350

New Quay, Aberdeen Harbour. This photograph shows the navigation channel leading from Aberdeen Harbour into the North Sea, with the North Pier in the far distance on the left. The New Quay later became part of Pocra Quay. The Pier was built by John Smeaton in 1781 and extended on several occasions to provide better access to the harbour. At the corner of the photograph is the customs Watch House, part of which has now been converted into a seafood restaurant. The brick obilisk in the centre is a ventilation shaft for a sewer which emptied into the channel. A newer sewer outfall has rendered it redundant. It is popularly known as Scarty's Monument. 'Scarty' was the nickname of William Smith, one of two harbour pilots in the mid-19th century. His duty was to keep watch from the North Pier during rough weather. Nicknames were often used in the fishing community to distinguish between people of the same surname.

369

Queens Cross Free Church, Aberdeen. This photograph taken by G.W. Wilson whose house was almost adjacent. In 1877, the Free Church discussed the possibility of a church to cater for those who lived in the increasingly popular west end of the city. They secured a triangular site at the junction of Albyn Place and Carden Place at Queens Cross. Competitive designs were sought and John Bridgeford Pirie, of Pirie and Clyne, architects, were successful with his French Gothic design in granite. The steeple is 150 feet high and the grand entrance doorway is flanked by massive pillars leading into the nave where there was space for around 800 worshipers. There is a circular window in the east end, stained glass windows having been gifted by members of the congregation. The building was opened for worship on 17th April 1881, and the popularity of its first Minister, the Rev Dr George Adam Smith brought large audiences to the church. Smith was later to become Principal of Aberdeen University. The church became the only one of the city's free churches to have instrumental music when it acquired an organ built by Henry Willis. Queens Cross became Church of Scotland in 1929 when the Church of Scotland and the United Free Church merged. Various extensions have taken place, including a new hall and vestry in 1939, and the building was extensively restored in 1980.

599

An illustrated view of New Aberdeen, showing the River Dee. The inscription below the image states "Engraved by J. Storer, for the Antiquarian and Topographical Cabinet, from a Drawing by J. D. Glennie". The latter is likely John David Glennie (1796-1874), a painter, engraver and lithographer that the Benezit Dictionary of Artists describes as known for illustrating Letters on India and Scenes on the Continent by Maria Graham. Antiquarian and Topographical Cabinet, containing a series of elegant views of the most interesting objects of curiosity in Great Britain. Accompanied with letter-press descriptions was compiled by James Storer and John Greig and published in 9 or 10 volumes from around 1807 to 1817. In the advertisement at the beginning of the first volume, J. Storer and I. Greig state that the work "will be hastening to preserve the lineaments of the most venerable remains of Antiquity which Time is incessantly whittleing away by nearly imperceptible atoms." This view of New Aberdeen features in volume 9 of the series, published in 1811, and is accompanied by a short description. It lists the principal objects shown as the Castle Hill, the Barracks, Toll-booth and the Custom House.

634

Towards the middle of the picture can be seen the distinctive square tower of John Smith's West St. Nicholas Kirk House built 1830-31. This drawing is prior to major developments to the junction with Union Terrace, the street on the left of the image. Note the absence of The Northern Assurance Building on the corner. The building commonly called "The Monkey House" was built in 1885 by architect A. Marshall Mackenzie. The building at the junction in this drawing is likely the townhouse of the Lumsden family of Belhevie. This would become the first home of the Northern Club in 1854. In the centre of the image, on the left after Union Bridge, is the Aberdeen Hotel designed by Archibald Simpson and started in 1817.

1048

Cults and District Recreation Club performed "Mains' Wooin'" in East Church Hall 1923. The players are named as: Piper - G. Wilson, J. W. Robertson, W. Christie, W. A. Thompson, John Kidd, unknown, Jack Morrison, A. Ironside, Bert Anderson, Miss Robertson, Miss Skakle, Peter Walker, John Forsyth, Miss Skakle, Dr Robert Bruce, Mrs Pirie, Miss Ironside, W. Ironside, Miss Robertson, W. Marshall. Front of stage: T. Ambrose, J. Milne, John Salthouse, unknown, D. Kidd, M. Morrison, D. Kidd, John Lovie, J. Adams, Jack Meston.

2116

Queens Cross Church in the snow. In 1877 the Free Church discussed the possibility of a church to cater for those who lived in the increasingly popular west end of the city. They secured a triangular site at the Queen's Cross junction of Albyn Place and Carden Place. Competitive designs were sought and John Bridgeford Pirie, of Pirie and Clyne, architects, were successful with his French Gothic design in granite. The steeple is 150 feet high and the grand entrance doorway is flanked by massive pillars leading into the nave where there was space for around 800 worshipers. There is a circular window in the east end, stained glass windows having been gifted by members of the congregation. The building was opened for worship on 17th April 1881, and the popularity of its first Minister, the Rev Dr George Adam Smith brought large audiences to the church. He was later to become Principal of Aberdeen University. The church became the only one of the city's free churches to have instrumental music when it acquired an organ built by Henry Willis. Queens Cross became Church of Scotland in 1929 when the Church of Scotland and the United Free Church merged. Various extensions have taken place, including a new hall and vestry in 1939, and the building was extensively restored in 1980.

2145

This portrait of a smartly dressed young man was taken by G. W. Morgan (1855-1909). The photo features the ornate furniture and painted background that was the convention of the time. On the rear of the postcard photograph is printed "For further copies apply Elite Studios, 5 Market St, Aberdeen." This dates the image as between 1897 and 1907 when the business was trading under this name at the Market Street premises. Morgan and his brother William also operated photographic studios at 3 Bridge Place, 393 Union Street, and two in Aboyne and Ballater. Morgan was the son of a blacksmith from the village of Clatt, called John Morgan. Born in 1855, George trained as a druggist in Aberdeen before leaving for California where he worked as a photographer. He returned to the city in 1880 and became the principal photographic assistant to Mr Dinnie of Bridge Place. The premises in Market Street were his first studio after going into business with his brother. He lived at Westfield Terrace. In the coming years Morgan established a reputation in the city as an excellent photographer and businessman. He was described in his Aberdeen Daily Journal obituary as "A thorough artist in every sense of the word. Mr Morgan was remarkably successful in developing the very extensive business, and it was largely owning to his efforts that the firm attained its well deserved renown for the excellence of its portraiture and scenic work, all of which reach a high degree of artistic merit." In 1909, Morgan died aged 54 in quite unusual circumstances. On the night of 25th June he was travelling with Mr J. B. Davidson, a solicitor and business associate, to London on the Caledonian sleeper train. All was well up to Stirling when the two men went to sleep. Davidson was awoken in the night by the wind blowing into their compartment and with Morgan nowhere to be seen. After a thorough search of the train and much telegraphic inquiries it was determined that Morgan had fallen from the train and died just south of Carstairs. The exact conditions of his death are unknown but it was believed that he woke in the night and groggy with sleep used the wrong door. In addition to photography Morgan was a very accomplished violinist and acted as choirmaster for Ferryhill Parish Church for many years. He and his wife had 12 children.

2213

The inauguration ceremony, during the royal visit, 1906, to open the new extension of Marischal College. This Fred Hardie image shows the University's then Principal, Rev John Marshall Lang, reading the inaugural address. The inauguration took place at 1pm in the Marischal College quadrangle and was attended by various dignitaries and a large crowd. To the left of Lang, who is holding his address by the granite pillar, is Sir Frederick Treves, rector of the University, Donald Alexander Smith (Lord Strathcona), the University's chancellor, Edward VII and Queen Alexandra. See Record of the Celebration of the Quatercentenary of the University of Aberdeen, from 25th to 28th September, 1906 (1907) edited by P. J. Anderson, the University's librarian, for an account of the event and wider celebrations.

2692

Powis Estate evolved from an area of rough land which was bought in the late 17th century by Alexander Fraser, Sub-Principal of King's College. Powis House itself was designed in 1802 by George Jaffrey, architect, in the classical style. It has a porch with 4 Roman Doric columns under a triple window with a centre arch. The house was the home of John Leslie, Professor of Greek at King's College. It was subsequently owned by the Burnett Family. In 1936, J.G. Burnett sold most of the estate to Aberdeen Town Council who built a housing estate in the area comprising over 300 residences. Powis House itself reopened in 1942 as the area's Community Centre and for a while housed a branch of Aberdeen Public Library.

3104

John Cardno Couper, now known as John Couper of Craigiebuckler, purchased Craigiebuckler Estate in 1863 and "decided that, as a laird, it was now his duty to provide for the spiritual welfare of the community". As such, an "iron church" was first erected on the estate and was known as the "Iron Kirkie" from its opening in 1873. However, John Couper wanted a more durable and permanent structure, which resulted in the erection of a new church. This new structure was built by the highly-respected architect Alexander Marshall Mackenzie in 1883. "John Couper gave a free site and paid for fully half the cost of the erection of the stone and lime church (...). When Craigiebuckler church, on Walker Dam Road, opened on the second Sunday in February, 1883 it was completely free of debt, a position of envy to many churches". All citations are from Craigiebuckler Parish Church, 125th Anniversary Magazine (1883-2008), published in 2008.

4453

A photograph by Roddy Millar, taken 05/06/2024, from a series surveying the architecture of the north side of Union Street. This image looks north east across Union Street towards the southern elevation of 146 Union Street and 1-3 Union Terrace. This building was constructed 1882-85 by master mason John Morgan (1844-1907), to a design by A. Marshall Mackenzie (1848-1933), of Messrs Matthews & Mackenzie, for the Northern Assurance Company. Diane Morgan in The Granite Mile states that the Northern Assurance Company building replaced the townhouse of Harry Lumsden of Belhelvie, which had stood at 1 Union Terrace for approximately 80 years (p. 107). An article from the Aberdeen Journal of 08/11/1882, p. 5, indicates that, in addition to the house at 1 Union Terrace, the following buildings were purchased and demolished to make way for this office block: the corner house, formerly occupied by the Northern Club, and latterly by Watson's West End Restaurant, and no. 237 Union Street, which was occupied by Messrs Reid & Wilsone, advocates. The ground floor Union Street side of the building features four tall windows capped by triangular pediments. To the left of them is an ornate side entrance with a semi-elliptical pediment. Diane Morgan describes the channelled stonework (banded pulvination) of the ground floor as "quite spectacular" (p. 109). Morgan also highlights the myriad of detail on the building's façade, including the carved garlands decorating the frieze above the first floor's coupled Ionic columns. Note also the egg-and-dart carving on the capitals of these columns. Both features are used across the building. High on the 1st floor façade of the building are four medallions, two shown here. The one on the right shown here, closer to the main entrance, features a representation of the three castles from the heraldic shield of Aberdeen. One depicting the shield from London's coat of arms, a cross of St. George with a sword in the 1st quarter, is on the other side of the portico. These two medallions represent the Aberdeen and London boards of the company. The outer two medallions, located at either end of the building feature the lion rampant that was the logo of the Northern Assurance Company. The office space on the 3rd floor, at the very top of the building, was expanded with the addition of a new modern roof structure between 2012 and 2015. This can be seen at the top of this image. Diane Morgan states that the Royal Insurance Co. merged with the Commercial Union in 1968, with other mergers and takeovers following. The building ceased being an insurance office around 100 years after its construction. In December 2003 the ground floor reopened as a bar and restaurant called The Monkey House, taking its name from the building's traditional nickname. Much of the interior of the historic building was retained in its conversion. The Monkey House, which was run by Epic Group, closed in May 2016 following its owner agreeing to lease the premises to a Thai restaurant operator. The Leeds-based Thai Leisure Group opened Chaophraya Aberdeen later that year and it can be seen in this 2024 image.

4454

A photograph by Roddy Millar, taken 17/05/2023, from a series surveying the architecture of the north side of Union Street. This image looks north across Union Street directly towards the southern elevation of 146 Union Street and 1-3 Union Terrace. This building was constructed 1882-85 by master mason John Morgan (1844-1907), to a design by A. Marshall Mackenzie (1848-1933), of Messrs Matthews & Mackenzie, for the Northern Assurance Company. Diane Morgan in The Granite Mile states that the Northern Assurance Company building replaced the townhouse of Harry Lumsden of Belhelvie, which had stood at 1 Union Terrace for approximately 80 years (p. 107). An article from the Aberdeen Journal of 08/11/1882, p. 5, indicates that, in addition to the house at 1 Union Terrace, the following buildings were purchased and demolished to make way for this office block: the corner house, former occupied by the Northern Club, and latterly by Watson's West End Restaurant, and no. 237 Union Street, which was occupied by Messrs Reid & Wilsone, advocates. The ground floor Union Street side of the building features four tall windows capped by triangular pediments. To the left of them is an ornate side entrance with a semi-elliptical pediment. Diane Morgan describes the channelled stonework (banded pulvination) of the ground floor as "quite spectacular" (p. 109). Morgan also highlights the myriad of detail on the building's façade, including the carved garlands decorating the frieze above the first floor's coupled Ionic columns. Note also the egg-and-dart carving on the capitals of these columns. Both features are used across the building. High on the 1st floor façade of the building are four medallions, two shown here. The one on the right shown here, closer to the main entrance, features a representation of the three castles from the heraldic shield of Aberdeen. One depicting the shield from London's coat of arms, a cross of St. George with a sword in the 1st quarter, is on the other side of the portico. These two medallions represent the Aberdeen and London boards of the company. The outer two medallions, located at either end of the building feature the lion rampant that was the logo of the Northern Assurance Company. Diane Morgan states that the Royal Insurance Co. merged with the Commercial Union in 1968, with other mergers and takeovers following. The building ceased being an insurance office around 100 years after its construction. In December 2003 the ground floor reopened as a bar and restaurant called The Monkey House, taking its name from the building's traditional nickname. Much of the interior of the historic building was retained in its conversion. The Monkey House, which was run by Epic Group, closed in May 2016 following its owner agreeing to lease the premises to a Thai restaurant operator. The Leeds-based Thai Leisure Group opened Chaophraya Aberdeen later that year and it can be seen in this 2024 image.

4455

A photograph by Roddy Millar, taken 05/06/2024, from a series surveying the architecture of the north side of Union Street. This image looks north west towards 146 Union Street and 1-3 Union Terrace. Known as the Monkey House, originally the headquarters of the Northern Assurance Company, this building was designed by architect A. Marshall Mackenzie and built by John Morgan, master mason. Built in 1885 of finely-axed Kemnay granite, Diane Morgan describes it as "a superlative showcase for the granite trade" and considers it one of the finest buildings on Union Street. (The Granite Mile, p. 109). This photograph shows the main entrance to the building, dominated by enriched Doric columns, and its curved corner design. The present photograph brings this survey of the north side of Union Street up to the junction with Union Terrace and Union Bridge, and concludes its first part.

4559

A photographic portrait of artist Robert Sivell (1888-1958) that featured in the Bon-Accord and Northern Pictorial newspaper of 12th January 1939, page 8. Alongside a portrait of George Jamesone (1589/90-1644, this image illustrates an article by Cuthbert Graham (1911-1987) titled 'These men are putting us on the map'. This article was written on the occasion of a Royal Academy Exhibition of Scottish Art taking place in London at Burlington House. Graham contrasts the older, and often late, artists of this exhibition (e.g. Jamesone, William Dyce, Robert Brough, John Philip and Pittendrigh Macgillivray) with the modern art scene of Aberdeen, including Sivell and the murals at the new Student Union buildings he was then overseeing. The article also speculates on the relative status of Aberdeen in the overall world of Scottish art. The caption accompanying the portrait of Sivell reads "Mr Robert Sivell, A.R.S.A., who is directing the work of Gray's School art students in the murals at the new Students' Union." Describing the nature of the murals, which had only recently begun to be painted, Graham writes the following: "The decorations are serious in conception and humanistic in temper. They will enhance the actual fabric of this building and will make it, I doubt not, a show place in itself. Unlike the usual run of decorations in this rackety modern age, they will not reflect the 'temporary' impulse that creates picture palaces, pubs, and dance-halls. A more permanent quality will give them a longer life than most modern murals can hope to enjoy." Graham's article goes on to describe the planned murals in more detail. Before finally highlighting the importance of D. M. Sutherland, then head of Gray's School of Art, as both an individual artist and to the wider Aberdeen art scene . Robert Sivell was the principal teacher of painting and drawing at Gray's School of Art. An obituary for him can be found in the Evening Express newspaper of 19th April 1958, page 4. This obituary states that Sivell was a native of Paisley and product of Glasgow School of Art. Prior to working as an artist, he was apprenticed as an engineer. During the Second World War Sivell was commissioned with the War Artists' Advisory Committee. Sivell was elected to the Royal Scottish Academy in 1943 and retired from Gray's in 1954. He died aged 69 at his home The Hollow, Stell, Kirkcudbright. He was survived by his wife and a daughter.

75

Towards the middle of the picture can be seen the distinctive square tower of John Smith's West St Nicholas Kirk House built 1830-31. This drawing is prior to major developments to the junction with Union Terrace, the street on the left of the image. Note the absence of The Northern Assurance Building on the corner. The building, commonly called "The Monkey House", was built in 1885 by architect A. Marshall Mackenzie. Correspondent Ed Fowler identifies the building then at this location, on the left of the artwork, as the townhouse of the Lumdens of Belhelvie.

211

The highly-respected architect Archibald Simpson (1790 - 1847) designed many of our city's well-known landmarks and, along with architect John Smith (1781-1852), is widely regarded as transforming Aberdeen into the Granite City in the 19th Century. At Aberdeen City Libraries, we hold a collection of Archibald Simpson's architectural plans. Many of the originals were destroyed by a fire in his house in 1826 but the copies we hold demonstrate his initial thoughts and first sketches of some of Aberdeen's most famous buildings. An architectural plan is usually a drawing or a sketch used by an architect to develop a design idea. The document also includes a scale and precise measurements. Marischal College, as it stands today, was designed by Simpson in the 19th Century and this image shows a floor plan he drew when working on the project in the 1820s. The plan depicts the ground floor which occupied three sides of a courtyard opening towards Broad Street. The building proposed by Archibald Simpson formed a U-shaped quadrangle with symmetrical rooms. The exterior granite façade, the second largest granite faced construction in the world and enclosing the quadrangle, was built by Alexander Marshall Mackenzie between 1893 and 1905 which is why it is not represented on the plan. Originally, the entrance to the courtyard was by Guild's College gateway. Tiny lines were drawn to represent the walls between each room and the often curving stairways can be clearly seen. The rooms dedicated to classes of divinity, mathematics, moral philosophy or Greek and Latin were constructed like semi-circular amphitheatres. To the top of the plan, we can see classrooms connected by the science department, including the Anatomical Museum and Dissecting Rooms. The building contained sixteen classrooms in addition to lodgings for porters and sacrists, the museum, the chemical laboratory and rooms for the professors. Other sources from the period suggest that the public hall, the museum and the library were spacious and magnificent rooms. The small entrance via an archway, called 'Vestibule' on the plan, is represented at the courtyard side of the building. It is surrounded by two octagonal towers. A grand staircase, contained in the tower, rose to a height of nearly 100 feet. The architect added the measurements for each room. As suggested by the scale, the unit of measurement is the foot. More information is given by the city librarian G. M Fraser in his 1918 study into Aberdeen's architecture: "A centre building, 150 feet long, 50 feet wide, 60 feet high. 450,000 cubic feet at 6d: £11,250
Two side buildings, each 80 feet by 40, and 40 feet high. 128,000 cubic feet at 6d: 6,400
Medical class-rooms at end of garden: 1,500
Allowance for porticoes: 2,000
______
£21,500" [From G. M. Fraser. Archibald Simpson, Architect and his times. A study in the making of Aberdeen. Published in the Aberdeen Weekly Journal between April and October 1918] Architectural plans are a fascinating insight into days gone by. Although at first glance appearing fairly basic, on closer inspection the plan allows us to view one of the Granite City's best loved landmarks through the eyes of the students learning in amphitheatre-style lecture rooms, anatomical museums and dissecting rooms in 19th Century Aberdeen.

268

To coincide with the Edinburgh International Festival, we are showcasing our collection of engravings and etchings of the city by early Victorian artists. The engravings are extracted from Select views of some of the principal cities of Europe. From Original paintings by Lieutenant Colonel Batty which was published in January 1831 by Moon, Boys and Graves, known as the "printsellers [sic] to the King" and initially sold for £7. Robert Batty (1789-1848) was an army officer and an artist who recorded and illustrated his many experiences of active service. Select Views are compiled of etchings and notes from his time spent serving abroad in cities such as Gibraltar, Lisbon, Rotterdam, Amsterdam, Brussels and Antwerp. In total, seven plates of Edinburgh were presented in the volume. Each plate is accompanied by a descriptive text published both in English and in French. Many local and London-based artists contributed to the volume including Edward Goodall (1795-1870), W.R. Smith (active 1826-1852), George Cooke (1781-1834), and William John Cooke (ca. 1796-1865). The plates portray Edinburgh from different viewpoints with many featuring the city's iconic castle and skyline. The collection depicts Scotland's capital through the eyes of 19th Century artists, residents and visitors to the city of Edinburgh and reflects the artistic style and techniques of Victorian Britain. Find out more about the Victorian artists behind the engravings in the Treasures from our Collections interactive exhibition on our touchscreens.

296

2016 marks 80 years since the Aberdeen Royal Infirmary opened at Foresterhill. The new Infirmary cost a total of £535,000 and was opened on 23 September by the Duke and Duchess of York, who later became King George VI and the Queen Mother. The opening of the Infirmary marked the completion of the Joint Hospital Scheme and a major milestone in Aberdeen medical history. A crucial factor in the ultimate success of the Joint Hospital Scheme was fundraising undertaken by Andrew Lewis, Lord Provost of Aberdeen from 1925 to 1929. A keen supporter of the Scheme, Lewis' fundraising appeal was launched in March 1927 and raised £130,000 within a matter of days. The Silver Book was the contribution from the proprietors of Aberdeen Bon-Accord and Northern Pictorial newspaper to help the appeal reach its £400,000 target. The book was published by Henry Munro Ltd. and is in an attractive volume, rich in local and medical history. It contains a large number of adverts for local and national businesses in the front and back pages. The book features a letter of support from then Prime Minister Stanley Baldwin, followed by other messages of goodwill from Lord and Lady Provost Lewis, the University's Principal Sir George Adam Smith and other "Eminent Men" including Winston Churchill, Austen Chamberlain, John Buchan, G. K. Chesterton and Charles Murray.

530

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.

103653

Lang, John Marshall (Rev.)

Marriage

116085

Lang, John Marshall

Obituary

116812

Marshall, John

Obituary

116813

Marshall, John

Obituary

116814

Marshall, John

Obituary