Princes Street in Edinburgh must have one of the most dramatic backdrops of any shopping street in Europe. At this time of year the dour presbyterian cityscape seems to glower at the frivolity of the market below.
Princes Street in Edinburgh must have one of the most dramatic backdrops of any shopping street in Europe. At this time of year the dour presbyterian cityscape seems to glower at the frivolity of the market below.
I last visited Todmorden Church decades ago and it was in a pretty sorry state then, heavily vandalised and with no electricity, it had an air of dilapidation about it. So it was good to return in the company of some colleagues to see the church now.
Ministers: Jo James, Bob Janis-Dillon, Jim Corrigall, David Steers, Phil Waldron in front of the chancel
One of the things you can’t miss about the church is its dominance on the landscape, it is a big church, an impressive feature of the local topography. But what I had forgotten and what in some ways it is easy to miss is the attention to detail within the building – the marble inlays, the subtle little carvings, the attractive stained glass windows, even the colours of the massive marble pillars. Partly this is because it is actually quite dark inside. The Unitarian Heritage An Architectural Heritage says it has an “under-lit interior” and blames this on the stained glass by “M. Capronnier of Brussels”. An excellent new book Chapels of England Buildings of Protestant Nonconformity by Christopher Wakeling (Historic England, 2017) describes it as the “one unmissable place of worship in Todmorden” and says “despite the clerestory windows – externally unseen – and tiny openings higher in the roof, the light levels foster a sense of religious mystery, augmented by the stained and coloured glass.” I tend to agree with the Unitarian Heritage assessment, I do find the interior a bit too dark but that is a minor quibble. It is a fine building designed by John Gibson of Westminster who also built the local town hall and the Fielden family residence.
The church tower
Since 1994 the church has been in the care of the Historic Chapels Trust and they seem to be doing a good job, with the church being looked after by local volunteers. They have a varied programme of activities in the church including regular services plus weddings and even some recent christenings. When we visited, Joanna and Richard kindly took time out to show us round.
Richard Butterworth (verger) and Joanna Drake (volunteer)
The church now has kitchens and toilets sensitively added to the interior which perhaps underlies what a valued resource for local people this church building is. Its history is fascinating, coming, as it did, out of the Methodist Unitarian movement founded by Joseph Cooke and building a new chapel, which still survives, in 1824. The congregation was taken under the wing of enlightened mill owner John Fielden who extinguished their debt and whose three sons built the new church as a memorial to their father, built, it was said at the time, “for the public worship of the one God the Father, and for the instruction in the simple teachings of Jesus Christ, as opposed to such traditional doctrines as those of original sin and eternal punishment”. It opened for worship in 1869 and cost around £35,000. It is the only Unitarian church that I know that has a porte cochère where the wealthy benefactors could dismount and enter the church by a side door protected from the elements. Two of the sons are buried close to the church and matching memorials to all three of them are found on the walls of the interior.
The church has what must be one of the earliest and most elaborate church fonts of any Unitarian church, it is probably in need of restoration but it still in better condition than when I last saw it.
Detail on the font
One feature of Todmorden is the repeated motif of the pelican, I am not sure why this is such a popular image here but there is a pelican in the chancel window, and two carved in the choir stalls. There is possibly also another one carved in the end of a pew (almost all the pew ends feature flowers except for this one which houses an angel and what may be another pelican).
Choir stall pelican (see note below)
It is heartening to see the clock working and to know that the peal of eight bells are still rung by local bell ringers. Todmorden was a really flourishing congregation for most of its existence and it is interesting that this large building and its congregation left such an imprint in the locality that even now worship continues within it and it provides the home for much activity. It’s good to see the gradual recovery of Todmorden Unitarian Church.
The view up the carriage drive
A 360 degree view of the interior can be seen on the church’s website:
A couple of people have pointed out to me that the carving in the choir stalls which I originally named as a phoenix is in fact what is known as a ‘pelican in her piety’. It is the mother pelican who – in the ancient story – feeds its own chicks (or revives them after they die) with its own blood. I had confused this story with that of the phoenix which, of course, is famous for its ability to resurrect itself. Both the phoenix and the pelican became popular within Christian iconography from early times to represent Christ, for obvious reasons. But I am happy to make that correction and rename the image in the choir stalls. The carving on the pew end looks a good deal more phoenix like, although, to be honest, the photograph I took is not as clear as it might be and I am not able to make a certain identification. It is quite plausible that there are both phoenixes and pelicans in the church, but nevertheless I have removed the references to the phoenix and given credit to the pelican. Both are actually slightly surprising images to be found in a Unitarian church of 1869. The presence of a ‘pelican in her piety’ in Todmorden is probably a unique occurrence in a Unitarian church – unless anyone else knows differently!
Congratulations to Wayne Facer on the publication of his new book A Vision Splendid. The influential life of William Jellie. A British Unitarian in New Zealand (Blackstone Editions, Toronto, Canada, 2017 – http://www.BlackstoneEditions.com). It’s an excellent study that looks at Unitarian origins in New Zealand through the work of William Jellie, an Ulster born Non-Subscribing Presbyterian who was one of the many pioneers from there who went out to establish congregations in what were then dominions of the United Kingdom.
The book has a striking cover, taken from a work by an unknown New Zealand artist, and is a very important addition to the study of the way Unitarianism spread around the globe and adapted to new situations in the late nineteenth and early twentieth centuries. It will be reviewed in future issues of the Transactions of the Unitarian Historical Society and Faith and Freedom.
About the book I have written:
Wayne Facer has written an absorbing biography of a hitherto little known but nevertheless fascinating and important person. Through meticulous research in both New Zealand and the UK the author illustrates the pioneering life of this minister and educator.
Born in county Down, Ireland, in 1865 and described by his family as “Irish through and through” William followed an uncle into the Unitarian ministry. A relatively small but theologically radical denomination Unitarians placed great store on the value of an educated ministry and Jellie received an excellent education at Manchester College which moved its location from London to Oxford while he was a student there. The author draws out the influence of this education upon Jellie especially through the person of Philip Henry Wicksteed (1844-1927). Through him he developed a love of Dante and literature in general as well as a belief in politically progressive causes and the need for direct intervention in society in favour of the poor. Serving in ministries in both England and New Zealand, where a contemporary journal described him as preaching “sermons and addresses so far superior to the ordinary”, he became a key figure in the establishment of Unitarian churches and institutions in New Zealand. After retirement from the ministry he embarked upon a new career as a lecturer for the Workers’ Education Association.
We owe a great debt to the author who has traced the varied course of Jellie’s long career, bringing him vividly to life in the context of his times, his ideas and principles, his family and friendships and the institutions and organisations which he supported.
New Zealand Ministers – William Jellie, James Chapple, and Richard Hall at the Unitarian Hall, Timaru (from the back cover of the book)
A Vision Splendid. The influential life of William Jellie. A British Unitarian in New Zealand (Blackstone Editions, Toronto, Canada, 2017, ISBN 978-0-9816402-6-6, Pages: xxv + 278)
The Services of Harvest Thanksgiving in October 2017 were all successful and enjoyable events in Downpatrick, Ballee and Clough churches. The first took place at Downpatrick where the guest preacher was the Rev Ernie Boggs, Minister Emeritus of Downpatrick Presbyterian Church, and special music was provided by the Lindsay Chorale with their conductor John Dallas. The congregational hymns were accompanied by church organist Laura Patterson. Over the year the Sunday School and young people of the church raised £400 for the work of Daisy Lodge and during the service Laura Neill presented a cheque to Aisling Gibson, the South Down regional fundraiser for Daisy Lodge, a purpose-built therapeutic centre located in Newcastle for families affected by cancer.
Presentation to Aisling Gibson of Daisy Lodge.
At Ballee the service was held on Sunday, 8th October at 3.00 pm when the guest preacher was the Rev Adrian Dorrian, minister of Ballee Parish, Church of Ireland and special music was provided by the Quoile Area WI Choir conducted by Isabel Keenan and accompanied by Kathleen Gill. Congregational hymns were accompanied by John Strain, the church organist.
Quoile Area WI Choir including also Rev Adrian Dorrian
Clough held their annual service of harvest thanksgiving on Sunday, 15th October at 3.00 pm. There was a large congregation present to hear the visiting preacher, the Rev Paul Reid, of the Old Presbyterian Church, Larne and special music provided by local choir Harmonic Progression, the Seaforde based Community Choir for Women under the direction of Carolyn Ross. It was also pleasing to see that the painting of the exterior of the church had been completed in time for the harvest.
Harmonic Progression including Rev Paul Reid (Old Presbyterian Church, Larne)
On 30th September Ballee also acted as a key staging post for Christian Aid’s Strangford Sportive, a cycle event covering up 120 km around this part of county Down which raised over £6,500 for the charity.
On my History of the Non-Subscribing Presbyterian Church of Ireland blog I have been gradually posting two images of every church in the denomination together with a short description of the building. My aim is to include every active church plus as many of the former churches for which images survive. You can view them here:
I have amassed a large database of images in various formats over the years but passing near the Mountpottinger church in Belfast recently I decided to stop to take an up to date view.
Looking at the church close up I noticed something that I had never seen before, namely that there are four corbel heads at the base of the main entrance arches which depict crowned heads. I know I am not alone in having previously missed this intriguing detail but close up you can see four regal faces, two of them male and two female:
Who are they meant to represent? Biblical figures? Historical? Shakespearean perhaps? Or are they purely decorative? It seems clear that they were added when the church was extended in 1899. The foundation stone for the original church was laid in 1874 but the young congregation was very successful and in 1899 they extended the building.
Adrian Moir, the congregational treasurer and representative elder, has sent me the follwing interesting photograph of the original building as it looked before 1899. Standing in front, he thinks, is the Rev William Jenkin Davies minister from 1896 – 1903 who was married to the niece of Sir Edwin Durning-Lawrence who donated the new schoolroom as a memorial to her following her death:
Sir Edwin Durning-Lawrence was a major Unitarian benefactor, an MP who declared the Unitarian College, Manchester open when it moved to Summerville in 1905, a friend of the Rev Alexander Gordon and the leading proponent of the theory that Shakespeare’s plays were actually the work of Francis Bacon!
A comparison of the new buildings of 1899 with the old one shows how they added a schoolroom and ancillary rooms on both sides of the original church with a common frontage uniting all the structures. In very recent times a disabled ramp was added to the church.
A view of the church published in 1907, showing the new additions to the building
But it would be interesting to know the identity of the four regal heads who adorn the outside wall of Mountpottinger church.
Robert Spears was a tireless propagandist for Unitarianism in the second half of the nineteenth century. One of his projects was the establishment in 1856 of The Christian Freeman, “a monthly journal devoted to religious, moral and social progress”. One of the novel features of this was that, from 1866, it was illustrated, at least to the extent that every issue carried an engraving of a Unitarian church or building. In January 1866 the editor promised that “during the present year our readers may expect in our pages every month one engraving at least of our largest churches.”
I have a bound collection of volumes 10 to 12 and in them most of these illustrations seem to have been produced by the same artist, although one is provided by the architect of a church (Southampton) and one other is signed ‘Macintosh’ which may be by a different engraver.
Most of the illustrations are exterior views and although Robert Spears promised “our largest churches” he didn’t stick to this and gives pictures of smaller congregations such as Pudsey, Styal or Dewsbury. Some of the churches illustrated are long gone, fallen by the way as congregations have closed or moved to newer premises or were destroyed in the blitz or by 1960s developers. But these illustrations are often very valuable because of a paucity of photographic or drawn records of the building concerned. So Matthew Henry’s Chapel in Chester lasted until the early 1960s but little survives that tells us as much about the building as Robert Spears’ engraving:
Glasgow’s magnificent St Vincent Street Church was demolished as recently as the 1980s but The Christian Freeman shows us how it was intended to appear:
Other chapels might have survived but are still under threat, such as Newington Green Unitarian Chapel which in October 2016 was added to Historic England’s latest register of English historical buildings and sites considered to be at risk. See: https://www.theguardian.com/culture/2016/oct/21/feminism-birthplace-old-brighton-london-zoo-aviary-historic-sites-risk-endangered-english-heritage.
Interestingly then, as now, the media made a connection between the chapel and a woman writer. In 1866 it was Anna Laetitia Barbauld in 2016 Mary Wollstonecraft:
Knutsford also was identified with a particular writer in the form of Elizabeth Gaskell:
Probably the best known of the illustrations from The Christian Freeman of 1867 is that of Madras which has been reproduced many times:
But many of the illustrations were later reprinted in Emily Sharpe’s Pictures of Unitarian Churches published in 1901. This included pictures “nearly all of them printed from the wood-blocks lent by Mrs Spears, having been brought out by her late husband, at intervals, through several years, in the pages of the “CHRISTIAN LIFE” [also edited by Robert Spears] and “CHRISTIAN FREEMAN”.
In fact the illustration of Matthew Henry’s Chapel in Emily Sharpe’s book is inferior to that published in The Christian Freeman (although see Jim Nugent’s comment below) and some quite striking pictures such as the Norwich Octagon do not appear in the 1901 book:
Perhaps the wooden block had gone astray by 1901?
Many of the illustrations feature figures wandering nonchalantly into view. Not always quite to scale, Quality Street couples amble amiably by, and carriages and carts heave into view. The occasional street urchin appears on the scene and dogs, never on a lead, often show up as does one man on horseback:
Detail from the Memorial Hall, Manchester
Detail from Conigre Chapel. Trowbridge
They may not all be architecturally accurate and liberties are certainly taken with some of the views but taken together they are all a charming and valuable record of Unitarian buildings.
Hot off the presses today is the Spring and Summer 2017 (volume 70 Part 1, Number 184) issue of Faith and Freedom. It has a striking picture of an Eagle Owl taken from an engraving by Thomas Bewick’s 1797 book Land Birds on the cover.
In this new issue we are again delighted to have some really fascinating articles. These include Phillip Hewett outlining his research in pre- and post-Communist Poland for his book Racovia. He compares his experiences in Poland with those of Earl Morse Wilbur decades earlier. We are delighted to have too Johnston McMaster’s in-depth examination of Francis Hutcheson and the Social Vision of Eighteenth-Century Radical Presbyterians and Stephen Lingwood’s timely consideration of a Theology of Unitarian Ministry. Dan C. West discusses the way faith can cross boundaries and make connections and Howard Oliver discusses The Art and Theology of Thomas Bewick.
The original sixteenth-century parsonage in Raków (photo: Phillip Hewett)
Faith and Freedom is always particularly strong in its reviews section and we are delighted to once again welcome some important reviews by top writers.
With the 500th anniversary of Martin Luther posting his 95 Theses in mind, Professor Ian Hazlett, leading Reformation scholar and former Professor of Ecclesiastical History at the University of Glasgow, reviews Scott H. Hendrix’s Yale University Press book Martin Luther Visionary Reformer. Professor David Williams reviews Yuval Noah Harari’s newest book Homo Deus: A Brief History of Tomorrow and Philippe Sands’ East West Street: on the origins of genocide and crimes against humanity. Lena Cockroft reviews Dan Hotchkiss’ Governance and Ministry: Rethinking Board Leadership, which is a major contribution to the theory of church administration. Marcus Braybrooke, Joint President of the World Congress of Faiths, looks at Main Religions of the Modern World and the Two Forms of any Religion by Antony Fernando, and Frank Walker reviews Emmanuel Carrere’s extraordinary and controversial novel The Kingdom.
You can subscribe to Faith and Freedom online via our website:
Writing in the mid-1960s in his examination of the place of art in Liverpool (Art in a City) John Willett observes:
“In 1967 the new Roman Catholic cathedral will be consecrated. With its novel circular plan, like a vast upturned funnel, its windows by John Piper and Patrick Reyntiens and its sculptures by William Mitchell, Frederick Gibberd’s great building quite possibly will take the breath away, and seems likely to provide for some years a religious-artistic sensation to rival Coventry.”
It was a striking addition to the cityscape and was described by Liverpool architect Quentin Hughes as “undoubtedly the major modern architectural attraction of the city”. At the time it was being built this maybe wasn’t so clear. In the 1960s Liverpool was undergoing a period of renewal that promised and threatened much in terms of architecture. City councillors had long been obsessed with constructing a ‘worthy’ civic centre and had identified the back of St George’s Hall for the location of this. By the 1960s this vision had taken on a grandiose form and encompassed an enormous series of buildings that would have snaked around the centre of the city. With a huge cross-shaped building impinging on St John’s Gardens behind St George’s Hall, Colin St John Wilson, the architect responsible, promised:
“…this is not an abstract building in space it is part of a whole texture – buildings, roads, Mersey Tunnel, Lime Street Station, with energy passing through a web of paths and creating points of focus. That’s the essence of it, to see this thing not isolated but as part of a whole traverse across the city.”
In the end most of this did not get built except for a ridiculous walkway at the back of the museums. But in the context of all this potential upheaval the new, defiantly modern Catholic Cathedral began to take shape. These two pictures by amateur photographers capture the process of building in the early 1960s:
As the “vast upturned funnel” began to take shape it must have been a challenging sight for passers-by. Certainly quite unlike anything else in Liverpool and a considerable contrast to every other church building in the city:
The building was completed and consecrated on 14th May 1967. In the Architectural Review of June 1967 Nicholas Taylor spoke of the new building’s “challenging relationship with Sir Giles Scott’s Catalan Gothic splendour for the Protestant ship-owners further along the ridge”. He also went on to draw a parallel with the other great post-war English cathedral of Coventry:
“The loosely defined image of the ‘big top’ or ‘wigwam’ will probably prove as big a success with the people in general as Spence’s Coventry, and there are already signs that it may acquire the same identity with Liverpool’s own civic image that Bertrand Goldberg’s Marina City towers have with Chicago’s.
The reason is that it expresses with uncommon force one particular historical emotion: at Coventry it was the War Memorial with its symbolism of Sacrifice in the ruins and of Resurrection in the new church; at Liverpool it is the ecclesia triumphans of the Foleys and O’Reillys, a symbol of Catholic kingship riding high above the former Protestant ascendancy of merchants in the quaysides below.”
In some ways this analysis seems both patronising and sectarian although it is entirely understandable in the context of the times. But, in my view at least, the building expresses something more positive and is a hugely impressive spiritual space, a place worthy of pilgrimage. A rather more worthwhile legacy of the 1960s than what the city planners envisaged elsewhere.
At the time of its opening the council arranged for this floral decoration to adorn the roundabout in front of the Adelphi Hotel at the end of Lime Street. In the distance you can see St George’s Hall and plenty of evidence of ongoing construction work. And at the now demolished Futurist cinema they were showing Dr Zhivago:
I’ve written before about the Metropolitan Cathedral:
and also about Hope Street Unitarian Church which stood midway between where the two cathedrals have been built:
The three images above were all acquired on eBay for 99p. The photograph at the top of the page is one I took from the top of the Anglican Cathedral. Hope Street Church stood where the square-shaped white building stands at the bottom of the picture on the right hand side of the main road.
In 1893 B. Guinness Orchard in Liverpool’s Legion of Honour declared the Rev John Watson to be “the successful pastor of the most important and active among our local congregations.” In (by his standards) fairly restrained prose Orchard outlined the minister’s achievements: every sitting in the church was let, the number of communicants had risen from 133 to 949, three new causes had been founded, £70,000 raised for congregational activities. The list of achievements was a long one and, Orchard added rather cryptically, “To his congregation his doctrinal teaching is quite acceptable”.
John Watson had already achieved a position of some eminence in his adopted city. In his twenty five years in the ministry at Sefton Park Presbyterian Church he also became centrally involved and prominent in civic life. But Orchard was writing just on the cusp of a new departure for John Watson; his first novel – Beside the Bonnie Brier Bush – was published in the following year. As Ian Maclaren he became a top selling novelist whose fame stretched around the English-speaking world.
As a clergyman/novelist he reached an extraordinary level of fame. He published theology under his own name which sold exceptionally well resulting in highly popular lecturing tours of the USA and honorary DDs from St Andrews and Yale.
As I have mentioned in a previous post
his fame was such that his image was reproduced on a cigarette card. It is a very small card but it is very cleanly printed.
I recently discovered that a separate series of cigarette cards was also issued in Australia by Ogden’s in about 1905 which also included an image of John Watson. I don’t possess an example of this card although it was less well printed than the British one. It re-used a photograph taken by top London photographers Elliot & Fry. The same image was published as a postcard in the ‘Star Series’:
There was a great demand for images of John Watson. Popular prints of him were sold but with the sudden impact of the postcard at the turn of the century his image became rather more widely diffused. Market leaders Rotary sold this postcard of John Watson:
Taken probably for a magazine in what is almost certainly the front room of the manse in Sefton Drive he leans against the fireplace in front of a picture of the Last Supper. It is interesting how the different aspects of his character blended into one. He was an effective and highly successful minister with extensive involvement in many aspects of local life and national church life. But he was also a much sought after author of popular novels. Yet although his novels are still in print and although something of a niche area are still read, his theology, which also sold in tens of thousands, is now forgotten.
His fame was tied up with his church. I have many examples of postcards of his church in Sefton Park, it was a popular subject. The one at the top of this post shows the church in the background but suggests the importance of its site on a main arterial route through the suburbs. Tram conductors would call out the name of the nearby stop as Dr Watson’s church and the detail on this postcard shows a tram stopped near the junction, its driver and conductor hanging around to be in the photograph:
Another feature of all photographs of the exterior of the church is that someone (or sometimes two people) always stood in the middle of the road slightly to the right of the main gate. Was this something demanded by the photographers to give some idea of scale? It is strange how that space is always occupied. Sometimes by a young person staring at the camera other times by someone with their back to the camera and sometimes by a couple in animated conversation. But the title always takes the same form, it is ‘Dr Watsons’s Church’ or ‘Ian Maclaren’s Chapel’. The terms are used interchangeably even by local publishers Wrench.
The Walker Art Gallery has two contemporary portraits of John Watson but these are not on show and I suspect have never been on show. They are both striking examples of late nineteenth-century portraiture and can be found online. But his likeness still circulates on postcards and cigarette cards, a continuing reflection of his late Victorian and Edwardian fame.
An incredibly useful and interesting resource for the study of congregational histories is the Edwardian ‘Souvenir of Bazaar’. These are often overlooked and are certainly under-appreciated. Their ephemeral nature means that their survival rate is not good and they are seldom found in library catalogues yet they invariably contain a great deal of information that gives us insight into the social and recreational life of a congregation at a time that was something of a high watermark for nonconformity and frequently also contain historical information that simply might otherwise be unavailable.
So few people know, I suspect, that the souvenir issued by the Templepatrick congregation a few years before the First World War contained a history of the congregation written by the great historian Alexander Gordon. One of my own congregations at Downpatrick issued a brochure at a similar date that contained history, pictures, biographies, poems by the minister and much more, it is a treasure trove of historical material, and very rare.
I picked up this ‘Souvenir of Bazaar’ on eBay for the princely sum of £4.99 which is more than I like to pay but really can’t complain about the price. It is the Souvenir for the Grand Floral Bazaar held by Mossley Christian Church (Unitarian) from 16th to 18th November 1911.
The cover does not inspire confidence, parts of it are very faded and there is evidence of a rusty staple peeping through. But despite that the forty page booklet is in excellent condition, it is beautifully illustrated and is replete with valuable information and images.
The colour images (nine in all) are still bright and attractive although one soon realises that they are stock images provided by the printers. The start of the ‘Retrospect’ is illustrated by what appears to be a watercolour of Windsor Castle but this detailed and well written twenty-page history of the congregation provided by the minister, the Rev H. Fisher Short, also contains a photograph of “th’owd garrett” where the congregation first met, the chapel interior and exterior, and all eight of the ministers from 1859 including the Rev Fisher Short:
It is a fascinating and unusual history rooted as it is in the ministry of Joseph Barker who founded the ‘Christian Brethren’ after being expelled from the Methodist New Connection. He and his followers would have no other name than ‘Christian Church’ for their Chapel at Mossley and this has remained their official name ever since.
Fisher Short was a member of a significant dynasty of Unitarian ministers in the 20th century who held a number of effective ministries himself in the north of England. This short history is testimony to his own scholarship and ability. I don’t think that any other history of the Mossley congregation has ever been published but this account of the first seventy years is very valuable indeed carrying much detail and analysis of the congregation’s development and the work done by its ministers in the local community.
The Floral Bazaar ran over three days and aimed to raise £1,000 for the renovation of the buildings. An impressive list of patrons was assembled including many Unitarian worthies and local leaders headed by Lord Ashton of Hyde. A congregational committee of thirty-six carried out the local arrangements.
Each day had an opening ceremony with two dignitaries taking part, one acting as the chairman of the proceedings and the other as the opener. The ‘Openers’ were Charles Hawksley, Esq., C.E. (President of the B&FUA), Sir W.B. Bowring, Bart., and Francis Neilson, Esq. M.P. The ‘Chairmen’ were Lt. Col. J.W. Pollitt, V.D., J.P., J. Hall Brooks, Esq., and Rev H. Enfield Dowson, B.A. (President of the National Conference). A photograph of each gentleman is also included in the book.
There were six stalls, namely Congregational, Sewing Society, Flower, Young Ladies’, Young Men’s and Children’s. In addition there was a Refreshment Stall, a Tea Room and a ‘Café Chantant’. One wonders quite why such a selection of opportunities for tea was thought necessary but there must have been plenty of demand. The Mossley String Band had a full programme of music on each day. Entertainments included competitions, bran tub, a weighing machine, ‘houp la’ and a shooting range, although it would be hard to keep away from DeMeglio’s nightly performances in the primary department. A member of the Magic Circle and a ‘Humorous Speciality Entertainer’ Mr DeMeglio mixed Monologues, Banjo Solos, Conjuring and Ventriloquism with ‘Papergraphy, Chapeaugraphy and Smoke Pictures’. Chapeaugraphy is probably not as exciting as it sounds and is defined as “the art of taking a ring-shaped piece of felt to manipulate it to look like various types of hats”. But still it must have been a good show.
But for anyone with an interest in history a little book like this pays dividends and offers many avenues for further research.