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Westburn House was designed in 1839 by the architect, Archibald Simpson, for David Chalmers of the printing family who published the Aberdeen Journal newspaper. It is a single storey building, with a 2-storey centre gable at the north and a portico of Doric pillars on the west side. It is constructed of brick with a stucco finish. The 25-acre estate was bought by Aberdeen Town Council in 1900. The lands, which had in early times been used for sheep grazing, were now converted into a public park. The vegetable garden became a recreation ground; the stables and carriage sheds now stored tools; the walled flower garden and orchard were laid out as a bowling green. A pond was created from the burn which runs through the grounds. The house was first used as refreshment rooms and the veranda, with its wrought iron columns, was added to allow people to enjoy their teas and coffees in the open air. Since then, it has had many uses including a clinic and meeting place for playgroups. Its future is currently under discussion by the City Council. Westburn Park opened to the public in around May 1901. See Aberdeen Journal 11th May 1901, page 4, and articles thereabouts, for details. There does not appear to have been an official opening ceremony.

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A group of children stand outside Westburn House. To the right of the image is the park's drinking fountain. Westburn House was designed in 1839 by the architect, Archibald Simpson, for David Chalmers of the printing family who published the "Aberdeen Journal" newspaper. It is a single storey building, with a 2-storey centre gable at the north and a portico of Doric pillars on the west side. It is constructed of brick with a stucco finish. The 25-acre estate was bought by Aberdeen Town Council in 1900. The lands, which had in early times been used for sheep grazing, were now converted into a public park. The vegetable garden became a recreation ground; the stables and carriage sheds now stored tools; the walled flower garden and orchard were laid out as a bowling green. A pond was created from the burn which runs through the grounds. The house was first used as refreshment rooms and the veranda, with its wrought iron columns, was added to allow people to enjoy their teas and coffees in the open air. Since then, it has had many uses including a clinic and meeting place for playgroups. Its future is currently under discussion by the City Council.

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A photographic portrait of John Duguid Milne (1822-1889), an Aberdeen advocate. On 20th March 1883 Milne read a paper titled The success of free public libraries in industrial towns, and the necessity for a free public library in Aberdeen to the Philosophical Society of Aberdeen. The paper was also published by the society as a pamphlet shortly afterwards. A copy of this paper is held by Aberdeen Local Studies. Milne draws together the experiences of free public libraries from England and around Scotland. He also points to the example and popularity of John Anderson's library in Woodside, which had opened in 1881. In the section 'Who should move for a free library?' Milne writes: "The Free Library is not especially for the wealthy, nor even for the well-to-do, but for the people, for the industrial classes; and it is for the industrial classes themselves to say if they want it. They have also the power in their hands, as they form a majority of the ratepayers." (page 17). Milne was the director and legal advisor of Aberdeen's Mechanics' Institute. He ends his paper by stating that should the Public Libraries Act be adopted by Aberdeen, the Mechanics' Institute was prepared to hand over to the Free Public Library their whole stock of books and their substantial premises on Market Street. Milne's paper, and the offer within, was likely a determining factor in the initiation, and ultimate success, of Professor Alexander Bain (1818-1903) and Baillie George Walker (1821-1910) putting forward a motion for the adoption of the Public Libraries Act at a meeting in the Music Hall on 25th March 1884. This meeting took place around a year after the first reading of Milne's paper. Opening in March 1886, the Mechanics' Institute building did become the first location of Aberdeen's new Free Public Library and its collection of books formed the core of its stock. If you look at some of the older items in the collection of Aberdeen City Libraries today, stamp marks for the Mechanics' Institute can be seen.

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A photograph of a monogram on the fountain in Victoria Park. This fountain was constructed using granite from 14 local quarries and was designed in 1878 by John Bridgeford Pirie, an eminent local architect who was the son of a sea captain. The fountain was presented to the people of Aberdeen in 1881 by the Granite Polishers and Builders of Aberdeen. It was estimated to have cost £500 at the time. The fountain was initially the idea of John Morgan, one of the most prominent builders in the city. It was designed to showcase the finest work of local granite industry. It was first proposed for a site near Union Terrace, though Victoria Park was eventually selected. As can be seen in early photographs, the fountain originally had a rockery feature at its base. The fountain features the monograms of the stonemasons and firms who created it. The monograms, or names, of the master mason's involved in the creation of the fountain was at one point quite controversial. The report on the installation of the ornament in the Evening Express of 30th April 1881, page 2, includes the following: "Many may take exception to the appearance of the monograms, and in one or two cases the full names, of the donors carved on the various stones; but that is a comparatively small defect in view of the general excellence of the structure. Numerous are those who have contributed their quota to this gift, and all deserve a share of the credit of its execution and presentation; but it is no more than what is called for to mention Mr John Fyfe as having given some of the most expensive and most artistic portions of the fountain." An article describing the fountain from the Aberdeen Free Press of 16th March 1881, page 5, lists the names represented on the fountain: "John Fyfe (Kemnay), John Gibb & Son, J. Mowlem & Co., and A. & F. Manuel; Alexander Milne (builder), Alexander Milne (stonecutter), J. and J. Ross, George Henderson, Alexander Henderson, Edgar Gauld, Pringle & Slessor, Thomas Donaldson, Fordyce & Company, John Ross, Duguid & Wilson, James Mitchell, Peter Murray, James Willox, William Ferguson, Grant and Watt, Peter Bisset & Son, Alexander Leith, Boddie & Wilson, James Wright & Sons, J. and J. Ogg, J. W. Legge, G. & R. Hall, J. Petrie and Co., James Hunter, William Keith, and Adam Mitchell & Company." This image was taken on 28th February 2024.

4435

A photograph of a monogram on the fountain in Victoria Park. This fountain was constructed using granite from 14 local quarries and was designed in 1878 by John Bridgeford Pirie, an eminent local architect who was the son of a sea captain. The fountain was presented to the people of Aberdeen in 1881 by the Granite Polishers and Builders of Aberdeen. It was estimated to have cost £500 at the time. The fountain was initially the idea of John Morgan, one of the most prominent builders in the city. It was designed to showcase the finest work of local granite industry. It was first proposed for a site near Union Terrace, though Victoria Park was eventually selected. As can be seen in early photographs, the fountain originally had a rockery feature at its base. The fountain features the monograms of the stonemasons and firms who created it. The monograms, or names, of the master mason's involved in the creation of the fountain was at one point quite controversial. The report on the installation of the ornament in the Evening Express of 30th April 1881, page 2, includes the following: "Many may take exception to the appearance of the monograms, and in one or two cases the full names, of the donors carved on the various stones; but that is a comparatively small defect in view of the general excellence of the structure. Numerous are those who have contributed their quota to this gift, and all deserve a share of the credit of its execution and presentation; but it is no more than what is called for to mention Mr John Fyfe as having given some of the most expensive and most artistic portions of the fountain." An article describing the fountain from the Aberdeen Free Press of 16th March 1881, page 5, lists the names represented on the fountain: "John Fyfe (Kemnay), John Gibb & Son, J. Mowlem & Co., and A. & F. Manuel; Alexander Milne (builder), Alexander Milne (stonecutter), J. and J. Ross, George Henderson, Alexander Henderson, Edgar Gauld, Pringle & Slessor, Thomas Donaldson, Fordyce & Company, John Ross, Duguid & Wilson, James Mitchell, Peter Murray, James Willox, William Ferguson, Grant and Watt, Peter Bisset & Son, Alexander Leith, Boddie & Wilson, James Wright & Sons, J. and J. Ogg, J. W. Legge, G. & R. Hall, J. Petrie and Co., James Hunter, William Keith, and Adam Mitchell & Company." This monogram may be that of Peter Murray. This image was taken on 28th February 2024.

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A photograph of a monogram on the fountain in Victoria Park. This fountain was constructed using granite from 14 local quarries and was designed in 1878 by John Bridgeford Pirie, an eminent local architect who was the son of a sea captain. The fountain was presented to the people of Aberdeen in 1881 by the Granite Polishers and Builders of Aberdeen. It was estimated to have cost £500 at the time. The fountain was initially the idea of John Morgan, one of the most prominent builders in the city. It was designed to showcase the finest work of local granite industry. It was first proposed for a site near Union Terrace, though Victoria Park was eventually selected. As can be seen in early photographs, the fountain originally had a rockery feature at its base. The fountain features the monograms of the stonemasons and firms who created it. The monograms, or names, of the master mason's involved in the creation of the fountain was at one point quite controversial. The report on the installation of the ornament in the Evening Express of 30th April 1881, page 2, includes the following: "Many may take exception to the appearance of the monograms, and in one or two cases the full names, of the donors carved on the various stones; but that is a comparatively small defect in view of the general excellence of the structure. Numerous are those who have contributed their quota to this gift, and all deserve a share of the credit of its execution and presentation; but it is no more than what is called for to mention Mr John Fyfe as having given some of the most expensive and most artistic portions of the fountain." An article describing the fountain from the Aberdeen Free Press of 16th March 1881, page 5, lists the names represented on the fountain: "John Fyfe (Kemnay), John Gibb & Son, J. Mowlem & Co., and A. & F. Manuel; Alexander Milne (builder), Alexander Milne (stonecutter), J. and J. Ross, George Henderson, Alexander Henderson, Edgar Gauld, Pringle & Slessor, Thomas Donaldson, Fordyce & Company, John Ross, Duguid & Wilson, James Mitchell, Peter Murray, James Willox, William Ferguson, Grant and Watt, Peter Bisset & Son, Alexander Leith, Boddie & Wilson, James Wright & Sons, J. and J. Ogg, J. W. Legge, G. & R. Hall, J. Petrie and Co., James Hunter, William Keith, and Adam Mitchell & Company." This image was taken on 28th February 2024.

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Opened in 1894, Stewart Park was named after the then Aberdeen Lord Provost, David Stewart. The area was land acquired from the Hilton Estate and was designed to be used by all ages. Three disused quarries were filled in and landscaped as small lakes stocked with fish. Mrs Taylor, a widow of a Woodside merchant, left £500 to the park, especially for the purpose of becoming the Taylor Playground for children, in memory of her husband. Mrs Taylor was honoured with the memorial fountain by the Aberdeen Town Council. Although the park may not have the small lakes, and fewer flower beds than when it first opened, it is still widely used, and as stated by the Lord Provost at the opening ceremony "It would be a thing of joy and beauty forever" to the people of Woodside. Soon after the opening of Stewart Park, cricket clubs were formed. The park was home to many clubs, and memories of the park suggest that as many as twenty games of cricket would be in play at any one time. These games obviously paid off because Woodside Cricket Club won the Aberdeenshire Cup in 1957. Other popular pursuits were the Woodside Football Club, the Grandholm Choir and the Woodside and District Cycling Club. The Cycling Club began in the early 30's, but had to disband during the Second World War. After the war, Joe Dunn, a cycle shop owner and a previous member, tried to restart the club. This image is a James Valentine postcard.

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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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