Adeline Cable

Adeline Elizabeth Cable (1864–1944) was a pioneering nurse who trained at The London Hospital in Whitechapel (1892–1894) and later served during the Boer War in South Africa. In 1907 she became Matron of Salisbury Infirmary, a position she held for 18 years, guiding the hospital through immense challenges during the First World War. She oversaw the care of soldiers, introduced improvements for nurses’ welfare and expanded services such as the Beatrice Maternity unit. In 1918, her distinguished service was recognized with the award of the Royal Red Cross by King George V. Respected for her leadership and dedication, she left a lasting legacy in Salisbury’s nursing history.   Read more about Adeline on Her Salisbury Story 

We have several items in our historic archives that relate to Adeline’s career in Salisbury:

 

Reading the portrait of Adeline Cable:

Subject: The photograph shows Adeline sitting at a desk. She is wearing a matron’s uniform, including a cap headdress.

Setting: The desk is neatly arranged with papers, books, writing instruments, flowers and what looks like a small scale. This gives the impression of a professional, organized workspace, likely her office rather than a hospital ward.

Signature and date: At the bottom right, there is handwriting: “Adeline E. Cable, July 1925.” This indicates both the name of the sitter and the date the photograph was taken. We don’t have an example of Adeline’s handwriting to know if this is a signature or title written by a photographer.

Tone: The sepia-toned photograph and the formal posture suggest it was meant to be a dignified, commemorative portrait; honouring Adeline E. Cable’s work and position.

Historical context: Adeline was active during or after World War I, when many women served as nurses or administrators in medical and social services. This dignified portrait captures Matron Adeline E. Cable at work in 1925, the very year her long tenure as head of Salisbury Infirmary ended.   Read more about how women’s working roles changed dramatically during WW1

The image reflects not just a nurse at her desk, but a committed leader whose contributions and the esteem in which she was held left a lasting mark on nursing history.

 

How does this image compare to the alternative one taken on the same day and used by the Nursing times?

Both photographs of Adeline E. Cable were likely taken by a professional photographer for an article in Nursing Times that commemorated her nursing career on her retirement from Salisbury Infirmary.   Both images share similarities in subject and dignity but differ stylistically in several important ways:

 

Composition and Setting

First Portrait (1925):

• Taken at a desk in a well-lit office.
• Includes contextual details such as flowers, papers, books, writing instruments, and a small scale, which emphasize her administrative and professional role as a Matron. These soften the severity, presenting her as both efficient and approachable.
• The environment situates her in her daily work, creating a narrative about her responsibilities and achievements.
• The desk functions as a barrier between us and her; she is the professional, we are the outsiders observing her at work. We look at her across the desk as if entering her office. There’s a formality to it and we approach her in her professional space.

Second Portrait:

• A more stripped-back, studio-like setting.
• Plain background with little distraction.
• Focus is solely on her as a figure, not her surroundings. This makes it more timeless and personal rather than situational.
• Seated without the desk between us, she is more accessible. There’s no barrier between subject and viewer, and her body is angled slightly toward us, almost as if we are in conversation with her (which the Nursing Times interview writing style also replicates).

 

Style and Mood

First Portrait:

• Warmer sepia tone conveys nostalgia and authority.
• More formal and commemorative in nature, taken as she was concluding her time at Salisbury Infirmary.
• She looks directly at the viewer, dignified and somewhat stern, fitting her position of leadership.

Second Portrait:

• Black-and-white grayscale creates a starker, simpler effect.
• The mood is softer and more intimate, with a slight smile that humanizes her.
• Feels less like an “official” record and more like a personal portrait, emphasizing her character rather than just her role.

The first frames Adeline Cable as a professional at the height of her influence, while the other offers a more personal glimpse of the woman behind the title.