A Silk-hatted Veteran

It was a great delight for us to welcome to Dunmurry last week Patrick Robertson, a direct descendant of the Rev Alexander Gordon, his great great grandson no less. He brought with him a mass of wonderful material relating to AG and his family which will provide the basis for much important research in times to come. But the most poignant item he brought along was Alexander Gordon’s silk top hat.

On the steps of Dunmurry Church with Alexander Gordon silk hat

The last time this hat was in Dunmurry was on 18th January 1931 when AG preached in Dunmurry for the last time shortly before his death in February of that year. This visit was preserved in a photograph taken as he entered the Church which can be seen in this post. Alexander Gordon was a member of Dunmurry from the time he moved to Manchester in 1890 to take over as Principal of the Unitarian Home Missionary College. He seems to have valued this link above all else and returned regularly to Dunmurry to attend communion, to serve on the committee and to participate in other aspects of congregational life.

Patrick has another printed postcard image of AG’s visit to Dunmurry in 1931. This view is actually the same shot as the original picture used on this blog before but it is cropped differently. This is it:

The venerable figure of Alexander Gordon coming to preach at Dunmurry at the age of 89 in 1931. Wearing his silk hat

Alexander Gordon was known for his hats. He was said to wear an ancient silk hat inscribed ‘Not Yours!’ But this one wasn’t it. It is actually in excellent condition and though it must be nearly 100 years old it is probably not much older than that.

But his hat was noticed in a newspaper article which is preserved in the Very Rev William McMillan Library in Dunmurry. Probably from the Belfast Newsletter and dating from early in 1931 the writer gives an account of Gordon’s visit to the Linen Hall Library to hear Shannon Millin’s lecture on Belfast historian George Benn. For the writer Gordon was the ‘Silk-hatted veteran’:

Patrick has a lot of fascinating material relating to Alexander Gordon including his certificate from Manchester New College, London dated June 1862 and signed by James Martineau, J.J. Tayler, William Gaskell and many other prominent Unitarians. In later years AG corresponded regularly with his granddaughter Nellie and these lively and engaging letters shed a lot of light on his activities and interests in the 1920s and will be the subject of a future article. The family history is fully covered by a range of letters from across the generations which show the Gordon family’s removal from the north east of Scotland to Dudley in the English west midlands where Alexander Gordon’s grandfather and namesake established himself as a highly successful spirit and wine merchant.

Alexander Gordon senior announces his entry into business

His grandfather was not only a very successful business man (helped no doubt by his wife Maria Loxton whose aide memoire for calculating measures survives to this day) but was Mayor of Dudley, and was also a leading Methodist in the west midlands. Converted by Wesley he kept an illustrated document detailing his spiritual state. This was before Methodists began to be advocates for temperance or teetotalism, which was quite a late development, most people won’t realise that as late as 1841 the Methodist Conference ruled against Methodist Chapels being used to host teetotal meetings and against using unfermented wine at communion.

Other documents that will provide more insight into Alexander Gordon’s life and activity include his ‘Essay on the Results of the Late [Crimean] War’, probably his oldest surviving written work, dating from 1856 at the age of 15; congregational addresses from Norwich and Hope Street, Liverpool, presented on his removal; a testimonial given to his father on removing from Coventry in 1854; photographs and more.

All this helps us expand our knowledge of Alexander Gordon and the world he belonged to, someone whose significance as a scholar has not diminished and whose personal religious bonds, it is becoming increasingly clear, were strongest with the Remonstrant congregation of Dunmurry.

James Martineau’s carte de visite

I have a small but growing and (to me at least) very interesting collection of cartes de visite of Victorian clergymen. I have only written about one of these so far –  Hugh Stowell Brown’s carte de visite – you can click on the link to read about it. That particular very rare, possibly unique, card, was reproduced (with my permission) in Wayne Clarke’s excellent new biography A Ready Man, Hugh Stowell Brown, preacher, activist, friend of the poor. It is a very characterful and impressive image.

James Martineau CDV 01

James Martineau

This image of James Martineau is also very characterful, although I suspect is not quite as direct a link with the great philosopher, theologian and Unitarian minister as H.S. Brown’s carte de visite was with him. A carte de visite was essentially a calling card although they became highly collectable in their day. This image of James Martineau was published by the London Stereoscopic & Photographic Company which specialised, as their name suggests, in stereoscopic views. Founded in London 1854 it sold stereo views and viewing equipment at the height of popular interest in 3D views of the world, as well as providing all manner of photographic and allied equipment. In the 1860s they diversified into the new craze for cartes de visite and were very successful in meeting the considerable market demand for them.

James Martineau CDV 02

Reverse of  the James Martineau carte de visite

This image of James Martineau dates from about 1873 or 1874. Born in Norwich in 1805, by this time Martineau was principal of Manchester New College, then located in Gordon Square, London. He was already a figure of some significance nationally although his fame was to increase as he got older. However, I don’t think this card would ever have been used by James Martineau, I suspect it would have been sold by the London Stereoscopic & Photographic Company as a collectable celebrity image. James Martineau’s own carte de visite was published by market leaders Elliot & Fry. He seems to have had at least two cards made by them: one in the 1860s and another about a decade later in the 1870s. Examples of both of these cards are held by the National Portrait Gallery in London, amongst the dozen portraits they hold of Martineau to this day:

James-Martineau

This picture: James Martineau by Elliott & Fry, albumen carte-de-visite, 1870s NPG x197538, © National Portrait Gallery, London (Creative Commons license)

The London Stereoscopic & Photographic Company portrait resembles very closely the  picture in the National Portrait Gallery. However, the London Stereoscopic & Photographic Company picture is taken from a different angle and gives a different profile.

At first glance it seems certain that both pictures were taken at the same sitting. Perhaps Elliot & Fry sold some of the images they took to the London Stereoscopic & Photographic Company? In both pictures Martineau is wearing an identical suit and an identically positioned watch chain. In fact everything looks the same except the button on his jacket is in a different position. But there does appear to be another subtle difference – close inspection of Martineau’s tie suggests that they are not the same piece of clothing at all. The London Stereoscopic & Photographic Company photograph dates from after 1873 (when the company won the Prize Medal for Portraiture at the Vienna Exhibition as the reverse of the card shows) and before 1875 (when they won a subsequent prize medal which they added to the reverse of their cards). Martineau’s appearance on both pictures is so similar that it is impossible to imagine that they were not taken very closely together. So on the same day or in a couple of days in 1874 did James Martineau turn up for two different photographic sittings at the two studios, changing his tie between sittings? Either way there are two sources for cartes de visite associated with the great man. One is the series produced by Elliot & Fry and the other is the London Stereoscopic & Photographic Company picture of which I am glad to have a specimen.

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