1Owing to the exigencies of pecuniary pressure, the greater part of this estate which extended to Sherbrooke Street was gradually parted with. Its valuation today would be indeed great.
1Owing to the exigencies of pecuniary pressure, the greater part of this estate which extended to Sherbrooke Street was gradually parted with. Its valuation today would be indeed great.
2Dr. Lyons, one of the staff of the hospital, on Mr. Loedel’s relievement a year or two later, received the appointment of lecturer. (F.J.S., 1897.)
2Dr. Lyons, one of the staff of the hospital, on Mr. Loedel’s relievement a year or two later, received the appointment of lecturer. (F.J.S., 1897.)
3See, however, the note at the end of the chapter for other names in subsequent years.
3See, however, the note at the end of the chapter for other names in subsequent years.
4Probably Sullivan. Timothée Sylvain or de Sylvain, a doctor of Montreal, who served the Hôtel Dieu Hospital shortly before the fall of Montreal in 1760 was certainly a good Irishman, originally Sullivan.
4Probably Sullivan. Timothée Sylvain or de Sylvain, a doctor of Montreal, who served the Hôtel Dieu Hospital shortly before the fall of Montreal in 1760 was certainly a good Irishman, originally Sullivan.
GENERAL CULTURE
I. THE LIBRARY MOVEMENT
FRENCH:—L’OEUVRE DES BONS LIVRES, 1844—THE CABINET DE LECTURE PAROISSIAL, 1857.
ENGLISH:—“MONTREAL LIBRARY” AND MONTREAL NEWS ROOM, 1821—MERCANTILE LIBRARY ASSOCIATION, 1844—THE FRASER INSTITUTE, INCORPORATED 1870—ITS EARLY LITIGATIONS—ITS PUBLIC OPENING IN 1885—OTHER LIBRARIES.
II. LITERARY AND LEARNED SOCIETIES
THE NATURAL HISTORY SOCIETY, 1827—THE MECHANICS INSTITUTE, 1828—LA SOCIETE HISTORIQUE, 1856—CONFERENCE DES INSTITUTEURS, 1857—THE “INSTITUT CANADIEN”—CERCLE LITTERAIRE DE VILLE MARIE, 1857—UNION CATHOLIQUE, 1858—(THE GUIBORD CASE)—THE ANTIQUARIAN AND NUMISMATIC ASSOCIATION, 1862—THE “ECOLE LITTERAIRE” 1892—ST. JAMES LITERARY SOCIETY, 1898—THE “DICKENS’ FELLOWSHIP” 1909—OTHER LITERARY ASSOCIATIONS—THE “BURNS SOCIETY”—THE ALLIANCE FRANCAISE—THE CANADIAN CLUB, 1905.
III. ARTISTIC ASSOCIATIONS
FOREWORD:—INTELLECTUAL AND ARTISTIC EXCLUSIVENESS.
ART:—EARLY ART IN CANADA—THE MODERN MOVEMENT—THE MONTREAL SOCIETY OF ARTISTS—THE ART ASSOCIATION OF MONTREAL—ITS HISTORY—ITS PAINTINGS—MONTREAL ART COLLECTIONS—THE ART SCHOOL—MONTREAL ARTISTS—THE WOMAN’S ART SOCIETY—THE CHATEAU DE RAMEZAY—THE ROYAL ACADEMY OF ARTS—THE ROYAL SOCIETY OF CANADA—OUTSTANDING ARTISTS.
THE DRAMA:—PLAYS IN 1804—THE FIRST THEATRE ROYAL BUILT IN 1825—THE SECOND OPENED IN 1850—OTHER THEATRES TO THE PRESENT—AMATEUR THEATRICAL ASSOCIATIONS—THE DRAMATIC LEAGUE.
MUSIC:—MODERN SOCIETIES—SOCIETE DE STE CECILE—SOCIETE DE MONTAGNARDS—AMATEUR MUSICAL LEAGUE—MENDELSSOHN CHOIR—MONTREAL PHILHARMONIC—INSTRUMENTAL MUSIC.
NEWSPAPERS:—MONTREAL HISTORIES.
The analysis of a city is not complete without a record of its attempts through its educational, library, literary, artistic and intellectual associations and its publications of newspapers, journals, and books to realize its fuller life.
The educational attempts of Montreal, through the schools and universities, have been told, but those further movements, so necessary for all who would continue to learn through the above associations, remain to be narrated.
I. THE LIBRARY MOVEMENT
In 1773 the Sulpicians of Montréal opened the Collège de St. Raphael to teach the youth of the city, and its curriculum made a feature of Belles Lettres. From those graduating from this school sprang the societies and the great library associated with the name of the Seminary of St. Sulpice. There had been small libraries here and there but this first great French library was formed in July, 1844, by the two congregations or sodalities of men and women attached to Notre Dame parish, offering their libraries, one of 600 and the other of 700 volumes, to form the nucleus of a larger library. This was supplemented by 800 books from the Séminaire St. Sulpice and some good books from other sources, making a total of 2,200. The new library was called “L’Oeuvre des bons livres de Ville-Marie” and was conducted along the same lines as, and affiliated with, the famous library at Bordeaux, France, which had been started about twenty years before. This library was formally opened in September, 1845, by M. Bourget, bishop of Montreal, when 200 more volumes were added. The books were first housed in a building on Place d’Armes belonging to the seminary, then afterwards in a building on St. Sulpice Street loaned by the Hôtel Dieu Nuns and thence, in 1860, it was moved to a house at 197 Notre Dame Street, the building being that of the Cabinet de Lecture paroissial, then completed and finally to its present home recently erected as the Bibliotheque St. Sulpice at 340 Denis Street.
Early after the housing of the Cabinet de Lecture in 1860 a lecture bureau was incorporated in connection with the library and under the direction of the superior of the seminary. This bureau published the principal papers in a monthly journal.
The first mention of an English library was in 1796 when the “Montreal Library” was incorporated as a joint stock association of 120 shares at $50 per share. The library had no permanent home until 1821 when the upper part of the old Wesleyan Chapel on St. Sulpice Street was taken, where for the next sixteen years it served the English speaking population. In 1837 new quarters were found in the Natural History Society, then on Little St. James Street. In 1844 the Montreal Library was purchased by the Mercantile Library Association which had been established three years earlier by a number of merchants, the number of books of the amalgamated library at this date being about 4,000. For many years the Mercantile Association, at its headquarters at the corner of Bonaventure and St. Joseph streets, was the meeting place of the élite of the city. With new associations and clubs coming into existence the popularity of the Mercantile waned until the library was handed over to the Fraser Institute, incorporated in 1870 by the Hon. J.J.C. Abbott, F.W. Torrance, T. Workman, A. Molson and P. Redpath, which is the only public library, besides the small Civic Library, in Montreal, with its valuable Gagnon collection of Canadiana. Both libraries are very popularand considering their limitations are doing useful work. In addition might be mentioned the other valuable libraries frequented by scholars and students, such as the Redpath Library, built and given by Mr. Peter Redpath in 1893 to McGill University, the library belonging to Laval University, the Ecole Normale, the Bibliotheque St. Sulpice, under the auspices of the Sulpicians, and the semi-public collections attached to the many churches, colleges, schools and institutions, literary and social, scattered throughout the city and suburban municipalities such as the model one at Westmount.
There are some public libraries in the adjoining municipalities, that at Westmount being a model one.
Thus Montreal is not so badly off in regard to the number of its books, even in comparison to its large population. But what is certainly wanted in some centralizing system by which they can be utilized through the cataloguing, interchange and circulation of the volumes. The city council is contemplating building a large central building to house many of the smaller libraries, which will again popularize the reading of good literature by the masses, which for some time has fallen into disuse. But the first step to be taken should be the harmonizing, if possible, of the existing library systems in the city through an intellectual central library organization bureau being formed. Such is more immediately needed then a central library building to house books.
The early history of the Fraser Library is one of litigation. Mr. Hugh Fraser, an unmarried man, but with several brothers and sisters, about six months before his death, in 1870, conceived the idea of an institute in the interests of literature, science and art,—“of a free public library, museum and gallery to be open to all honest and respectable persons whomsoever, of every rank in life without distinction and without fee or reward of any kind.”
His will, dated April 23, 1870, after making bequests to the amount of $20,000 to his relatives and settling an annuity of £5,000 on a brother for the life of himself and his wife, bequeathed the bulk of his property to establish in Montreal the “Fraser Institute.” He named as his trustees the Hon. J.J.C. Abbott and Judge Torrance and authorized these to procure an act of incorporation to carry out his ideas. On May 15, 1870, he died. The executors immediately took possession of the estate and commenced the administration.
But on June 15th the heirs commenced an action to set aside the bequest as contrary to the laws of mortmain—which finally was carried to the privy council in England, who rendered their decision on the validity of the bequest on November 26, 1874. Arrangements were then made to carry out the intentions of the donor, but in 1875 an attempt was made by a bill in the Quebec Legislature to be allowed to bring the action up again, on the ground that the privy council had erred in the interpretation of the law. This failing, a second attempt was made on January 5, 1876, on the ground that the testator of the will wasnon compos mentisat the time of execution. This also failed. Until 1883 further litigations embarrassing to the governors were carried on, when at last they were able to take some steps.
Meanwhile, in 1882, the property lately used as the high school was offered for sale by the school commissioners. This was a desirable opportunity for establishing the Fraser Institute by way of a free library and the Hon. J.J.C. Abbott bought the property for $30,000. Arrangements for taking over and shelvingtwo libraries of about 15,000 volumes, the Mercantile Library Association and the Institut Canadien, were made through Messrs. Frederick Mathews, Theodore Lyman and Joseph Doutre and there were added valuable engravings from France, the gift of Prince Jerome Bonaparte. It was hoped to include as part of the institute the museum of the Natural History Society. The Free Library, then a novelty in Canada, was opened to the public on October 5, 1885, when the Honorable Mr. Abbott, as trustee, explained the long delay, owing to the above mentioned litigations. Among the other speakers hailing the new movement were: the Honorable Mr. Justice Torrance, Mr. Thomas Workman, Sir William Dawson, Mr. Justice Jetté, Mr. Justice Mathieu, Mr. Hugh McLennan, Mr. Justice Mackay, Principal McVicar, Reverend Mr. Larose, a former director of the Institut Canadien, Professor Coussirat, Mr. Henry Lyman and Lieutenant-Colonel Lyman, as a member of the Mercantile Library. The mayor, M. Henri Beaugrand, himself a littérateur, fitly declared the library open to the public.
As a library the Fraser Institute has fulfilled a popular service. It has a very valuable collection of French books, in addition to the original nucleus of the French library, and has rare volumes of English, French, Latin, etc. It has also a very valuable collection of “Canadiana.” The library made great progress during the presidency of Mr. McLennan, which has continued during that of Mr. Joseph Rielle. Up to 1901 it had increased from 40,000 to 70,000 volumes. The first librarian was Mr. Boodle, and since 1901 Mr. P.B. de Crèvecoeur has served in that capacity.
The Fraser Free Library during its long and useful career has not yet realized the desire of the founder and the first governors to become also a “museum and gallery, to be open to all honest and respectable persons.” Certainly such is needed in the city now. The future of the institute if it follows out its original intention, is still before it, with the help of a generous public.
II. LITERARY AND LEARNED SOCIETIES
One of the earliest learned societies is the Natural History Society which was founded in 1827 and the difficulty of its founders in bringing it about is best shown in the following extract taken from the first annual report, 1828:
“It is now only twelve months since a few gentlemen, who casually, met together, proposed the establishment of this society. They were not unaware of the difficulties they would have to encounter. In all communities such as this where wealth is comparatively little, where no opulent endowments take off the necessity of attention to securing a livelihood, and where as a consequence, the attention is directed into other channels, very different from those of scientific research, not many can be expected to join in assisting this society by their personal exertions, however pleased they might be to see it arise.“Anticipating therefore, but a small list of members, and where also that at different times associations have been founded for literary purposes, which have gradually been dissolved, the founders of this society saw the necessity of a bond of union, independent of this personal characteristic of the first members. As a visible sign of the existence and utility of the institution, and around which the members might at all times rally, with a view there to afford this bond, to prevent this tendency to devolution, the proposers of this Natural History Society resolved to found a museum, an institution which experience has proved to have great power in calling the attention to scientific pursuits and the wants of which was firstly felt by several members, who looked back upon the various causes which in their younger days retarded their own improvement. But the new collections of the productions of nature would leave the design of the society imperfect without the possession of books, that treat of such subjects. One without the other would leave the work half done, but both connected give the greatest facilities for instruction which can be afforded. In addition therefore to the possession of a museum, it was one of the first objects of the society to secure a library of books on science in general. On these principles and with these views the Natural History Society was founded.”
“It is now only twelve months since a few gentlemen, who casually, met together, proposed the establishment of this society. They were not unaware of the difficulties they would have to encounter. In all communities such as this where wealth is comparatively little, where no opulent endowments take off the necessity of attention to securing a livelihood, and where as a consequence, the attention is directed into other channels, very different from those of scientific research, not many can be expected to join in assisting this society by their personal exertions, however pleased they might be to see it arise.
“Anticipating therefore, but a small list of members, and where also that at different times associations have been founded for literary purposes, which have gradually been dissolved, the founders of this society saw the necessity of a bond of union, independent of this personal characteristic of the first members. As a visible sign of the existence and utility of the institution, and around which the members might at all times rally, with a view there to afford this bond, to prevent this tendency to devolution, the proposers of this Natural History Society resolved to found a museum, an institution which experience has proved to have great power in calling the attention to scientific pursuits and the wants of which was firstly felt by several members, who looked back upon the various causes which in their younger days retarded their own improvement. But the new collections of the productions of nature would leave the design of the society imperfect without the possession of books, that treat of such subjects. One without the other would leave the work half done, but both connected give the greatest facilities for instruction which can be afforded. In addition therefore to the possession of a museum, it was one of the first objects of the society to secure a library of books on science in general. On these principles and with these views the Natural History Society was founded.”
This body holds a bequest, though slight, for providing annually a lecture course for the public. It is known as the Somerville Foundation. This unique distinction is credited to the association, but it is also a sad commentary on the dearth of provision for the general education of the public.
The institution is still with us and after having fulfilled a valuable and no mean role in the past, may rise to the larger demands and opportunities that the larger city which, at present, still has no other museum of its kind, now offers to it to embark on a larger venture than of old.
One of the earliest and more important factors in the intellectual life of the city and in the creation of a real love for the best in the existence of the working man has been the Mechanic’s Institute which was founded in November, 1828, by a body of earnest men, who felt that the worker should have a chance to educate himself not only in science, but in art and literature. The first meetings were held in the house of the Reverend Mr. Esson, who with Judge Gugy, L.J. Papineau and John Molson formed the executive. In its early years, not much progress was made, but on its incorporation in 1845 new life was put into the work. Seven years afterwards land was secured on St. James Street for a permanent building which was opened in 1855. In 1862 the building was enlarged by the addition of a large hall to hold 800 people. For twenty-five years the institute was the principal hall for meetings until the city spread more north when it was divided into offices. Today its reading room and library are but very little used in comparison with the past.
In 1857 the Hon. P.J.O. Chauneau, LL. D., the provincial minister of public works, who took a keen interest in educational affairs, founded the “Conferences des Instituteurs de L’Ecole Normale Jacques-Cartier,” and in October of the same year a literary society, under the patronage of the Séminaire St. Sulpice was founded under the title of “Cercle Littéraire” by Joseph Royal.
La Société Historique de Montreal, was founded in 1857, but was not definitely organized until 1858, under the presidency of Commander Jacques Viger, being incorporated by an act of the Legislature in 1859. The headquartersof this society had always been held in the Ecole Normale Jacques Cartier. This society has published importantmemoiresrelative to the history of Canada, and possesses valuable manuscripts which for want of funds it is unable at present to publish. It was on its initiative that in 1894 the monolith near Place Royale, formerly Pointe a Callières was erected to commemorate the precise spot of the landing of the first colonists in 1642. Its presidents have been as follows: Commander Jacques Viger, April 11, 1858; M. L’Abbe H.A. Verreau, January 14, 1859; M. Judge George Baby, May 18, 1904; M. Judge L.W. Sicotte, January 23, 1909; M. L’Abbe N. Dubois, May 6, 1912.
On May 3, 1858, the Institut Canadien-Francais came into existence, having as secretary L.O. David, now Senator David, historian and litterateur. The society which had its home on Little St. James Street was very active and many of its members occupied in after life responsible public positions. It began well with bright, eager students, but finally fell on evil days when owing to a tendency to liberalism it came under the ban of Bishop Bourget so that many of its members left and formed the Societé des Artisans Français-Canadiens and the Union Nationale. About the same time two others were formed, active literary bodies of today, the Cercle Littéraire de Ville Marie (1857) under the auspices of the Sulpicians, and the Union Catholique (1858) under the auspices of the Jesuits.
The Institut Canadien Library, which afterwards was held by the Club Canadien in trust, was finally transferred by arrangement to the Fraser Institute in 1885.
The suppression of the Institut Canadien is remembered by the Guibord case. M. Guibord, one of the condemned members, though not mentioned by name, after his death was refused burial in the Catholic cemetery, although he had owned a burial plot there. An action which finally was taken to the privy council by his widow was settled in her favour and the body was transferred from the Mount Royal Protestant Cemetery to that of Cote des Neiges. Fearing anémeutethe police and military were present, but owing to the discretion of the mayor, Dr. William Hingston, nothing serious happened. A large boulder, unnamed, marks the spot of burial. Later the ground was deconsecrated and the wording of the law was changed so that burial in the Catholic cemetery may not take place, even with the prior possession of land, without the consent of the Catholic authorities.
The name of the Antiquarian and Numismatic Society is closely associated with the old Château de Ramezay, for it was through the initiative, beginning in 1894, of its members that the Château became, in 1897, its museum and consequently was saved from the hand of the vandal. The society was, however, first formed in 1862 by the juncture of two little groups, one French and one English, of numismatists who used to meet at the members’ homes to study the finds and histories of old coins and medals. Recognizing that the study of numismatics was largely connected with the broader subject of antiquities, it was decided to change the name of the society to the “Numismatic and Antiquarian Society of Montreal.” In 1912 a new charter under the title of “The Antiquarian and Numismatic Society of Montreal” was granted. Some of the earliest members were A.J. Boucher, Stanley Bagg, James Ferrier, L.A. Huguet-Latour, James Rattray, Dr. Hector Pelletier, Daniel Rose, J.E. Guilbault, Lavens Mathewson, J.L. Bronsdon, and since the society has included amongst its members a number ofhistorical authorities of distinction, such as William Kingsford, William McLennan, Alfred Sandham, Dr. Samuel Dawson, Gerald Hart, Judge Baby, Sir James Lemoine, Henry Mott, Hon. P.J.O. Chauveau, M. l’Abbé Verreau, Judge L.W. Sicotte, Senator Edward Murphy, P.S. Murphy, I.B. Learmont, H.H. Lyman, Henry J. Tiffin, and M. l’Abbé N. Dubois; and such numismatic or antiquarian authorities as E.Z. Massicotte, P.O. Tremblay, R.W. McLachlan and W.D. Lighthall. The society, through its journal “The Canadian Antiquarian and Numismatic Journal,” which was first published in 1872 and which, notwithstanding several interruptions, has now reached its twenty-seventh volume, has gathered together and conserved for future generations invaluable records of Canadian history, while in its museum at the Château de Ramezay it has a collection of old portraits, antiquities, documents and books vying, according to Mr. J. Ross Robertson, with the richest of its kind on the continent of America. Amongst the contributors to its journal might be noted, in addition to those mentioned, such authorities as Henry Mott, Samuel Baylis, its present editor, Lapalice, Victor Morin, Thomas O’Leary, and others. Two very active members of the society have been De Léry Macdonald, whose extensive acquaintance with French-Canadian portraits and genealogy gave him the idea of the portrait gallery which is now part of the society’s collection, and Roswell Corse Lyman, who did so much in the saving of the Château. The present president, to whom is due the idea of the Château becoming the home of the museum, is Mr. W.D. Lighthall.
About 1892 a strong school of French litterateurs, still existing, sprang up with the Ecole Littéraire, which held its meetings in the Château de Ramezay. This produced a number of the best poets of the time, including Charles Gill, Jean Charbonneau, Doucet, A. Lozeau, Albert Ferland, Demers, Gonzalve Desaulniers and others. It published in 1900 the Soirées de Château de Ramezay, which was much praised in Europe and received special encomium from Ab der Halsen, a distinguished Alsatian critic.
Amongst the present English literary and debating societies, St. James’ Literary Society stands out because of the high standard of the papers and features given each session by the most able men in the city and Canada.
The society, which had its inception in the autumn of 1898, began with a gathering of twelve men, who met more or less casually for mutual intercourse and improvement in connection with St. James’ Church. As the society grew in numbers it was felt that a definite constitution should be drawn up and it became henceforth one of acknowledged force in the literary life of the city. Its mottoPermitte lucemand its emblem the “Lamp of Literature” indicate its mission. The original name has been retained, but its membership is broadened for general acceptance. The addresses given during the season are kept on record for reference and perhaps for future publication.
Its presidents have been: Rev. C.G. Rollit, 1898-99-1900; J.H. Shaw, 1900-01; John Barrett, 1901-02; W.C. Wonham, 1902-03; F.W. Hibbard, K.C., 1903-04; J.S. Archibald, 1904-05; M. McD. Duff, 1905-06; Rev. H. Symonds, D.D., 1906-07; Maxwell Murdock, 1907-08; W.T. Castle, 1908-09; E.G. Place, 1909-10; J. Armitage Ewing, K. C, 1910-11; George Hale, M.D., 1911-12; H.A. Jones, 1912-13; James G. Gray, 1913-14; J.H. Shaw, 1914-15.
An interesting and flourishing literary society with a very large active membershipis the Dickens Fellowship, which was established in 1909 as a branch of the parent English society of the same name, its object being to study the works and the social lessons of Charles Dickens and to apply his teachings as far as possible.
Its presidents have been: J. Portcous Arnold, 1909-10; J.A. Huchinson, M.D., 1911; W.H. Atherton, Ph. D., 1912-13; W. Godbee Brown, 1914.
At intervals there have been societies for special literary purposes, such as Shakespeare, Browning and Burns societies. Of these one of the most prominent was the Burns Society, which was started about 1857 and only lapsed recently.
Societies along national lines have been formed of late years. The first established in Montreal is the Alliance Française, being a branch of L’Alliance Française established in France in 1883. This latter was approved by an act of the minister of the interior on January 14, 1884, and was recognized as an establishment of practical utility by a decree of the republic on October 23, 1886. The end which the Alliance proposes to itself is two-fold: (1) in the French colonies and protectorates to make the language known and loved by the conquered people, to use it for social and commercial purposes and to induce colonists to go from France to a country where French is spoken; (2) elsewhere to maintain relations, (a) with the French-speaking settlers or groups away among strangers by encouraging them to maintain the cult of their national tongue, and (b) with friends of the French language and literature whatever their nationality, race or creed, so as to draw closer the bonds of a literary and moral sympathy which unites France to other peoples and to second in the East, or in countries still uncivilized, French missionaries of every denomination, and French lay teachers for the foundation and maintenance of schools, teaching the French language. A propaganda is carried out for this purpose with the result that there has been formed more than four hundred and fifty committees in France and other lands.
Among other general literary and debating societies of men of today are the “Nomads,” and those in connection with the universities and colleges, the Y.M. C.A. and other organizations of a religious, fraternal or social character.
Literature is similarly carried on in women circles; the Montreal Women’s Club, founded in 1893, being the most representative.
The club or society broadest in its conception in the topics dealt with and in the cosmopolitan character of its speakers at its weekly lunch is the Canadian Club, which was originally organized in the city of Hamilton, Ontario, in 1892 with the object “To foster patriotism by encouraging the study of the Institutions, Arts, Literature, and Resources of Canada and by endeavouring to unite Canadians in such work for the welfare and progress of the Dominion.”
The Montreal branch, which was organized in 1905, has now a membership of about two thousand, comprising representatives of every race living in the city. Practically every person of note who has visited Montreal since its incorporation has addressed the club, including prominent men such as Jerome K. Jerome who delivered the first address in 1905, Booker T. Washington, the well known leader of the American negroes; W.T. Stead, the great English journalist; Rudyard Kipling, the poet, who gave an address on “Journalism and Literature”; Rt. Hon. James Bryce, the English historian, man of letters and statesman; Lord Milner, the great pro-consul; Lord Grey; Lord Balfour of Burleigh, chairman of the commission on Canadian-West Indian reciprocity; Lord Northcliffe, the principalowner of the London Times and Daily Mail; Hon. C.J. Bonaparte, member of President Roosevelt’s cabinet and direct descendant of the great Napoleon; Sir Andrew Fraser, one of India’s public servants; Consul Nakamura of Japan; Commissioner Coombs of the Salvation Army; and the Hon. W.J. Bryan, American silver-tongued orator and secretary of state of the United States, etc.
The Canadian speakers have included Sir Robert Borden, prime minister; Sir George Foster; Hon. Rodolphe Lemieux; Dr. W.T. Grenfell, the missionary of the Labrador coast; Captain Bernier, the French-Canadian explorer; President Falconer of Toronto University; Armand Lavergne, a strong advocate of French-Canadian nationalism; the local speakers including Henri Bourassa, Doctor Macphail, the writer; Sir Alexander Lacoste; Doctor Colby; Principal Peterson of McGill University; Hon. J.I. Tarte of La Patrie; Hon. L.O. David; Prof. Stephen Leacock; and Judge Choquet, who spoke on the Juvenile Court in Montreal.
As the Canadian clubs were originally designed for men, the women of Montreal, in 1907, determined to organize a “Women’s Canadian Club.” This has proved successful, the subjects treated being specially applicable to the women and the idea had spread to thirteen other Canadian cities.
There is no doubt but that the idea of Canadian clubs has been wonderfully successful, for they have given the busy business men one day in each week to enjoy lunch at a reasonable price and then listen for twenty or thirty minutes to the best man who happened to be in the city at that moment or to have been specially invited for the purpose. It has brought its members into personal touch with the great leaders of thought and those who control the destinies of the British Empire, and because of its national character it has been a large factor in breaking down class and racial prejudices that have too often been a jarring note in the progress of Montreal.
III. ARTISTIC ASSOCIATIONS
A great influence in the intellectual and artistic life of the City of Montreal has been gradually brought about by the church amongst the French section, and amongst the English by little coteries of friends meeting first at private houses and as the circles became larger, in more public places. In this way the Cultural Associations of Montreal arose.
In a number of the societies, such as the Antiquarian and Numismatic Society, the two races have been brought together, but generally speaking each race has developed mentally and socially along its own lines, insufficiently co-mingling even on intellectual and artistic grounds.
But while there is no amalgamation of the two races there is great respect and harmony, mutual admiration, imitation and assimilation, unless this state is upset by self-interested demagogues, and it is in this tacit understanding that they have built up side by side many French and English libraries, and literary, artistic and musical societies, the influence of which has considerably raised the mental standard of Canada’s commercial metropolis. While, however, there is to be deplored a certain weakness through the want of concentration, yet it is somewhat productive of a healthy rivalry and a varied viewpoint. More fusion, however, would be mutually advantageous, to gain the fullest advantage from the juxtaposition of the heritors of two great racial civilizations in one city.
ART
Art in Montreal can be divided into four periods, each having its own influence, not only on the people of the time and on the private collections, but on the work of local artists, many of whom, until late years, were never able to study the great collections of Europe. The first period might be termed the church influence, for during the earliest part of the French régime the Jesuit records indicate the fact that a number of the earliest missionaries, men of learning and culture, did not neglect art or music in bringing their Indian neophytes under the spell of Christianity. Several of the Montreal Jesuits were no mean artists or musicians. The members of the earliest religious corporations also brought out works of art in furniture and altar ornaments. Thus in the Catholic churches of the provinces there are many fine pieces of decoration which were designed in Europe of the sixteenth century. Later when the French became more settled in New France, the officers, both military and civil, brought out their families, who in addition to bringing out the family paintings and decorations introduced the culture of old France. In addition art began to be taught in the earliest technical schools, one of which, the classes of the Fréres Charron of Montreal followed somewhat the example of the first technical school established by Bishop Laval outside Quebec. This might be termed the second period. The third began soon after the conquest, 1670, when, with the arrival of British officers and officials, British art was introduced, not in specimens alone, for it was found that amongst the officers of the engineers and artillery there were a number of good artists who soon mixed with the local art lovers. Thus they helped in forming in 1847 an art society under the name of the “Montreal Society of Artists” which gave a modest exhibition to initiate the “Montreal Gallery of Pictures.” The second exhibition was held in 1857 in the Bonaventure Hall under the auspices and direction of the Mercantile Library Association. The artists represented at this exhibition were Cooper, David Cox, Kneller, Guido, Jan, Steen, Reynolds, Raphael, Vinci, Rubens, Van Dyke, Titian, Lawrence and Watteau. This being from local collections shows something of the love of good pictures by the wealthy Montrealers of that day even if only copies of these masters were available.
The fourth period is now with us.
The Society of Artists in 1860 believing that the time had come for broadening its sphere of usefulness invited lovers of art as well as artists to join them and “The Art Association of Montreal” thus became formed. The act to incorporate this new venture was assented to on April 23, 1860, at the request of the Rt. Rev. Francis Fulford, Lord Bishop of Montreal, the Rev. William T. Leach, William H.A. Davies, Thomas D. King, Esquires, and others. Five years afterwards the association formed itself into an Art Union, and in the same year published a catalogue with articles on Oil Painting, Water Colours and Engraving, by F.T. Palgrave, reduced from the art catalogue of the great London Exhibition of 1862. The principal feature of the exhibition held in 1867 was a number of water colours by the Montreal Sketching Club, including two by Alfred Rimmer who afterwards made a reputation by his beautiful book illustrations of English country life. In the following year the Society of Canadian Artists held its first exhibition in the Gallery of the Art Association, then in a large room at the Mercantile Library Building. The seventh exhibition of the association in 1872 wasalso held in the same building, while in 1878 the eighth was held in the Windsor Hotel. By the magnificent gift of Benaiah Gibb the Art Association was enabled to have its own building on Phillip’s Square. On the completion of the building in 1879 an exhibition was held to celebrate the opening. Mr. Gibb’s munificence gave a great impetus to art in Montreal both then and when he died in the following year, bequeathing his valuable collection, consisting of seventy-two pictures and four bronzes to the Art Association in trust for the citizens of Montreal. In the earlier part of the same year (1880) a loan collection of oil paintings had been held including two sketches by H.R.H. Princess Louise, wife of the governor general who had opened the art gallery. The J.W. Tempest bequest in 1892 of $80,000 has also been one of the God-sends to the association. He also left a very valuable collection of pictures containing some very fine work.
ART GALLERYART GALLERY
ART GALLERY
The first black and white exhibition was held in 1881, and included the work of Durer, Bartolozzi, S.W. Reynolds, Charles Turner and J.M. Turner. At this exhibition a paper was read by Mr. McLennan on “Engraving” which was illustrated by woodcuts and specimens of engraving on metal, and in the same year a collection was held of the works of Canadian artists.
Since that time all kinds of exhibitions have been held in the galleries of the Art Association, each one growing more popular as the public taste in art has increased. So much so that the association, finding the quarters on Phillip’s Square too small to meet the increased attendances, determined to sell the building which had been the home of art for so many years and, with the proceeds together with the result of a special campaign which netted over two hundred and sixty thousand dollars, to build an art gallery worthy of the great City of Montreal. Such is the present beautiful Art Gallery Building on Sherbrooke Street, opened by H.R.H., the Duke of Connaught on December 9, 1912. Its architects were Edward and William S. Maxwell of this city.
The late Mr. James Ross, besides contributing $125,000 during his life time, bequeathed $100,000 to the association and the late Mr. Learmont and his sister bequeathed between them their splendid collection of paintings and china. The president of the Art Association is Mr. H.V. Meredith, president of the Bank of Montreal, and the membership is around two thousand; the curator and secretary being Mr. J.B. Abbott, son of the late Sir John Abbott, prime minister of Canada.
The permanent collection of the new art gallery consists of 626 pieces, including oil paintings, watercolours, etchings, statuary, casts and bronzes, with the Learmont collection, the donation of rare china and pottery consisting of 170 pieces, and a number of pictures filling one of the rooms, among which are works by Turner, Swan, Gainsborough and Reynolds. Among the other artists represented in the gallery, are Bougeaureau, Constant, Corot, Diaz of Peña, Goya, Henner, Monticelli, Millet, Pasini, Raeburn, Soest, Tholen, Treyon, Van Goyen, Van de Velde, Van Dyck, Whistler and Wilkie. There are also copies after Sarto, Titian and Salvator Rosa; bronzes by Clesinger, Guillemin, Rodin and Tout Mackenzie, and statuary by Benzoni, Bosio, Hébert and Romanelli. The library of the association has, through the generosity of its members, become one of the most complete collections of reference books on art in Canada.
It has been said that Montreal has some of the finest private collections of masters on this continent and that if all were on exhibition under one roof, the artistic wealth of the community would be found to be very considerable.
Among the notable collections of private citizens, the possession of the following, among others, may be ascribed to the possession of: The lateLord Strathcona: works by Turner, Henner, Jules Bréton, etc.;Sir William Van Horne: Monticelli, Rousseau, Daubigny, Corot, Delacroix, Rubens, Turner, Cuyp, Ruysdal, Raeburn, as well as examples by the advanced modern painters of the French post impressionist school;Lady Drummond: Reynolds, Franz Hals, Rosetti, Turner, Ruysdal, Troyon, Daubigny, Duprès, Peter de Hooge, etc.;R. B. Angus: Gainsborough, Romney, Rembrandt, Dagnan-Bouveret, Swan, Reynolds, Monticelli, Ruysdal, Hoppner, Aumier; thelate James Ross: Rembrandt, Corot, Troyon, Millet, Fortuny, Teniers, Turner, Cuyp, Joseph Israels, Romney, Franz Hals;E.B. Greenshields: Turner, Ryder, etc., and a number of the modern Dutch school including Joseph Israels, Jacob, William and Maris; Mauve, Weissenbruch, etc.
All the owners mentioned above, as well as many others with smaller collections, have been very generous subscribers to the art gallery, both in pictures and money.
A special branch of the association is the art school under the direction of Mr. William Brymner, president of the Royal Canadian Academy, who has associated with him Maurice Cullen, R.C.A., and Miss Alberta Cleland. In addition might be added the series of lectures that are given each season by specialists on the different branches of art. Outside the convents, the principal school of art attended by French pupils is the School of Arts and Manufactures which is held in the Monument National. This school was founded by the Abbé Chabert in 1860, who at one time had been a successful professor of arts at the Ottawa College. He made the school one of the best in Canada and many well known artists of today received their first instruction in this school.
Coming to the personnel of art, Montreal has in Louis Philippe Hébert one who takes a high place among Canadian sculptors. His work, many examples of which are on the public squares of the city, is equally a monument to his genius as to those whom he portrayed in bronze and stone. When the honour of C.M.G. was conferred upon him by King Edward in 1903 it was felt that the representative of Canadian art was well chosen. Another fine Canadian artist who has for many years made Montreal his home is Mr. Robert Harris, also a C.M.G., a former president of the R.C.A. Among other Montreal artists are Napoleon Bourassa, decorator and architect of the Church of Notre Dame de Lourdes and others; George William Hill, the designer and sculptor of the Cartier memorial and many other monuments.
Among other artistic associations is the Woman’s Art Society, which was founded in 1893 to encourage art amongst its members and to assist kindred societies. Thus it presented a scholarship to the Art Association for competition in the schools, and cooperates with the Canadian Handicrafts Guild, which was established in 1906 to encourage, retain, revive and develop handicrafts and home art industries throughout the Dominion. This guild with headquarters in Montreal, has as patrons T.R.H. the Duke and Duchess of Connaught with a large general committee and honorary council of men and women who give their time ungrudgingly in the interests of homely crafts which are in these days of materialism and utilitarism in danger of extinction.
The Château de Ramezay, as the home of the Antiquarian Society, has manyhistorical records of the art of the past, the chief features being in the Elgin room, where are many historical portraits and relics, including the bell of Louisburg and the “Montreal” Room, where a valuable series of historical maps and pictures of the city is preserved; while the council chamber, the salon, the parloir, the vaults, the kitchen, and the bakery are all reminiscent of the early days of the city.
There is also the valuable private collection of Mr. R. McCord at Templegrove, known as McCord’s National Museum. It is to be hoped that such collections will be gradually acquired for the public.
The Royal Academy of Arts, of which the director of the school attached to the Art Association is president, has an exhibition of paintings every four years in Montreal.
We may here mention the Royal Society of Canada, which has a literary and scientific, as well as an artistic, scope and which held its meetings in Montreal this year (1914), being largely associated with the city because of its first meeting in 1882 taking place here and the first executive being principally residents of Montreal. Its first president was the late Sir William Dawson of McGill, and the first vice president the Hon. Dr. P.J.O. Chauveau, LL. D., and amongst the charter members appear the names of N. Bourassa, Louis Frechette, LL. D., John L’Esperance, John Reade, J. Clark Murray, Sir A.B. Routhier and other Montrealers. This year’s president is Dr. Adams of McGill.
In reviewing this chapter one would say that the City of Montreal since it became the home of civilization has had great opportunities to enrich itself artistically and mentally, because of the environments of romance that surround it and the atmosphere of cultured men and women, who in each generation have breathed its air. The citizens are essentially lovers of everything that will raise the standard of intellectual living, but the temptation to the present generation to pursue more seriously material success, has detracted somewhat from the claims of literature and art as a valuable possession and a title to distinction. Art, literature and culture have too few patrons to endow struggling works which, if fostered, would be a lasting memorial and satisfaction to their donors and benefactors. Yet this failing is but temporary for with the passing away of the false opulence begotten of real estate booms and financial speculations, the people will come back to their real love, and art and literature with the love of the true, the good, and the beautiful in life, will take their proper place in the composite life of Montreal.
For the sake of recording the names of those who have left a reputation as artists at Montreal and Quebec the following notes may be preserved:
Père André Pierron, S.J., before 1673; Frère Luc, a Récollet; Père Pommier, about the same time; Pierre Leber; Jean Antoine Créque, born 1749, died 1780; * De Beaucourt, born about 1735; * Louis Dulogpré, worked in Montreal and Quebec from about 1790-1830; * William Van Moll Berczy, painted in Montreal from about 1800-1818;—— Audy, from about 1804-1830; Joseph Legare, born 1795, was working in 1826; * Antoine Plamandon, born about 1800, lived nearly through the century; * Cornelius Kreighoff, born 1814, died 1872; James Duncan, born 1806, died 1881; * William Sawyer, born 1820, died 1889; * Théophile Hamel, born 1814, died 1870; * Adolphe Vogt, born 1842, died 1870; * Allan Edson, born 1846, died 1888; * Wyatt Eaton, born 1849, died 1896; * O.R. Jacobi, born 1812, died 1901;—— Hawksett; * William Raphael, died 1914; * John Pinhey, died about 1911; * Henry Sandham, born 1842, died 1910; * Henri Julien, born 1846, died 1908.
Of artists now living and in most cases exhibiting regularly in Montreal there are the following:
Napoleon Bourassa, born 1827; Robert Harris, born 1849; William Brymner, born 1855; Edmond Dyonnet; Auréle Suzor Cote, born 1870; Maurice Cullen, born 1866; James W. Morrice, born 1864; (Clarence) Gagnon; F. St. Charles; J.C. Franchere; Charles Gill; William Hope; John Hammond; Horne Russell; Laura Muntz; G. Delfosse. There are also many other artists in Montreal, but the above are certainly all names which are well known to art lovers here and have been for some time identified with the art we have of the city.
THE DRAMA
Amateur theatricals have been in vogue in Montreal for many years. Among the officers of the garrison under the French régime, doubtless and certainly among the young scholars taught by the “Congregation” and the Sulpicians, whose students of the College de Montréal performed early in the British Rule the play “David and Jonathan or The Triumph of Friendship.”
However the drama proper in Montreal dates especially from 1804, when a Mr. Ormsby, from the Theatre Royal, Edinborough, established a company of comedians to perform a play in five acts called “The Busy Body” and a farce entitled “The Sultan.” A building next to the old postoffice was fitted up and the charges were: boxes, 5s. and gallery, 2s. 6d. Circuses came and went, a notable one taking place in 1812. In the early ’40s there was still standing the Theatre Royal, built in 1825 and situated opposite Rasco’s Hotel on Bonsecours Street, then the great hotel of the city and it was in this house that Charles Dickens acted during his visit in 1842. The second Theatre Royal, in Coté Street was opened in 1850, and which after a long, splendid and eventful career, closed its doors ignominiously in 1913. One of its early lessees was J.W. Buckland, who engaged a good stock company, which gave such plays as “Peg Woffington,” “Rob Roy” and “The Cricket on the Hearth.” This theatre in its palmiest days enjoyed the patronage of the élite and military of the city and when any stars visited Montreal, such as Jenny Lind, Patti and Kean, the Theatre Royal was the scene of their triumphs.1
The present City Hall Annex on Gosford Street is built on the site of the old Dominion Theatre, which up to 1864 had been an Anglican church, then a vinegar factory, before being turned into what the proprietors claimed to be the largest and most up-to-date theatre in the city. But it did not have a very long life. One of the first plays to be given on its stage was the “Commune,” a sensational melodrama of the French Commune. Kate Quinton, who in her day had somewhat of a reputation, was the star of the play. After one year of melodrama the proprietors tried vaudeville, principally using local talent. It was at this theatre that Madame Albani, then Miss Emma Lejeunesse of Chambly, whose father was a music teacher, made one of her earliest appearances as a pianist.In those early days the great singer did not know that she possessed the wonderful voice which has since entranced the world with its beauty. In 1871 the Dominion changed the character of its bill of fare again, this time to opera, under the name of Debar’s Opera House, though dramatic plays were given at times as a change. It was at this theatre that L. Guyon, in 1878, tried his prentice hand as a dramatist in the play “Le Secret de la Roche Noire.” The following year another play from his pen was produced “La Fleur de Lys.” The plays were staged by the local Cercle Dramatique Jacques Cartier. This society continued to produce plays until 1889 when the theatre, which had been its home was sold. Since that date many French Canadian dramatic societies, such as those at the Theâtre National Français and the Theâtre des Nouveautés, have come into being most of them being very successful, indeed it has been said by the critics that the standing of these amateur productions is often higher than that of visiting professional companies.
As the residential part of the city spread northwards the Queen’s Hall appeared on St. Catherine Street, between University and Victoria streets, being burnt down in 1874, about which time a new theatre was built called “The Academy of Music,” on Victoria Street, which in a short time took the place of the Theatre Royal as the fashionable place of amusement. On its stage many famous actors have appeared—Irving, Terry, Bancroft, Wyndham, Toole—etc. In time “His Majesty’s Theatre” became the leading English theatre and about the same time the “Français” was opened, first for the production of French plays and afterward for melodrama, as well as a number of small French theatres. The position of the English theatres in 1908 stood as follows: leading theatre, “His Majesty’s”; for musical comedy, “Academy of Music”; for melodrama, the “Français”; for burlesque, the “Royal” and the “Theatre Royal.” The “Princess” for general purposes followed immediately.
Until recently, with an occasional visit by an English company, most of the plays put on the Montreal boards were by companies from the United States, but during the last four years England’s best companies have visited Montreal, including Marie Tempest, Sir Beerbohm Tree, Sir Forbes Robertson, Sir Charles Wyndham, Horniman Players, Charles Harvey, etc. To-day there are catering to the English public, two first class theatres (“His Majesty’s” and “Princess”), one vaudeville (“Orpheum”), one burlesque (“Gaiety”), and 200 moving picture theatres, headed by the “Imperial,” which holds about 2,500 people.
There are a number of small French theatres, one or two running stock, but most of them are the home of amateur dramatic companies, and consequently circumscribed in doing really ambitious work, but as already stated, very creditable performances are to be seen at these theatres. Sarah Bernhardt, the great French actress, has played in Montreal several times and her art has always been equally acceptable to English and French, thus drawing full houses in the largest theatre available. Of late years the “Arena,” a skating rink, has been the scene of the greatest gatherings for concerts, horse shows and motor shows.
The Monument National has been the scene of many ambitious and successful French dramas and comedies. There also are given, from time to time, good dramas in Hebrew by competent artists and these plays, mostly of a serious nature, are much appreciated by the Jewish residents of Montreal.
Among the amateur dramatic societies there is La Section Littéraire et Dramatiquedu Cercle Jeanne D’Arc, while many of the churches, colleges and schools have their own societies, the best known of which, that attached to Trinity Church, which under the well known Montreal actor, W.A. Tremayne, gives, during the season, a production of a very high order each month. The Dickens’ Fellowship also gives each season representations of the dramatized works of the great master.
The amateur drama has not fared ill in Montreal. It was in Montreal that the great Canadian actress, Margaret Anglin, received her education in a convent of this city; other artists educated here being Maxine Elliot, Gertrude Elliot, the wife of Sir Forbes Robertson; Miss Marie Tempest, and Madame Donalda, the Canadian singer.
As a sign of the interest being awakened in the drama in Montreal, it is pleasing to record the birth, during the last two years, of the Drama League for the purposes of promoting the true interests of the theatre and the cultivation of a right drama in the city.
MUSIC
Music naturally came into this country with the French, who are essentially musical, for the church encouraged this trait by affording many occasions for the best music. Good voices were easily procurable and every encouragement was also given to orchestral music, both in the churches and in the home. From this there spread out the desire for musical associations. Among modern societies that of the Société de Ste. Cécile was founded by A.J. Boucher on November 11, 1860, and there followed in 1861 the Société Musicale des Montaguards Canadiens founded by François Benoit. The English also did not neglect musical culture and about this time the “Amateur Musical League of Montreal” was founded by a Mr. Torrington who was organist of the St. James Methodist Church.
Perhaps the most noted musical organization which Montreal has ever possessed was the Mendelssohn Choir, a private society initiated in 1884 by the late Mr. Joseph Gould, who during its whole musical life of thirty years, acted as its sole business manager and conductor. The Choir was composed of picked voices, to the number, in its later years, of about one hundred and twenty-five. Itsfortelay in its remarkable unaccompanied part-singing which was compared by competent judges with the best performances of Henry Leslie’s choir in London, in those days, perhaps the most famous body of its kind in the world.
The first Mendelssohn Choir concerts were given in Mr. Gould’s piano warerooms on St. James’ Street, admission being exclusively by invitation. After a few years, subscribing annual members were received, in addition to the active members. The concerts thus became, and thereafter continued to be, subscription concerts; and were given in the principal public halls, the Mechanics’ Hall, the Queen’s Hall, and others being successively used. Many of the most celebrated artists, both instrumentalists and vocalists, who have visited Montreal, were introduced to the public at Mendelssohn Choir concerts, although the chief attraction always continued to be the singing of the Choir itself, whose reputation gradually extended throughout Canada to the United States and even to Europe.
In 1894 Mr. Gould, owing chiefly to failing health, resigned his position as conductor and director, and the Choir, unwilling to sing under any other leader, voluntarily disbanded.
Two other contemporary musical societies at this period have also left a void in the city. The Handel and Hayden Society and the Philharmonic, the former being led by Professor Rayner, and the latter organization as notable as the Mendelssohn Choir, by Professor Couture. The rôle of the Philharmonic, however, was oratorio with orchestral accompaniment. The first steps for organization were taken in 1877 by three concerts given under the name of the Montreal Musical Festival held in the Victoria Skating Rink. The object was to produce in Montreal two of the grand musical productions with first class soloists, choir and orchestra, after the manner of the great English festivals.
The name of the “Montreal Philharmonic” appeared on December 17, 1877, on the first programme of the new combination, at the concert held in the Academy of Music, then new. Its first president and conductor was Dr. McLagan, who was followed in 1879 by Mr. F.E. Lucy-Barnes, and by Mr. Couture, who undertook his first concert on December 9, 1880, and who directed his large choirs, averaging two hundred and fifty voices, till the lapse of the Philharmonic in 1899. From its inception most of the great oratorios including the works of Wagner were excellently rendered, supplemented by the Boston Symphony Orchestra and others of a continental reputation. The soloists were the best available artists before the public on the continent, including Emma Thursby, Max Heinrich, Prehn, W. Ludwig, W.H. Regia, Emma Juch, Martens, Conrad Behrens, Emma Poole King, Frangcon Davies, Irene Devny, Etalka Gerster and others, the work of inviting these falling for the last eleven years on the secretary, Mr. Arthur H. Browning. The presidents of the association have been Messrs. Arthur W. Perkins, Hector McKenzie, Angus W. Hooper and Charles Cassels.
Since the cessation of these associations, which fell because of insufficient support and suitable concert halls, nothing has replaced them adequately. The most notable body of today is the “Chorale St. Louis de France,” attached to the church of that name. Other churches produce oratorios but without the same resources as the combinations of the past. Although in the more modern city the great European and American soloists are brought there is not the same degree of musical education for the people as in the more quiet and studious times of a quarter of a century ago.
Miller’s Band, attached to the British regiments stationed in Montreal, was a most popular musical institution for many years. It played often at the Viger Gardens and was instrumental in creating a taste for good music among the residents of the city. The band remained here until the military left in the fall of 1869, returning to England with the regiments. After it left, things were somewhat dull in Montreal until a number of the Grand Trunk employees organized a band made up of the musicians of the disbanded regiments who preferred to stay in Montreal rather than go back to England. The conductor was a man named Zeiglar. Early in the ’70s the Boston Symphony Orchestra began to come and small opera troupes of Italian singers about the same time who gave concerts in the Mechanics’ Hall. Christine Neilson was heard in the Victoria Skating Rink.
In 1871, a season of grand opera was given in Montreal by Sig. Enrico Corana, the company including the following stars: Madame Elena Corani, Madle, Caterani Lami, Sigs. Pietro Baccei, G. Reina, G. Pauliny, Nicolini and Nicolao. The operas included Donizetti’s Lucretia Borgia and Flotow’s Martha, but it was not until about four years ago that a full season was given in the city by the Montreal Grand Opera Company which, after running two seasons, was disbanded because of the great financial deficit. It was found that to make grand opera pay in Montreal a much larger theatre was required to hold a sufficiently big audience to pay for the elaborate production required today. Practically every modern musical genius of the world has visited Montreal and since orchestral music has taken hold of the public, both New York and Boston having sent their best organizations to the city.
The bands attached to the four local regiments and the St. Louis Cadets are well trained musicians who periodically, but not often, give concerts in the parks of the city. A number of private bands, both orchestral and military are also doing good work.
Educationally Montreal has made great advances in music during this last ten years. McGill University has added to its curriculum courses in instrumental and vocal music through its Conservatorium of Music, under the directorship of Doctor Perrin (late organist of Canterbury Cathedral, England) and gives degrees to its successful pupils, and both the Royal Academy of Music and the London College of Music have branches in the city.
But for a large city, where there is as much instrumental talent, there is a singular lack of orchestral entertainment for the public. The appetite for culture grows on what it feeds; the food being scanty the growth is small.
NEWSPAPERS—MONTREAL HISTORIES
The newspapers and periodicals of a city being among the chief means of popular education and also a running historical commentary of the times, a brief synopsis of the present situation may now be given:
At present there are the following newspapers:
ENGLISH
The Gazette, originally published by Fleury Mesplet in French on June 3, 1778, under the title of “Gazette der Commerce et Littéraire.”
(The Quebec Gazette appeared in French and English from June 21, 1764, to October 30, 1874.) The Gazette in Montreal quickly became English. Curiously enough there have been others of the same name. There was the Montreal Gazette, started on August 3, 1795, published by Edwards in both languages, till 1801. Another of the same name appeared in 1796, by Joseph Roy, but its existence was short.
The Montreal Herald was founded on October 19, 1811, and was printed by William Gray.
The Montreal Evening Star was founded as a daily in 1869 by (Sir) Hugh Graham. (The Weekly Star also appears.)
The Weekly Witness (the sequent of the Montreal Witness) was established as a weekly in 1846 and as a daily in 1860.