[q. v.]; an organ was added on 23 Oct. 1863. In 1861 the university of St. Andrews made him examiner in mental philosophy. In 1870 Alexander was placed on the company for revision of the Old Testament, In 1871 he was made assessor of the Edinburgh University Court. He resigned his charge on 6 June 1877, and in the same year was made principal of the Theological Hall (he had held the chair of theology from 1854); this office he retained till July 1881. In 1884 he was made LL.D. of Edinburgh University at its tercentenary. He died at Pinkieburn House, near Musselburgh, on 20 Dec. 1884, and was buried on 24 Dec. at Inveresk. He married (24 Aug. 1837) a daughter (d. 15 Oct. 1875) of James Marsden of Liverpool, and had thirteen children, of whom eight survived him. He was of genial temperament, as evidenced by his friendship with Dean Ramsay and his membership in the Hellenic Society, instituted by John Stuart Blackie [q. v.] His habits and tastes were simple. Of most of the learned societies of Edinburgh he was a member. His portrait, by Norman Macbeth [q. v.], is in the Scottish National Portrait Gallery; a marble bust by Hutchinson is in the porch of Augustine Church.
He published, besides numerous sermons and pamphlets:
- 'The Connexion and Harmony of the Old and New Testaments' (congregational lecture, 1840), 1841, 8vo; 2nd edit. 1853, 8vo.
- 'Anglo-Catholicism,' Edinburgh, 1843, 8vo.
- 'Switzerland and the Swiss Churches,' Glasgow, 1846, 16mo.
- 'The Ancient British Church' [1852], 16mo; revised edition by S. G. Green, 1889, 8vo.
- 'Christ and Christianity,' Edinburgh, 1854, 8vo.
- 'Lusus Poetici.' 1861, 8vo (privately printed; reprinted, with additions, in Ross's 'Life').
- 'Christian Thought and Work,' Edinburgh, 1862, 8vo.
- 'St. Paul at Athens,' Edinburgh, 1865, 8vo.
- 'Sermons,' Edinburgh, 1875, 8vo.
Posthumous was
- 'A System of Biblical Theology,' Edinburgh, 1888, 2 vols. 8vo (edited by James Ross).
He published also memoirs of John Watson (1846), Ralph Wardlaw (1856), and William Alexander (1867); expositions of Deuteronomy ('Pulpit Commentary,' 1882) and Zechariah (1885); and translations of Billroth on Corinthians (1837), Hävernick's Introduction to the Old Testament (1852), and Dorner's 'History of the Doctrine of the Person of Christ,' vol. i. (1864). He edited Kitto's ' Cyclopædia of Biblical Literature' (1870, 3 vols.), and several theological works. His 'Hymns for Christian Worship' reached a third edition in 1866.
To the ' British Quarterly,' the 'British and Foreign Evangelical Review,' 'Good Words,' and other kindred periodicals he frequently contributed; he edited the 'Scottish Congregational Magazine,' 1835-1840 and 1847-51. To the 'Encyclopædia Britannica' (eighth edition) he contributed several articles on topics of theology and philosophy (the publisher, Adam Black [q.v.], was a member of his congregation). His articles on 'Calvin' and 'Channing' raised some controversy, and were improved in the ninth edition. To the 'Imperial Dictionary of Biography' he also contributed.
[Life and Work, 1887 (portrait), by James Boss.]
ALFORD, MARIANNE MARGARET, Viscountess Alford, generally known as Lady Maria Alford (1817–1888), artist, art patron, and author, elder daughter of Spencer Compton, second Marquis of Northampton [q. v.], by his wife Margaret, eldest daughter of Major-general Douglas Maclean-Clephane, was born in 1817 at Rome, where her father was then residing. Her childhood was spent in Italy, and thence she derived a love of that country which lasted throughout her life. She came to England in 1830 with her parents, but in later life returned to spend many winters in Rome. On 10 Feb. she was married at Castle Ashby to John Hume Oust, viscount Alford, elder son of John Cust, first Earl Brownlow, and the heir to a portion of the large estates of Francis Egerton, third and last Duke of Bridgewater [q. v.] In 1849 this property passed to Lord Alford, but he died in 1851, leaving his widow with two sons. A famous legal contest known as the Bridgewater Will Case followed Lord Alford's death, and his elder son's claim to succeed to the Bridgewater estates was warmly disputed, but was finally settled by the House of Lords in the young man's favour on 19 Aug. 1853.
Lady Marian Alford was an accomplished artist, inheriting her tastes in this direction from both her parents, and, although she enjoyed no regular education in art, her drawings and paintings attain a very high standard. Her house in London, Alford House, Prince's Gate, was built mainly from her own designs. She was also a liberal and intelligent patron of artists in England and Italy, and a friend of the leading artists of the day. She was especially interested in needlework, both as a fine art and as an employment for women, and it was greatly through her influence and personal efforts that the Royal School of Art Needlework in Kensington took its rise. For many years
