In which the emanation of effluvia is offensive to one’s senses

Continuing on from last week’s blog, today’s post takes a look (or a sniff, if you will) at the aromas of everyday life inside a Victorian house. Smell is such an intrinsic part of human life, yet so fleeting that it can only be experienced directly in the present moment. The smells of the past, as Hamish mentioned last week, are only available to us indirectly, through written descriptions and the power of our imagination (itself based upon our own past olfactory experiences).

As far as the 19th century is concerned, many of the everyday scents and aromas experienced by people in Christchurch would still be familiar to us, even now. Others, however, have faded from daily life during the intervening decades as household products and technologies have gradually been replaced by modern, odourless, alternatives.

A lovely brass candlestick (used by Colonel mustard in the library, perhaps...). We think that the pieces of fabric stuck to the metal are just the remnants of the wrapping it was thrown out in, rather than a functional or decorative part of the candlestick itself. There's even a candle stub still visible inside the holder, near the base. Image: J. Garland

A brass candlestick found in Christchurch. Image: J. Garland

The smell of lighting, for example, is something that wouldn’t even register as a household smell now. Yet, in the 19th century, everything that produced light (with the exception of the sun, of course) – candles, kerosene lamps, gas lamps, wood or coal fires – would also have produced a smell.  Some of these have featured on the blog before, in the form of candle sticks and fireplaces found on Christchurch sites, but we’ve not really considered them in the context of their smell before.

Many of the fireplaces we’ve come across would not have ‘drawn’ well, meaning there would often have been coal or wood smoke in the room while they were lit. Kerosene lamps were notorious for their smell, to the point that advertisers made an effort to emphasise the less ‘distasteful’ smell of their own products (Wairarapa Daily Times 7/2/1913: 7). Candles were made from a variety of materials, from cheap tallow to spermaceti (a wax found in sperm whales) and paraffin wax, some of which gave off distinctive smells and some of which did not. Even ‘odourless’ candles, though, such as ‘sperm candles’, would still have contributed to the scents of the household through the smell of the wick as it was extinguished, or matches as it was lit.

Advertisements for household lighting and heat

Advertisements for household lighting and heat. Left to right: advertisement for gas lighting, which avoids the “soot, smell and sadness” of other lighting methods (Northern Advocate 6/8/1920: 4); advertisement for Apollo Sperm Candles (Evening Post 8/8/1903: 15); advertisement for clean Shell kerosene heaters (Wairarapa Daily Times 7/2/1913:7)

Article on the creation of an allegedly odourless 'super-cabbage'. Image:

Article on the creation of an allegedly odourless ‘super-cabbage’. Image: New Zealand Herald 21/5/1935: 4.

On the other hand, the smell of cooking – and food, in general – is one that we’re used to today, although perhaps not to the same extremes as in the 19th and early 20th centuries.  As well as the smell of coal ranges or cooking fires, people during the period seem to have been particularly concerned with the aromas of cooked vegetables and meat permeating through the house (Ashburton Guardian 31/3/1900: 4). Newspapers from the time are full of advice on how to prevent the smell of cooking from spreading, with noticeable emphasis on the smell of cooking cabbage, onion and other boiled green vegetables (North Otago Times 20/12/1906: 1New Zealand Herald 5/07/1930:7). Of course, some of the cooking smells of the time must have been more palatable than others: the aroma of fresh bread or baking, for example, is unlikely to have provoked such negativity.

Advice on how to prevent cooking smells from permeating through the house. Images:

Advice on how to prevent cooking smells from permeating through the house. Images: Evening Post 21/4/1939: 6Ashburton Guardian 31/3/1900: 4New Zealand Herald 7/9/1929: 7

However, food smells wouldn’t have been limited to cooking. Without the refrigeration that we have today, even the storage of food in a house would have generated a variety of smells – some good (spices, perhaps) and some bad. We talked about a few of the foodstuffs that we’ve found on sites in Christchurch a little while ago. Some of these – the anchovy paste, for example – probably smelled quite pungent to start with, let alone after they’d been sitting in unrefrigerated storage for any length of time. In fact, many of the food-related artefacts we find, from vinegar bottles to Bovril to jars of ground cheese, would have had fairly distinctive aromas that we tend to forget about when we’re looking at them.

An Anchovy Paste jar found in Christchurch and accompanying recipe from 1904. Image: J. Garland, Otago Witness 17/08/1904: 67.

An anchovy paste jar found in Christchurch, and recipe from 1904. Image: J. Garland, Otago Witness 17/08/1904: 67.

Perhaps the most obvious difference between the household smells of then and now is, as it was with the smells of the outside world, related to the management of human waste, sanitation and personal hygiene. Last week, Hamish mentioned one site with a crudely made drain, which might have contributed to the smell of the sewer travelling up the pipe and into a house. We don’t know how common an occurrence this might have been in 19th century Christchurch, but we do know that the smell of human waste would have been a strong presence in houses anyway, thanks to the use of chamber pots – a multitude of which have been found on sites in the city.

Part of a chamberpot decorated with the May Morn pattern. Image: J. Garland.

Part of a chamberpot decorated with the May Morn pattern. Image: J. Garland.

For many 19th century households, the toilet (or privy) would have been located outside, separate from the main house or attached to the rear of the dwelling (Butcher & Smith 2010). While this set-up would have been fine for use during the day, chamber pots were common household items for use during the night, when it was too cold or too dark to stumble outside to the privy. Even when emptied frequently, the smell must have been fairly pervasive and less than pleasant.

An 1870s article describing the use of coffee as a disinfectant and de-odouriser. Image:

An 1870s article describing the use of coffee as a disinfectant. Image: Southland Times 3/6/1870: 3

However, there were a number of methods and products available in the 19th century to combat the more unpleasant household smells, products that would have themselves contributed to the overall aromatic signature of the Victorian Christchurch home. Examples of 19th and early 20th century cleaning products from Christchurch sites have featured here on the blog before. All of these would have provided a fairly strong assault on the nostrils, particularly the disinfectants like Kerol, Lysol and Jeyes Fluid (New Zealand Herald 22/1/1912: 8). Other methods of preventing ‘noxious odours’ in the home included the cooking tips mentioned above, the careful placement of flowers or floral scented sachets (lavender or rose, usually; New Zealand Herald 26/10/1912: 6), or the use of coffee as a “powerful means…of rendering animal and vegetable effluvia innocuous” (Southland Times 3/6/1870: 3).

 

 

Kerol bottle found in Christchurch, along with 1920s poem singing the praises of the disinfectant. Images:  Colonist 24/02/1920; J. Garland.

Kerol bottle found in Christchurch, along with 1920s poem singing the praises of the disinfectant. Images: Colonist 24/02/1920; J. Garland.

Sadly, due to the constraints of space, in this post I’ve really only touched on the plethora of smells that would have defined a household in the 19th century. I’ve not mentioned the smell of the building itself (wallpapers, particular types of timber, the damp; Bruce Herald 23/10/1872: 9) or the smell of household animals or pets or many of the other scented household products (for better or for worse) that would have been in use (Evening Post 20/2/1930: 7). Not to mention the personal smells created by people themselves, from the smell of their clothing (washed and unwashed), the smell of leather shoes, individual perfumes or lack thereof, the smell of a person’s hair (which may have been washed with beetle juices!) or the soap that they used.

There are so many individual scents that make up the olfactory experience of our daily lives that it can be difficult to imagine that experience as a whole in the past, to combine all of the smells we’ve mentioned, this week and last, into an idea of what it was like to breathe in deeply in 19th century Christchurch. It can also be difficult to separate out the various smells that contribute to our own experience, especially the ones we’re so used to that we barely notice them anymore. You have to wonder if perhaps it was a bit like that for people in the 19th century as well: perhaps, so many of these smells were so common that they hardly registered in day to day life. For us, though, even imagining such smells has the power to make that daily life – those past scenes and experiences – more real, in a way that few other senses do.

Jessie Garland

References

Ashburton Guardian. [online] Available at www.paperspast.natlib.govt.nz

Bruce Herald. [online] Available at www.paperspast.natlib.govt.nz

Butcher, M. & Smith, I., 2010. Talking trash: classifying rubbish-bearing deposits from colonial New Zealand sites. Journal of Pacific Archaeology 1(1): 43-61.

Colonist. [online] Available at www.paperspast.natlib.govt.nz

Evening Post. [online] Available at www.paperspast.natlib.govt.nz

New Zealand Herald. [online] Available at www.paperspast.natlib.govt.nz

North Otago Times. [online] Available at www.paperspast.natlib.govt.nz

Otago Witness. [online] Available at www.paperspast.natlib.govt.nz

Southland Times. [online] Available at www.paperspast.natlib.govt.nz

The Standard Hotel: beer, burlesque and a “sketchy kind of farce”

This week we’re delving into the seedier side of the life in early Christchurch with the story of the Standard Hotel, an establishment that found itself on the fringes of Victorian respectability during its short existence in the 1860s. At the heart of this tale are two brothers, James and William Willis, who appear to have trod very different paths to success (or not, as the case may be) after their arrival in the city.

Portrait of Joseph Brittan, founder of the Canterbury Standard. Image: Wikimedia Commons & Rolleston 1971.

Portrait of Joseph Brittan. Image: Wikimedia Commons & Rolleston 1971.

The story begins with James Willis, a printer by trade, who arrived in Christchurch in the early 1850s (Lyttelton Times 7/5/1853: 6). By 1855, he was the official printer to the Canterbury Provincial Council (Lyttelton Times 20/01/1855: 4). It’s here that he probably made contact with Joseph Brittan, one of Christchurch’s prominent early citizens and the founder of the Canterbury Standard, the third newspaper to be established in the city (Lyttelton Times 13/8/1853: 12). James went on to work with Brittan on the paper, becoming the printer, part owner and eventual proprietor of the publication in the late 1850s and early 1860s (Burke Manuscript n.d.: 114).

An article in the Lyttelton Times in 1853, announcing the establishment of the Canterbury Standard, to be

An announcement of the Canterbury Standard‘s founding in the Lyttelton Times in 1853 claimed that “the public good will be it’s guiding principle [and] the advancement of the interests of the Province its constant aim.” Image: Lyttelton Times 13/8/1853: 12.

The Canterbury Standard was produced and printed in a building located on the corner of Hereford Street and Oxford Terrace in central Christchurch, just across the road from Brittan’s home on the other side of Hereford Street. Early images of the building show a two storey façade at the front, facing onto Oxford Terrace, with the printing sheds (to house the printing press) extending along Hereford Street.

Burke's Manuscript cropped

Sketch of the Canterbury Standard building and proprietor, James Willis. Image: Burke Manuscript: 114, accessed through the Christchurch City Libraries.

James continued to operate a printing press in this location until his death in 1866, under the eventual auspices of the Telegraph Printing Press (Press 8/12/1866: 2). During the last few years of his life, however, he shared the premises with his brother, William Willis, who took the old Standard offices at the front of the building and transformed them into a hotel.

The old Canterbury Standard building, transformed into the Standard Hotel in 1864. Image: Dr. A. C. Barker Collection, Canterbury Museum. Permission of the Canterbury Museum must be obtained before any re-use of this image.

The old Canterbury Standard building, transformed into the Standard Hotel in 1864. Image: Dr. A. C. Barker Collection, Canterbury Museum. Permission of the Canterbury Museum must be obtained before any re-use of this image.

Well, I say hotel…

Advertisement for the opening of the Standard Hotel in July 1864, emphasising the selection of alcohol available. Image: Lyttelton Times

Advertisement for the opening of the Standard Hotel in July 1864, emphasising the selection of alcohol available. Image: Lyttelton Times 9/7/1864: 5.

The Standard Hotel, which opened in July 1864 (Lyttelton Times 9/7/1864: 5), appears to have had very little to do with offering accommodation and a great deal more to do with drinking beer and providing ribald entertainment. Only one reference to accommodation at the hotel was found in the newspapers of the period and this from an unemployed man staying at the hotel, suggesting that the accommodation available was fairly cheap (LytteltonTimes 6/8/1866: 1). In contrast, advertisements for the opening of the hotel in 1864 place particular emphasis on the selection of ales and wines available for consumption (Lyttelton Times 9/7/1864: 5). We excavated the section next to the hotel earlier this year, where we found a lot of beer bottles. While many of these are associated with the warehouse on that section in the 1870s, some of them may also have been debris from drinking sessions at the Standard in the 1860s.

Some of the black beer bottles excavated from the Standard Hotel site in May 2013. Image: J. Garland.

Some of the black beer bottles that may have been related to the Standard Hotel, excavated from the adjacent site in May 2013. Image: J. Garland.

Advertisement for a performance of Poses Plastique at Willis's Assembly Rooms in 1866.

Advertisement for a performance of Poses Plastique at Willis’s Assembly Rooms in 1866. Image: Press 10/4/1866: 1.

The tone of this particular establishment becomes clear when we look at historical records for William Willis’s Assembly Rooms, opened in 1865 and located next to the Standard Hotel on Oxford Terrace (Press 8/11/1865: 1; 15/02/1866: 1). Although these rooms hosted public auctions and were used by the Canterbury Jockey Club for meetings (Lyttelton Times 1/01/1866: 3; Press 8/11/1865: 1), they were also the setting for a variety of musical entertainments, from vaudeville-style theatre and burlesque to the more risqué Poses Plastique (Lyttelton Times 10/3/1866: 2; 12/3/1866: 2; Press 10/4/1866: 1).

Entertainment at Willis's Assembly Rooms

Advertisements for entertainments held at Willis’s Assembly Rooms in 1866, including burlesque, a “sketchy kind of farce” and “nigger eccentricities”. Images: Lyttelton Times 12/3/1866: 2; 10/03/1866: 2.

While vaudeville theatre may be a form of entertainment familiar to many, the term ‘burlesque’ didn’t mean quite the same thing in a 19th century context as it does now. Rather than involving Dita von Teese-like figures and the sultry dance routines it’s now known for, burlesque in the mid-1800s was simply a form of musical entertainment, often involving elaborate or farcical costumes, parodies and caricatures of well-known historical and literary figures (Oxford English Dictionary).

Clockwise: Advertising poster from 1899 for a vaudeville and ‘hurly-burly’ extravaganza; 1870 advertisement for performance of an Aladdin burlesque at the Theatre Royal in Christchurch; 1897 excerpt from a burlesque titled ‘Doing a Moose.’ Images: Library of Congress Prints and Photographs Collection, accessed through Wikimedia commons; Star 16/5/1870: 3; Observer 15/5/1897: 10.

Poses Plastique, on the other hand, was definitely a form of entertainment that only flirted with the notion of respectability. It was a form of Tableau Vivant, or ‘living scene’, a 19th century performance in which the performers, both women and men, acted as living statues on stage. These performances often involved various states of undress, justified and made ‘classy’ by references to Classical mythology and the imitation of Greek and Roman statues (Anae 2008). Sometimes the performers would wear nude body stockings, so as to give the appearance of undress yet not be completely indecent.

Woodcut of a performance of poses plastique at the Coal Hole in the Strand, c. 1854. Image: Wikimedia commons.

Woodcut of a performance of poses plastique at the Coal Hole in the Strand, c. 1854. Image: Wikimedia commons.

tableau vivant

Advertisement for performances of tableau vivant based on well-known fairy tales. Image: Poverty Bay Herald 25/5/1881: 3.

I should mention that while Poses Plastique was a form of Tableau Vivant, not all examples of the 19th century living statue involved the same degree of undress or risqué material. Tableau Vivant was often used to present famous literary, artistic or historical scenes, such as battles, famous paintings or moments from well-known works like Cinderella (Poverty Bay Herald 25/5/1881: 3).

The performance at Willis’s Rooms in 1866 is one of only two examples of Poses Plastique advertised in New Zealand newspapers before 1900 (Nelson Evening Mail 25/2/1884: 2), although there are numerous references to burlesque and vaudeville shows being held throughout the country (see Papers Past). Clearly, the semi-nude living statue never really took off here, despite enjoying great popularity in London and Australia during the same period.

In Christchurch, at least, one reason for this may have been the disapproval with which such entertainment was viewed by the general authorities and community. While it was not illegal (that we’ve been able to find), we did note that William Willis had his liquor license refused in 1866 due to reports of “objectionable entertainment, low women and noisy people” in the vicinity of his Assembly Rooms late at night (Lyttelton Times 2/5/1866: 2). Interestingly, this notice came soon after the advertised performances of Poses Plastique. Coincidence? I think not.

License refusal

Details of the refusal to renew William Willis’s general license in 1866, citing objectionable entertainment, low women and noisy people. Image: Lyttelton Times 6/5/1866: 2.

The Standard Hotel, along with Willis’s Assembly Rooms, closed its doors in 1867 after only three years of operation (Lyttelton Times 4/7/1867: 1). Later that same year, a fire in the offices of the Telegraph Printing Press next door so badly damaged the building that it was abandoned and moved to Bealey Avenue in early 1869 (Lyttelton Times  4/1/1869: 3). For reasons unknown to us, the section on the corner of Hereford Street and Oxford Terrace remained empty and unused during the following decades, until a suite of offices was constructed there in the early 20th century (Press 16/9/1905: 9).

During its life the Standard Hotel building was home to two very different sides of the social and commercial spectrum, personified in the figures of James and William Willis. From its origins in Joseph Brittan’s, and later James Willis’s, Canterbury Standard, with its guiding principles of “public good [and] the advancement of the province”, to its eventual demise in William’s den of alcohol and “low women”, it showcases a diversity of character and commerce in Christchurch’s early history that we don’t always get to see. Hopefully, as we work our way through the rest of the archaeological material from this site, even more of that variety will be revealed.

Jessie Garland

References

Anae, N. 2008., Poses, plastiques: the art and style of ‘statuary’ in Victorian visual theatre. Australasian Drama Studies. Available at http://eprints.usq.edu.au/7003/.

Andersen, J. 1949. Old Christchurch in Picture and Story. Simpson & Williams Ltd: Christchurch.

Burke Manuscript, 1860s. [online] Available through the Christchurch City Libraries Digital Collection at http://christchurchcitylibraries.com/Heritage/Digitised/Burke/

Canterbury Museum Digital Collections

Lyttelton Times. [online] Available at http://paperspast.natlib.govt.nz.

Nelson Evening Mail. [online] Available at http://paperspast.natlib.govt.nz.

Observer. [online] Available at http://paperspast.natlib.govt.nz.

Oxford English Dictionary. Available online via the Christchurch City Libraries subscription service.

Poverty Bay Herald. [online] Available at http://paperspast.natlib.govt.nz.

Press. [online] Available at http://paperspast.natlib.govt.nz.

Star. [online] Available at http://paperspast.natlib.govt.nz.

Wikimedia Commons. [online] Available at http://commons.wikimedia.org.

Baker, hotel-keeper, confectioner, merchant…..mayor.

Once upon a time, there was a baker (a pie-maker, even) who left his home in Germany and travelled the length of the world to a small country in the South Pacific. There, in a young city built on a marsh, he made his name offering food, drink and lodging to weary travellers and local settlers alike. From near and far, they came to his hotel, his pie shop and his vault of wine until, eventually, he became so greatly esteemed that the citizens of the city on the marsh put forth his name and elected him to be their mayor. After he had retired, he still could not rest and continued to work tirelessly for the city, never once asking for recognition…

Photograph of John George Ruddenklau, taken c. 1892. Image: Christchurch City Libraries, file reference CCL PhotoCD 15, IMG0097.

John George Ruddenklau, taken c. 1892. Image: Christchurch City Libraries, file reference CCL PhotoCD 15, IMG0097.

It may seem a little silly, but the life of John George Ruddenklau, one time Mayor of Christchurch and a man involved in so much of Christchurch’s early history, reads a bit like a fairy tale. Or, at least, like the archetypal tale of the man who sets forth to find adventure and make his fortune in the big wide world.

He was born in the town of Hesse Cassel in Germany in 1829, and “brought up in the bakery business” (Cyclopedia of New Zealand 1903: 107) before leaving for London in the early 1850s. There, he continued to work as a baker until he took a berth aboard a ship to New Zealand in 1857, landing in Lyttelton later that same year (Press 16/12/1891: 5).

In Christchurch, he opened a bakery (also referred to as a pie shop and confectioner’s) and a beer shop at either end of a row of four buildings on the corner of High and Colombo streets, in the heart of the business district (Andersen 1949: 270-71; Lyttelton Times 3/4/1861: 1). Initially, he shared the location with two other businesses (a grocery and an eating house), before gradually taking over the whole corner. As well as operating as a “fancy bread and biscuit maker” (Andersen 1949: 270-71; Press 14/09/1861: 7), he had established the City Wine Vaults there by 1861, offering rooms for refreshment as well as supplying alcohol (Lyttelton Times 17/8/1861: 5).

An advertisement for the City Wine Vaults (left) and a drawing of what became the City Hotel block, with Ruddenklau's pie shop and beer store visible at either end (right). Image: Lyttelton Times 17/8/1861: 5; Andersen, 1949: 270.

Left: An advertisement for the City Wine Vaults (Lyttelton Times 17/8/1861: 5). Right: The corner of Colombo & High streets before the establishment of the City Hotel, with Ruddenklau’s pie shop and beer store visible at either end (Andersen 1949: 270).

An 1864 advertisement for the opening of J. G. Ruddenklau's City Hotel. Image: Lyttelton Times 12/4/1864: 5

An 1864 advertisement for the opening of J. G. Ruddenklau’s City Hotel. Image: Lyttelton Times 12/4/1864: 5

Eventually this part of town came to be known as the City Hotel block, after the hotel that Ruddenklau opened there in 1864. In opening this hotel, Ruddenklau combined his various skills to provide “every comfort and convenience appertaining to a first-class hotel” (Lyttelton Times 12/4/1864: 5). By all accounts the City Hotel was a large, well-furnished establishment, claiming such luxuries as the “best billiard room in New Zealand” (Star 15/6/1868: 1). Its central location must have been great for business, especially after a cab stand, which later grew to include Hansom cabs, set up right outside his front door.

Unfortunately, when we excavated the site of the City Hotel (which later became the Triangle Centre) we found almost nothing in the way of archaeological material, a result of the long history of construction in that location (Hennessey 2012). The wooden City Hotel building that Ruddenklau built in the early 1860s was demolished before 1910 to make way for a stone and brick building known as Mitchell’s City Hotel (Rice 1999: 46).

A photograph of the City Hotel building on the corner of High Street and Colombo Street. This was taken in 1880s, after Ruddenklau's retirement, by E. Wheeler & Son. Image:  Rice 1999: 46

The City Hotel building on the corner of High Street and Colombo Street. This was taken in 1880s, after Ruddenklau’s retirement, by E. Wheeler & Son. Image: Rice 1999: 46

What we did find, however, through archaeological excavations at other sites in Christchurch’s central business district, were fragments of ceramics printed with a pattern specific to the City Hotel and to Ruddenklau himself. The pattern is a rather garish pink and brown design, but the use of both the City Hotel name and Ruddenklau’s initials provides an interesting example of Victorian personal and commercial branding. It also suggests that Mr Ruddenklau was prosperous enough to warrant his own custom china set (which would have been made elsewhere in the world (probably Staffordshire) and imported into New Zealand).

Fragments of a saucer, teacup and mask jug, decorated with the City Hotel pattern and the initials J. G. R.

Fragments of a saucer, teacup and mask jug, decorated with the City Hotel pattern and the initials J. G. R. Image: J. Garland.

 

The spout from a mask jug decorated with the City Hotel pattern and found in a site at the corner of Cathedral Square. Image: J. Garland

A closeup of the spout of the City Hotel mask jug found in a site at the corner of Cathedral Square. Image: J. Garland

One of the fragments, found at a site on the corner of Cathedral Square, formed the spout of a ‘mask jug’, a jug decorated with the moulded relief of a face on the spout. Jugs like this are relatively rare archaeologically (although there are a couple of complete ones in the Canterbury Museum), and can feature a variety of different ‘faces’,including the male bearded face depicted here.

The other City Hotel china fragments include pieces of a tea cup and a saucer, also found at the Cathedral Square site, as well as another sherd from a (different) hotel site on Lichfield Street. It’s interesting to consider how, exactly, such distinctively branded tea-wares (which were presumably, part of a much larger set) ended up in the ground at sites with no known connection to either the City Hotel or to J. G. Ruddenklau.

The most likely explanation probably revolves around the fact that Ruddenklau retired from the hotel business in 1869 and was succeeded by J. Oram, who ran the ‘J. Oram Sheppard City Hotel’ until the late 19th century (Hennessey 2012: 3-4). Ruddenklau’s personalised china would have had no place in the new establishment and may have been sold off, probably cheaply, to those who didn’t mind drinking their tea out of cups and saucers decorated with someone else’s name. The appearance of such china, however, is particularly surprising at another – presumably competing – hotel.

Ruddenklau appears to have retired to his home in Addington after he left the City Hotel in 1869, at the relatively young age of 40 (Press 16/12/1891: 5). However, he apparently found retirement “irksome” (Press 16/12/1891: 5), and set himself up into business as a grain merchant, as well as getting involved in local politics.

Details of a testimonial presented to J. G. Ruddenklau for his efforts as Mayor during the International Exhibition hosted in Christchurch in 1882. Image: The Evening Post 22/11/1882: 3

Details of a testimonial presented to J. G. Ruddenklau for his efforts as Mayor during the International Exhibition hosted in Christchurch in 1882. Image: Evening Post 22/11/1882: 3

He was first elected to the Christchurch City Council in 1863, then again in 1873 and 1877 (Press 16/12/1891: 5). He followed this up by running for and being elected as Mayor of Christchurch in 1881 (Press 16/12/1891: 5) and again (unopposed) in 1882 (Star 22/11/1892: 3). During his time in office Christchurch hosted the International Exhibition, a showcase of exhibits from all over the world held in Hagley Park from April to July of 1882 (Christchurch City Libraries 2013). Numerous accounts of his mayoral career mention the success of this event (Evening Post 22/11/1882: 3; Press 16/12/1891: 5). Later, in 1884, he was exhorted to stand as one of the Canterbury members of parliament by the electors of Stanmore, which he then did as part of Sir Julius Vogel’s party (Press 15/07/1884: 4; Star 17/07/1884: 3).

A photograph of the temporary buildings constructed to house the New Zealand International Exhibition,  hosted in Hagley Park in 1882.

The temporary buildings constructed to house the New Zealand International Exhibition, hosted in Hagley Park in 1882, during Ruddenklau’s tenure as mayor. Image: Christchurch City Libraries, file reference CCL PhotoCD 2, IMG0008.

As well as his involvement in local politics, it seems that John Ruddenklau was also a particularly active member of the local Christchurch community, like so many of the early Christchurch figures we’ve featured here on the blog. He served as the treasurer of the Albion Cricket Club (Lyttelton Times 3/10/1868: 1), Chairman of Christchurch Young Men’s Club Committee (Press 20/12/1883: 2), on the Board of Directors for the Canterbury Brewing Malt and Distillery Company (Press 2/07/1867: 3), and as President of the Christchurch German Association (Press 26/5/1863: 3), along with various other roles.

It was in that last role, as President of the German Association, that he was instrumental in procuring the ‘German Bells’  for Christchurch in 1873. These were church bells made for the German Church (Deutsche Kirche) from gun metal taken from the French by Germany during the Franco-Prussian war and gifted to the Association by Kaiser Wilhelm I (Press 26/5/1873: 3). The site of the German Church, on Montreal Street, was excavated as part of the construction of the Christchurch Art Gallery, which now stands in the same location. Interestingly, the church bells were taken down and melted following the end of World War I, seemingly as a result of anti-German and pro-French sentiments (Dominion 9/06/1919: 4).

John George Ruddenklau died in 1891 at the age of 72, following a long illness (Press 16/12/1891: 5). His name is not one that has endured in the public eye since his death, nor is he one of Christchurch’s more well-remembered figures. Yet his contribution to the early prosperity of this city is undeniable, and his tireless work, as a businessman, as a politician, and as an involved member of the 19th century Christchurch community, makes him a man worth remembering. Thankfully, and it’s one of the greatest things about this job, the archaeological work we’re doing here at the moment gives us the chance to do just that.

Jessie Garland

Bibliography

Andersen, J. C., 1949. Old Christchurch in Picture and Story. Simpson & Williams Ltd, Christchurch.

Christchurch City Libraries, Digital Collections. [online] Available at: <http://christchurchcitylibraries.com/heritage/photos/disc6/IMG0061.asp>.

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