Alexander Blackie, banker, Thomas Burnett, younger of Leys (1778-1849), John M. Gerrard of Midstrath, Alexander Kilgore, surgeon, James Forbes of Echt, Alexander Stronach of Drumallan, James Nicol, advocate, William Allardyce, wine merchant, Harry Leith Lumsden of Auchindour, William Moir of Park and Alexander Forbes of Ainslie. Both the account in the Aberdeen Chronicle and the speeches on the day remark on the disruptive potential of the crowd, under circumstances of reform not being progressed. Though the speakers urged those in attendance to continue in a peaceful manner. Some speakers compared the fight for electoral reform to that for religious freedom in Scotland. There is explicit and repeated support given for William VI, but the Duke of Wellington is considered an inappropriate progressor of reform. The return of Earl Grey is promoted. Faced with the prospect of William VI ennobling new Whig members of the House of Lords, Tory opponents of the Third Reform Bill abstained from votes and it passed through the upper house. The Representation of the People Act 1832 was given royal assent on 7th June 1832, and its Scottish equivalent around the same time, and came into law. The Act was a substantial reform of Britain's antiquated electoral system, redistributing seats and changing the conditions of the franchise, but still left most people without the vote. Subsequent popular and parliamentary politics would led to further legislation and the fuller suffrage of modern times. Document dimensions: 26 x 40 cm.