COLDSTREAM, a police burgh of Berwickshire, Scotland. Pop. (1901) 1482. It is situated on the north bank of the Tweed, here spanned by John Smeaton’s fine bridge of five arches, erected in 1763-1766, 13½ m. south-west of Berwick by the North Eastern railway. The chief public buildings are the town hall, library, mechanics’ institute, and cottage hospital. Some brewing is carried on. Owing to its position on the Border and also as the first ford of any consequence above Berwick, the town played a prominent part in Scottish history during many centuries. Here Edward I. crossed the stream in 1296 with his invading host, and Montrose with the Covenanters in 1640. Of the Cistercian priory, founded about 1165 by Cospatric of Dunbar, and destroyed by the 1st earl of Hertford in 1545, which stood a little to the east of the present market-place, no trace remains; but for nearly four hundred years it was a centre of religious fervour. Here it was that the papal legate, in the reign of Henry VIII., published a bull against the printing of the Scriptures; and by the irony of fate its site was occupied in the 19th century by an establishment, under Dr Adam Thomson, for the production of cheap Bibles. At Coldstream General Monk raised in 1659 the celebrated regiment of Foot Guards bearing its name. Like Gretna Green, Coldstream long enjoyed a notoriety as the resort of runaway couples, the old toll-house at the bridge being the usual scene of the marriage ceremony. “Marriage House,” as it is called, still exists in good repair. Henry Brougham, afterwards lord chancellor, was married in this clandestine way, though in an inn and not at the bridge, in 1821. Birgham, 3 m. west, was once a place of no small importance, for there in 1188 William the Lion conferred with the bishop of Durham concerning the attempt of the English Church to impose its supremacy upon Scotland; there in 1289 was held the convention to consider the question of the marriage of the Maid of Norway with Prince Edward of England; and there, too, in 1290 was signed the treaty of Birgham, which secured the independence of Scotland. Seven miles below Coldstream on the English side, though 6 m. north-east of it, are the massive ruins of Norham Castle, made famous by Scott’s Marmion, and from the time of its building by Ranulph Flambard in 1121 a focus of Border history during four centuries.
COLDWATER, a city and county-seat of Branch county, Michigan, U.S.A., on Coldwater Stream (which connects two of the group of small lakes in the vicinity), about 80 m. S.S.E. of Grand Rapids. Pop. (1890) 5247; (1900) 6216, of whom 431 were foreign-born; (1904) 6225; (1910) 5945. It is served by the Lake Shore & Michigan Southern railway. It is the seat of a state public school and temporary home (opened in 1874) for dependent, neglected or ill-treated children, who are received at any age under twelve. The city is situated in a fine farming region, has an important flouring and grist mill industry, and also manufactures Portland cement, liniment, lumber, furniture, sashes, doors and blinds, brass castings, sleighs, shoes, &c. The municipality owns and operates the water-works and electric lighting plant. Coldwater was settled in 1829, was laid out as a town under the name of Lyons in 1832, received its present name in the following year, was incorporated as a village in 1837, was reached by railway and became the county-seat in 1851, and was chartered as a city in 1861.
COLE, SIR HENRY (1808-1882), English civil servant, was born at Bath on the 15th of July 1808, and was the son of an officer in the army. At the age of fifteen he became clerk to Sir Francis Palgrave, then a subordinate officer in the record office, and, helped by Charles Buller, to whom he had been introduced by Thomas Love Peacock, and who became chairman of a royal commission for inquiry into the condition of the public records, worked his way up until he became an assistant keeper. He largely assisted in influencing public opinion in support of Sir Rowland Hill’s reforms at the post office. A connexion with the Society of Arts caused him to drift gradually out of the record office: he was a leading member of the commission that organized the Great Exhibition of 1851, and upon the conclusion of its labours was made secretary to the School of Design, which by a series of transformations became in 1853 the Department of Science and Art. Under its auspices the South Kensington (now Victoria and Albert) Museum was founded in 1855 upon land purchased out of the surplus of the exhibition, and Cole practically became its director, retiring in 1873. His proceedings were frequently criticized, but the museum owes much to his energy. Indefatigable, genial and masterful, he drove everything before him, and by all sorts of schemes and devices built up a great institution, whose variety and inequality of composition seemed imaged in the anomalous structure in which it was temporarily housed. He also, though to the financial disappointment of many, conferred a great benefit upon the metropolis by originating the scheme for the erection of the Royal Albert Hall. He was active in founding the national training schools for cookery and music, the latter the germ of the Royal College of Music. He edited the works of his benefactor Peacock; and was in his younger days largely connected with the press, and the author of many useful topographical handbooks published under the pseudonym of “Felix Summerly.” He died on the 18th of April 1882.
COLE, THOMAS (1801-1848), American landscape painter, was born at Bolton-le-Moors, England, on the 1st of February 1801. In 1819 the family emigrated to America, settling first in Philadelphia and then at Steubenville, Ohio, where Cole learned the rudiments of his profession from a wandering portrait painter named Stein. He went about the country painting portraits, but with little financial success. Removing to New York (1825), he displayed some landscapes in the window of an eating-house, where they attracted the attention of the painter Colonel Trumbull, who sought him out, bought one of his canvases, and found him patrons. From this time Cole was prosperous. He is best remembered by a series of pictures consisting of four canvases representing “The Voyage of Life,” and another series of five canvases representing “The Course of Empire,” the latter now in the gallery of the New York Historical Society. They were allegories, in the taste of the day, and became exceedingly popular, being reproduced in engravings with great success. The work, however, was meretricious, the sentiment false, artificial and conventional, and the artist’s genuine fame must rest on his landscapes, which, though thin in the painting, hard in the handling, and not infrequently painful in detail, were at least earnest endeavours to portray the world out of doors as it appeared to the painter; their failings were the result of Cole’s environment and training. He had an influence on his time and his fellows which was considerable, and with Durand he may be said to have founded the early school of American landscape painters. Cole spent the years 1829-1832 and 1841-1842 abroad, mainly in Italy, and at Florence lived with the sculptor Greenough. After 1827 he had a studio in the Catskills which furnished the subjects of some of his canvases, and he died at Catskill, New York, on the 11th of February 1848. His pictures are in many public and private collections. His “Expulsion from Eden” is in the Metropolitan Museum in New York.
COLE, TIMOTHY (1852- ), American wood engraver, was born in London, England, in 1852, his family emigrating to the United States in 1858. He established himself in Chicago, where in the great fire of 1871 he lost everything he possessed. In 1875 he removed to New York, finding work on the Century (then Scribner’s) magazine. He immediately attracted attention by his unusual facility and his sympathetic interpretation of illustrations and pictures, and his publishers sent him abroad in 1883 to engrave a set of blocks after the old masters in the European galleries. These achieved for him a brilliant success. His reproductions of Italian, Dutch, Flemish and English pictures were published in book form with appreciative notes by the engraver himself. Though the advent of new mechanical processes had rendered wood engraving almost a lost art and left practically no demand for the work of such craftsmen, Mr Cole was thus enabled to continue his work, and became one of the foremost contemporary masters of wood engraving. He received a medal of the first class at the Paris Exhibition of 1900, and the only grand prize given for wood engraving at the Louisiana Purchase Exposition at St Louis, Missouri, in 1904.