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Category Archives: toronto’s heritage buildings

Fire guts historic houses on Peter Street

          Semi-detached houses at 122-124 Peter Street in 2013.These houses, located near the intersection of Richmond and Peter Street, drew my attention the first time I saw them. It was early on a summer morning, when the soft glow of the early-day sun was reflecting pleasantly from their grey stucco facades, which overlook Peter Street. I published a post on my blog about these homes on June 13, 2013. At the time, I feared that despite their obvious charm, they were doomed to demolition as they were in very poor condition and their context within a residential street had been lost.Preventing heritage buildings from being demolished is very difficult in Toronto. It is common knowledge that a few owners of historic properties allow them to deteriorate to the level that they are beyond repair. They then apply for a demolition permit. We have lost many heritage structures this way. Adding to the problem, Ontario’s heritage preservation laws are weak. However, I was pleased when I hear the news that there is a good chance that the houses on Peter Street might escape this fate. A developer has purchased them and expressed a desire to include them within the high-rise condo project to be constructed on the property. The developer’s plan is to dismantle the houses and reconstruct them on the same site. However, the city is not in favour of the proposal so their future has not yet been confirmed. Fate intervened, causing the future of the homes to be in doubt again. During the early hours of Saturday July 7, 2018 a fire broke out, the cause not yet determined. An excellent article by Samantha Beattie in the Sunday (July 8th) edition of the Toronto Star reported the fire.A link to learn more about the history of the homes at 122-124 Peter Street.https://tayloronhistory.wordpress.com/2013/06/13/torontos-architectural-gems1870s-houses-on-peter-street/after fire on July 7, 2018

The houses on Sunday morning, July 8, 2108. The roof of the house on the south side of the semi-detached homes has collapsed.image

              View of the house on the south side, its roof now missing.DSCN2962

View of the damage to the gable that the houses share. The bargeboard Victorian trim survives, though it is in poor condition.image

View looking at the rear of the houses. The severity of the damage is more evident from this side.image                    View of the second-floor level of the homes, following the fire.image

          Rear view of the houses, Sunday morning, July 8, 2018.image

                   Despite the damage, I hope these homes survive.To view the Home Page for this blog: https://tayloronhistory.wordpress.com/For more information about the topics explored on this blog:https://tayloronhistory.wordpress.com/2016/03/02/tayloronhistory-comcheck-it-out/              Books by the Author               DSCN2207_thumb9_thumb2_thumb4_thumb_[1]   “ Lost Toronto”—employing detailed archival photographs, this recaptures the city’s lost theatres, sporting venues, bars, restaurants and shops. This richly illustrated book brings some of Toronto’s most remarkable buildings and much-loved venues back to life. From the loss of John Strachan’s Bishop’s Palace in 1890 to the scrapping of the S. S. Cayuga in 1960 and the closure of the HMV Superstore in 2017, these pages cover more than 150 years of the city’s built heritage to reveal a Toronto that once was.                         cid_E474E4F9-11FC-42C9-AAAD-1B66D852Toronto’s Theatres and the Golden Age of the Silver Screen,” explores 50 of Toronto’s old theatres and contains over 80 archival photographs of the facades, marquees and interiors of the theatres. It relates anecdotes and stories by the author and others who experienced these grand old movie houses. To place an order for this book, published by History Press: https://www.historypress.net/catalogue/bookstore/books/Toronto-Theatres-and-the-Golden-Age-of-the-Silver-Screen/9781626194502 .Book also available in most book stores such as Chapter/Indigo, the Bell Lightbox and AGO Book Shop. (ISBN 978.1.62619.450.2)                  image_thumb6_thumb_thumb_thumb_thumb[2]“Toronto’s Movie Theatres of Yesteryear—Brought Back to Thrill You Again” explores 81 theatres. It contains over 125 archival photographs, with interesting anecdotes about these grand old theatres and their fascinating histories. Note: an article on this book was published in Toronto Life Magazine, October 2016 issue. For a link to the article published by |Toronto Life Magazine: torontolife.com/…/photos-old-cinemas-dougtaylortoronto-local-movie-theatres-of-y…The book is available at local book stores throughout Toronto or for a link to order this book: https://www.dundurn.com/books/Torontos-Local-Movie-Theatres-Yesteryear  Toronto: Then and Now®

“Toronto Then and Now,” published by Pavilion Press (London, England) explores 75 of the city’s heritage sites. It contains archival and modern photos that allow readers to compare scenes and discover how they have changed over the decades. Note: a review of this book was published in Spacing Magazine, October 2016. For a link to this review:spacing.ca/toronto/2016/09/02/reading-list-toronto-then-and-now/For further information on ordering this book, follow the link to Amazon.com  here  or contact the publisher directly by the link below: http://www.ipgbook.com/toronto–then-and-now—products-9781910904077.php?page_id=21

 

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Artist Paul Kane House, 56 Wellesley St. East Toronto

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Paul Kane’s house at 56 Wellesley Street East, Toronto. Photo taken June 29, 2018.

I first learned about the Irish/Canadian artist Paul Kane in the 1950s, in the Native People’s Gallery in the basement of the Royal Ontario Museum (ROM). Compared to the galleries in the ROM today, it was a modest display, but as a young man it created a lasting impression on me. Today, I can still picture the large canoe that occupied a prominent part of the exhibit, as well as the detailed dioramas and numerous paintings of Paul Kane. Because of this experience, I was keenly interested when I read years later that the home of Paul Kane had been identified on Wellesley Street East, a short distance east of the Wellesley Subway Station, on the Yonge Line. 

Kane was born in Mallow County, Cork, in Ireland in 1810, and arrived in Canada with his family in 1820 at age nine. The Kane family settled in the small colonial capital of York in Upper Canada (Ontario). As a young man, he was employed in Toronto at the Wilson S. Congers factory, painting decorative detailing on furniture. In 1834 he relocated to Cobourg and worked in the same trade at  the F. S. Clench’s furniture factory. While in Cobourg, he began painting portraits and after he departed the town in 1836, he earned a modest living as a travelling portrait painter.

In 1841, the same year that Upper Canada became Canada West (now Ontario), his ambitions pushed him toward a life-altering decision—to depart for Europe to study art. He remained overseas for almost four years, where he meticulously copied the old masters in Rome, Naples, Florence, Venice and London. His goal was to acquire the skills to allow him to become a professional painter. While in London, he saw the “Wild West Show, ” which included paintings, lectures, and theatrical performances, all staged by the 32-year old artist George Catlin. The show was based on Catlin’s journey in the American west in the 1830s, where he had captured images of 48 different tribes of the American Great Plains.

On Kane’s return to Canada in 1844, influenced by George Catlin, he decided to similarly capture through sketching and painting the lifestyle of the native peoples of British North American, and also portray the landscapes of the places where they lived. He believed that the way of life of these peoples was disappearing and wanted to capture it on canvas before it was lost. In the summer of 1845, Kane travelled west as far as Sault Ste. Marie, sketching the Indians he encountered on the way. His  aim was to record accurately the life of the Ojibwa tribe, employing the painting style he had learned in Europe.

Next he traveled to Fort William (Thunder Bay). The following year, he joined a number of men employed by the Hudson’s Bay Company and travelled further west. He eventually accompanied various groups of voyageurs, journeying as far west as Fort Vancouver on the Pacific coast. During his lengthy journeys, he created sketches in graphite, watercolour and oil on paper. He eventually amassing over 700 sketches, accompanied by detailed hand-written descriptions.

When he returned to Toronto two and a half years later, he possessed a considerable collection of sketches that portrayed Indian clothing, artefacts, and customs. From these, he created one hundred large-scale oils on canvas that gave detailed insight into the lives of the native peoples in North America. He also published the daily journal he had written during his trips. It gave the public unique insight into the life of Indians and traders in western Canada.

An arranged meeting in Montreal with Sir George Simpson of the Hudson’s Bay Company allowed Kane to receive funding for another expedition. It was to pay for his lodging, meals and other daily expanses while travelling anywhere in the Company lands. Simpson also commissioned a number of sketches of Native American life for his personal collection. Kane set out on his journey in 1846.

In 1853, at 44 years of age, Kane married Harriet Clench of Cobourg, the daughter of his former employer. She was an accomplished artist and painting instructor. His travels now over, the same year he and Harriet married, they purchased land that is today 56 Wellesley Street East. They built a cottage, its walls covered with stucco, which was very popular in this decade.

Several of his paintings were exhibited to great acclaim at the World Fair of 1855 in Paris. In 1859, he published the highly successful book, “Wanderings of an Artist Among the Indians of North America.” His sketches and journals provided the basis for the book. His financial situation now improved, he enlarged his house during the late-1850s, and in 1879 the facades of the dwelling were covered with pale-yellow bricks. This was likely when the porch was added, containing four slender support-columns. On the porch roof there was a small door that lead to a sitting area on the roof. The Kanes raised four children in the home.

To enable his work as an artist, he rented a studio on King Street, but by 1858 his eyesight was failing and he retired. By this time, his style of painting had ceased to be appreciated by the general public and it became difficult for the family to survive financially. In 1871, he died in his home at the age of 61 and was buried in Toronto’s St. James Cemetery on Parliament Street.

The house remained in the Kane family until 1903. From 1925 to1973 it became the church hall for The Evangelical Church of the Deaf. The church built a large structure in front of the house that hid it from view from Wellesley Street. In the 1970s, a developer purchased the property and demolished the building that the church had constructed. The Kane House was once more exposed to view. However, it was in such poor condition that many neighbours wanted it demolished. Fortunately, various groups petitioned to have the historic home preserved.

In 1978, the City of Toronto purchased the property, valued at $670,000, assisted by the Province of Ontario through funds provided by Wintario. In 1979 it was designated under the Ontario Heritage Act and a parkette was established on the south side of the home, where the building had been that the church had erected. The small park was where the front lawn of the Kane family house had been. The house remains today is officially an historic site.

In 1985 the architect Paul Reuber incorporated the house into a new co-op housing development. Only the structurally sound portion of the house were included, as the rear of the original house was in very bad shape, having been damaged by fire. Today, strolling along Wellesley Street East, the Paul Kane house provides a pleasant contrast to the many modern structures that surround it. I cannot but wonder how Kane would have felt if he knew that his home is now located in the heart of the Gay Village. A man named Howard, who watched me photograph the dwelling, informed me that during Pride 2018, the park contained many tents for various activities and enterprises. Howard said that no one was aware who Paul Kane was or that his home was on the north side of the park.

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Paul Kane in attire inspired by his travels. Ontario Archives, 10010404

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The home of Paul Kane at 56 Wellesley Street, the photo taken pre-1879 as its walls remain covered with stucco (hardened plaster used for coating outdoor walls). When the photo was taken, Wellesley Street had not been widened and there was a grass boulevard between the sidewalk and the street. When the house was built in 1853, the street was north of the city in a semi-rural setting. However, it was an ideal place to live as four years earlier a horse-drawn Omnibus Line (streetcar) had opened on Yonge Street that connected the St. Lawrence Market to the town of Yorkville, north of Bloor Street. The Kane home was only a few steps east of the line. Photo from the Toronto Public Library, 0058865f.

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Photo of the home in 1975, after the building that had hidden it from being viewed from Wellesley Street had been demolished. The high-rise apartment behind the house is 41 Dundonald Street, which is one block north of Wellesley. Toronto Public Library, 0058865f.

 

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Photo taken looking north from Wellesley Street in 1976. Toronto Archives, S 1465, S 10616, it 0007.

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The house in 1978, Anne Englebright sketching the historic property. Toronto Public Library, 0103822.

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        View of the Paul Kane home in 1984. Toronto Public Library, 011303.

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               Children in the park in 1984. Toronto Public Library, 0113029. 

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Paul Kane house is today surrounded by residential towers and ongoing construction in ever-expanding Toronto.

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South and east facades of the Kane home. On the east facade there are bay windows on the first and second-floor levels. It is likely that behind the bay windows were the dining room on the first floor, and the main bedroom on the second floor level. They were situated so that the rooms were exposed to the morning light. 

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                   The porch over the doorway on the south facade.

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The porch of the home has four slender support columns, facing south toward Wellesley Street. The door has sidelight windows on either side and a transom window on top. The windows allow daylight to enter the central hallway.

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                           View of the doorway of the home of Paul Kane.

The scenes below were painted in 1846 on Paul Kane’s trip from Fort William to the Pacific coast. All the paintings are in the Canadiana Gallery of the Art Gallery of Ontario (AGO).

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  Callum Indian Travelling lodges, oil on paper, mounted on canvas.

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Drying Salmon at the Dullas River, Columbia, oil on paper, mounted on canvas.

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Below the Cascades, Columbia River with Indians Fishing, oil on paperboard.

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           Indians Salmon Fishing, Kettle Falls, oil on paperboard.

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                   Scene in Northwest—Portrait, oil on canvas.

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Landscape in the Foothills with Buffalo Resting, oil on paperboard. 

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                       At Buffalo Pound, oil on paperboard.

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                 Metis Running Buffalo, oil on paperboard.

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                Metis Encampment, oil on paper mounted on canvas.

  Sources 

http://www.biographi.ca/en/bio/kane_paul_10E.html

http://www.lostrivers.ca/content/points/kane.html

www.thecanadianencyclopedia.ca/en/article/paul-kane-artist-and-adventurer-feature

www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=1476

https://www.gallery.ca/collection/artist/paul-kane

https://www.aci-iac.ca/paul-kane/biography

Art Gallery of Ontario (AGO)

To view the Home Page for this blog: https://tayloronhistory.wordpress.com/

For more information about the topics explored on this blog:

https://tayloronhistory.wordpress.com/2016/03/02/tayloronhistory-comcheck-it-out/

              Books by the Author

               DSCN2207_thumb9_thumb2_thumb4_thumb_  

“ Lost Toronto”—employing detailed archival photographs, this recaptures the city’s lost theatres, sporting venues, bars, restaurants and shops. This richly illustrated book brings some of Toronto’s most remarkable buildings and much-loved venues back to life. From the loss of John Strachan’s Bishop’s Palace in 1890 to the scrapping of the S. S. Cayuga in 1960 and the closure of the HMV Superstore in 2017, these pages cover more than 150 years of the city’s built heritage to reveal a Toronto that once was.

 

                         cid_E474E4F9-11FC-42C9-AAAD-1B66D852[2]

Toronto’s Theatres and the Golden Age of the Silver Screen,” explores 50 of Toronto’s old theatres and contains over 80 archival photographs of the facades, marquees and interiors of the theatres. It relates anecdotes and stories by the author and others who experienced these grand old movie houses. To place an order for this book, published by History Press:

https://www.historypress.net/catalogue/bookstore/books/Toronto-Theatres-and-the-Golden-Age-of-the-Silver-Screen/9781626194502 .

Book also available in most book stores such as Chapter/Indigo, the Bell Lightbox and AGO Book Shop. (ISBN 978.1.62619.450.2)

 

                  image_thumb6_thumb_thumb_thumb_thumb[1]

“Toronto’s Movie Theatres of Yesteryear—Brought Back to Thrill You Again” explores 81 theatres. It contains over 125 archival photographs, with interesting anecdotes about these grand old theatres and their fascinating histories. Note: an article on this book was published in Toronto Life Magazine, October 2016 issue.

For a link to the article published by |Toronto Life Magazine: torontolife.com/…/photos-old-cinemas-dougtaylortoronto-local-movie-theatres-of-y…

The book is available at local book stores throughout Toronto or for a link to order this book: https://www.dundurn.com/books/Torontos-Local-Movie-Theatres-Yesteryear 

 

 Toronto: Then and Now®

“Toronto Then and Now,” published by Pavilion Press (London, England) explores 75 of the city’s heritage sites. It contains archival and modern photos that allow readers to compare scenes and discover how they have changed over the decades. Note: a review of this book was published in Spacing Magazine, October 2016. For a link to this review:

spacing.ca/toronto/2016/09/02/reading-list-toronto-then-and-now/

For further information on ordering this book, follow the link to Amazon.com  here  or contact the publisher directly by the link below:

http://www.ipgbook.com/toronto–then-and-now—products-9781910904077.php?page_id=21

 

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The Great Hall at Dovercourt and Queen—Toronto

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Majestic amidst the modern urban clutter, The Great Hall at 1087 Queen Street West is on the southeast corner of Queen and Dovercourt Road.

My earliest memories of the Great Hall are from the year 2000. In that year I moved into a condo in the downtown area and passed by the building occasionally on the Queen streetcar. On these occasions, I admired its impressively intricate architecture, even though it was in poor condition. I remember thinking how the dilapidated structure reflected our city’s attitude toward our architectural heritage.

It did not seem to matter that The Great Hall had been listed as a Toronto Heritage site in 1973 and received official designation under the Ontario Heritage Act in 1985. Because of its apparent neglect, I feared that it might be demolished to construct another towering structure of steel and glass. This happens all too often in Toronto, as heritage preservation laws in Ontario are weak. This would be a great pity as buildings such as The Great Hall give texture to our urban streetscape, providing contrast to the smooth, faceless facades of modernity. Fortunately, the story of this building has a happy ending. 

In the 1880s the tale commenced of this fable-like building that resembles a fortified structure of medieval times, with its turrets and towers. In that decade, the YMCA operated from small premises on Queen Street, a short distance east of Dovercourt Road. Having outgrown the site, a wealthy Toronto businessman, Samuel J. Moore, organized a project to raise money from the public to construct a larger building.

Moore was the founder of the Moore Corporation, a company, which among other items, designed and marketed carbon-copy receipt forms. They revolutionized the sales books employed at retail shops for customers’ receipts. Throughout much of the company’s history, it was the world’s largest printer of business forms, and though no longer as influential, it still exists today.

After the land for the structure was purchased for $10,000, the architectural firm of Gordon & Helliwell was hired to construct a four-storey building. Its design was to reflect High Victorian architecture in the  Queen Anne Revival style, which was popular in the last quarter of the 19th century. It was meant to impress those who looked upon it. When completed, The Great Hall certainly achieved this effect.

Located on the southeast corner of Queen and Dovercourt, the cornerstone was laid on November 13, 1889. As construction proceeded, its facades of red bricks soon dominated the street. To add to its impressive appearance, it was trimmed with white Port Credit sandstone. Further embellishments included a rounded ornamented flagstaff tower on its northwest corner and on its northeast corner, a tall pointed tower resembling those found on great cathedrals.

The building was officially opened on October 9, 1890, its completion achieved in a mere eleven months, a testament to the plenteous supply of cheap labour in that decade. The following evening, in the Main Hall the building’s first concert was held, featuring various local groups and individuals. The affair was reviewed favourably by the press.

This new branch of the Young Men’s Christian Association (YMCA) was to serve the needs of the West End of the city. It contained a gymnasium that was also employed as an auditorium and was known as The Main Hall. There was a library, basement swimming pool, bowling alley, and a raised wooden running track in the balcony to accommodate aspiring young athletes. Long-distance runner Tom Longboat, a member of the Onondaga Tribe of the Six Nations Indian Reserve near Brantford, Ontario, trained on the building’s track. For many years, he was the world’s most famous long-distance runner. In 1907, he won the Boston Marathon.

The Main Hall in the building had plaster scrollwork surrounding the stage, and the chandeliers of Waterford Crystal were positioned thirty feet above the highly polished oak floor. The cast iron pillars supporting the balcony had ornamented gilded capitals. The west wall contained four arched-windows that were twenty feet in height, allowing copious light to illuminate the interior space.

In 1912, the building was purchased and renovated by the Royal Templars of Temperance, a fraternal organization that promoted the prohibition of alcohol. They also offered life and disability insurance at a reasonable cost to its members. The Templars renamed the former YMCA building the Royal Templar Hall. In the early decade of the 20th century, it was a popular venue for lectures, lantern shows, and popular entertainers of the day. It also organized a baby clinic after the Great Influenza Pandemic of 1918-1919, which killed more people than the Great War. During the mayoral elections of 1929, candidates Sam McBride and Bert Wemp debated in its auditorium. Sam McBride eventually won the election and today, one of the famous Toronto Island ferries is named after him.   

A dance hall was added in 1933, when the Independent Order of Foresters rented the premises. This organization was similar to the Templars and eventually the two organizations amalgamated. From 1939 until 1987, the building housed the offices of the Polish National Union, as well as the printing presses of the local Polish newspaper. During the Second World War, the building provided temporary accommodations for Polish immigrants arriving from Europe.

In the 1980s, the building became a centre for musicians and artists working in the visual and experimental arts. However, by the turn of the 21st century, the building had greatly deteriorated. Steve Metlitski, a Belarusian immigrant, bought it and provided more than $4 million to restore it to its former glory. During the restoration, it was necessary to install an elevator to comply with accessibility regulations. When layers of plywood and tiles were removed in The Main Hall and balcony the original wood floors were revealed.

The entire interior required repainting and the 20-foot windows on the west side, some of which had survived since 1889, were refurbished. It was also necessary to install a modern cooling system without having the air ducts exposed to view. The restoration was basically completed in 2016, and an opening event was held on September 21st of that year. It was also decided that The Main Hall was to be renamed Longboat Hall after the famous athlete of yesteryears.

As many features as possible of the original hall were now preserved. However, the swimming pool in the basement was not restored, so is not accessible to the public. Presently, the building is named The Great Hall, and features community arts and cultural activities. It is also an excellent events venue. 

Sources:

https://www.thegreathall.ca/

ps://torontoguardian.com › History

https://www.theglobeandmail.com/news/toronto/great-hall…/article31470429 (Marcus Gee)

https://torontoist.com/2014/07/the-great-hall-warns-its-in-danger-of-shutting-down

1908, 1912.  Fonds 70, Series 330, File 345

The Great Hall between the years 1908 and 1912. In those years, few hydro wires cluttered the scene. Toronto Archives, Fonds 70, Series 330, File 345.

1914, Chuckman's Postcard Coll.   ostcard[1]

Postcard printed in 1914 depicting the building. Postcard from the Chuckman’s Postcard Collection.

                                     1907-Tom-Longboat-Library-and-Archives-Canada-Mikan-4169967-211x300[1]

Tom Longboat in 1907, a member of the Onondaga Tribe of the Six Nations Indian Reserve near Brantford, Ontario. He trained on the building’s wood running track. Photo from the Canada Archives, Ottawa. 

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       Undated photo of The Main Hall inside the building, image from blogTO.

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The Great Hall in May 2018, looking east along Queen Street West, from west of Dovercourt Road.

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The rounded flagstaff tower on the northwest corner of the building. Photos taken May 27, 2017.

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Outside view of a 20-foot window on the west facade, facing Dovercourt Road. 

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Ornate entrance doors on the north side of the building, facing Queen Street West.

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Gazing out through a glass window pane in one of the doors. The buildings framed by the window are on the north side of Queen Street West.

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View inside the doors, revealing the staircase that ascends to the second storey.

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View from the top of the grand staircase, which leads from the ground-floor doors to the second floor where the balcony is located.

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View of the balcony and The Main Hall from the second-floor balcony. Photo taken in May 2017. 

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View from the rear of The Main Hall (Tom Longboat Hall). The ornate plaster surrounding the stage, the oak floors, and the second-storey balcony are visible.

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The Waterford Crystal chandeliers, positioned thirty feet above the oak floor. 

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        Looking east on Queen Street West at the Great Hall, photo May 2018.

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View of the east facade of the Great Hall and its pointed tower from the grounds of CAMH, on Queen Street West. 

To view the Home Page for this blog: https://tayloronhistory.wordpress.com/

For more information about the topics explored on this blog:

https://tayloronhistory.wordpress.com/2016/03/02/tayloronhistory-comcheck-it-out/

              Books by the Blog’s Author

               DSCN2207_thumb9_thumb2_thumb4_thumb_[2]  

“ Lost Toronto”—employing detailed archival photographs, this recaptures the city’s lost theatres, sporting venues, bars, restaurants and shops. This richly illustrated book brings some of Toronto’s most remarkable buildings and much-loved venues back to life. From the loss of John Strachan’s Bishop’s Palace in 1890 to the scrapping of the S. S. Cayuga in 1960 and the closure of the HMV Superstore in 2017, these pages cover more than 150 years of the city’s built heritage to reveal a Toronto that once was.

 

                         cid_E474E4F9-11FC-42C9-AAAD-1B66D852[1]

Toronto’s Theatres and the Golden Age of the Silver Screen,” explores 50 of Toronto’s old theatres and contains over 80 archival photographs of the facades, marquees and interiors of the theatres. It relates anecdotes and stories by the author and others who experienced these grand old movie houses. To place an order for this book, published by History Press:

https://www.historypress.net/catalogue/bookstore/books/Toronto-Theatres-and-the-Golden-Age-of-the-Silver-Screen/9781626194502 .

Book also available in most book stores such as Chapter/Indigo, the Bell Lightbox and AGO Book Shop. (ISBN 978.1.62619.450.2)

 

                  image_thumb6_thumb_thumb_thumb_thumb[2]

“Toronto’s Movie Theatres of Yesteryear—Brought Back to Thrill You Again” explores 81 theatres. It contains over 125 archival photographs, with interesting anecdotes about these grand old theatres and their fascinating histories. Note: an article on this book was published in Toronto Life Magazine, October 2016 issue.

For a link to the article published by |Toronto Life Magazine: torontolife.com/…/photos-old-cinemas-dougtaylortoronto-local-movie-theatres-of-y…

The book is available at local book stores throughout Toronto or for a link to order this book: https://www.dundurn.com/books/Torontos-Local-Movie-Theatres-Yesteryear 

 

 Toronto: Then and Now®

“Toronto Then and Now,” published by Pavilion Press (London, England) explores 75 of the city’s heritage sites. It contains archival and modern photos that allow readers to compare scenes and discover how they have changed over the decades. Note: a review of this book was published in Spacing Magazine, October 2016. For a link to this review:

spacing.ca/toronto/2016/09/02/reading-list-toronto-then-and-now/

For further information on ordering this book, follow the link to Amazon.com  here  or contact the publisher directly by the link below:

http://www.ipgbook.com/toronto–then-and-now—products-9781910904077.php?page_id=21

 

 

 

 

 

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Scadding House beside the Eaton Centre, Toronto

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Scadding House in Trinity Square (Toronto), beside the Eaton Centre, photo March 2018.

Toronto has many interesting heritage buildings, some in prominent locations and others tucked away from the public eye. The dichotomy of Scadding House is that it is in one of the most high-profile sites in the city, yet remains hidden from view. Only a narrow space separates it from the west side of the Eaton Centre, which attracts thousands of shoppers and visitors annually. There is a small historic plaque on the house’s south facade that informs those who pass by that its original resident was Dr. Henry Scadding. However, it seems that few people notice the plaque. This is a pity, as the house is one of the most historic buildings in Toronto, and one of the few pre-Confederation dwellings that remains in the city today.

The story of the Scadding family is intertwined with the early-day history of York (Toronto). Henry Scadding’s father, John Scadding (1754-1824) was the manager of the 5000-acre estate of John Graves Simcoe when he lived in Devon, England. In 1792, Simcoe was appointed Lieutenant Governor of Upper Canada (Ontario), and John Scadding sailed across the ocean to join his employer. Simcoe hired Scadding as an assistant, and granted him 250 acres of crown land on the east side of the Don River. In fulfilment of his “Settlement Duties, Scadding built on the property a modest cabin and barn with square-timbered logs of white pine. Today, its location is where Queen Street East crosses over the Don Valley Parkway.

In 1796, John Scadding returned with Lieutenant Governor Simcoe to Devon, England, leaving the cabin beside the Don River under the care of a neighbour. After Simcoe died in 1806, Scadding became the estate manager for his widow. The same year, he married Milicent (Melly) Triggs, and in the years ahead they had three sons. Scadding returned to Upper Canada (Ontario) in 1818, and three years later, brought his wife and sons to York (Toronto). One of the boys was Henry, born in 1813.

In 1879, members of the York Pioneers dismantled Scadding’s cabin near the Don River and relocated it to a site in Exhibition Park. There, they re-erect it, using the tools and techniques of the past. The cabin remains on this location today, a testament to the city’s first act of architectural conservation.

The education of Henry Scadding, the son of the pioneer who erected Scadding cabin, began the first year he was in York. At  eight years of age, he studied under the tutelage of John Strachan at the Home District School. When Upper Canada College (UCC) opened on King Street in 1830, Henry was 17 years old, and was the first student to enrol in the college.

In 1833, Henry travelled to England to study at Cambridge. His education was partly financed by Elizabeth Simcoe, the widow of Lieutenant Governor Simcoe. She had been his father’s former employer. Henry Scadding departed England in 1837, returning to Upper Canada. In 1838, he was appointed Master of Classics at Upper Canada College, his alma mater. The same year, he was ordained an Anglican priest in Quebec, where he taught for several years. Returning to Toronto in 1840, he served at St. James Cathedral on King Street East as the assistant minister and Strachan’s domestic chaplain. In June 1847, Strachan appointed Scadding the incumbent of the newly-constructed Church of the Holy Trinity.

The church was located in Trinity Square, between Yonge and Bay Streets, north of Queen Street West. On the east side of the square there was a short street that connected the square to Yonge Street. It was also named Trinity Square. At #10 Trinity Square, in 1862, a church rectory was built for Henry. It possessed four floors and an attic, the first-floor partially below ground. It was in this rectory that he wrote, “Toronto of Old,” published in 1873. It was the first book of consequence about Toronto’s history. I personally employ this book frequently when researching sites for this `blog.

As mentioned, the rectory of the Reverend Henry Scadding still exists today. Located on the west side of the Eaton Centre, it is adjacent to the Church of the Holy Trinity. It was Scadding’s home between 1862 and 1901. Its architect was a Scotsman, William Hay, who designed it in a style that was similar to many townhouses erected in Toronto during this period. The yellow-brick house was plain, with few architectural adornments. However, on the top floor, on the east side, there was a small balcony, accessed from Dr. Scadding’s study. The balcony was trimmed with ornate woodwork created by hand with a coping saw. From the balcony, Scadding possessed an excellent view of Centre Island to the south, and to the east, the Scarborough Bluffs. Today, because of the tall structures surrounding the house, the view can be measured in feet rather than miles. 

Patricia McHugh in her book, “Toronto Architecture – a City Guide,” refers to the style of the house as “Georgian/Gothic,” although I fail to see any hint of Gothic in its design. The hip roof contains gabled windows, the chimney for the fireplaces inside the home positioned in the centre of the roof. This is unusual, as most houses build the chimneys on opposite sides of the roof.

Henry Scadding passed away in 1901 and was buried in St. James Cemetery. After his death, the house had various tenants and was empty at times. However, Mary Dixon lived on the top floor of the house from 1966 until 1974. She stated that when she lived there, the floor below her was sub-divided into apartments. The second floor contained church offices, and the ground floor was a meeting place for locals, as well as a restaurant that became a coffee house in the evenings.

In 1974, great changes occurred in the history of Scadding House. A developer wanted to purchase the house and demolish it to permit the building of the Eaton Centre. Following difficult negotiations, a deal was agreed upon in which the house was to be relocated 150 feet to the west. On its new site, it would be to the immediate east of the Church of the Holy Trinity, close to the west side of the Eaton Centre. After the relocation was completed, restoration of the premises commenced and fire-escapes were erected in the narrow space that separated it from the Centre.

At some unknown date during the previous decades, the balcony on the fourth floor of the house had disappeared. Likely it had been removed as it was in poor condition and in danger of falling to the street below. When the house was restored, the ornate balcony on the top floor was rebuilt.

Today, the house appears much the same as it did when Dr. Henry Scadding was in residence. It is rented to various not-for-profit agencies, so is not open to the general public. This is a pity, as it is such an important part of the city’s architectural heritage.

Sources:

https://torontoist.com/2016/07/meet-one-of-torontos-first-historians-henry-scadding

Toronto No Mean City, Eric Arthur, published by University of Toronto Press, 1964.

www.biographi.ca/en/bio/scadding_henry_13E.html

                    E4 D4 24D, Toro. Pub. Lib.

Dr. Henry Scadding in 1860 at age 47, photo from the collection of the Toronto Public Library.

       1885.  e9-172[1]

Dr. Henry Scadding in 1885 at age 72, photo from the collection of the Toronto Public Library.

                     1890  pictures-r-5723[1]

Sketch of 1890 depicting the view gazing west on the street named Trinity Square. Scadding House is visible, with its fourth floor balcony. The street appears charming,with its mature shade trees and gas lamp, a part of the “Toronto of Old” that no longer exists. Sketch from the collection of the Toronto Public Library, r-5723. 

1900  - pictures-r-5474[1]

The study and library of Henry Scadding in 1900, a year before his death. It was on the fourth floor of the home, where the balcony was located. The fireplace likely burned coal. Toronto Public Library, r-5474.

pictures-r-5475[1]

Henry Scadding’s desk in 1900. Photo from the Toronto Public Library, r-5475.

        1936.  pictures-r-5724[1]

Scadding House on its original location. The view in the photo looks east toward Yonge Street on the street named Trinity Square. On the north side of the street, Scadding House is the four-storey building on the right. Photo from the Toronto Public Library, r- 5724.                   

                         1974-  tspa_0109997f[2]

House being lifted onto a frame of iron girders to relocate it in 1974. The shops on Yonge Street are visible in the background. Toronto Public Library, tspa 0109997.

View of Eaton's demolition in foreground, Scadding House and office buildings in background – September 7, 1974

Scadding House in 1974 after it was relocated to the east side of the Church of the Holy Trinity. The land in the foreground is where structures were demolished to construct the foundations for the Eaton Centre. Toronto Archives, Fonds 1526, Fl0083, item 0061.

                            View of Scadding house, west of Yonge Street in Trinity Square – January 12, 1974

Scadding House in 1974 after it had been located 150 feet to the west of its original site. The hoarding to the right of the house is where the foundations of the Eaton Centre will be excavated. The balcony on the fourth floor remains missing. Toronto Archives, Fonds 1526, Fl0083, item 0021.

                         View of Scadding house and dug foundation for the Eaton Centre – January 17, 1975

This dramatic photo taken in 1975 shows the house perched precariously beside the immense construction site for the foundations of the Eaton Centre. The view looks to the northeast, the signage for Dundas Square at Yonge near Dundas visible in the background. Toronto Archives, Fonds 1526, Fl0083, item 0024.

                                  1977, after relocated  tspa_0112942f[1]

View of the north facade (rear) of Scadding House in 1977, prior to its restoration. Toronto Public Library, tspa 0112942.

                     View of Church of the Holy Trinity, Scadding House, and Eaton's Centre – April 27, 1978

View in 1978, after the fourth-floor balcony had been restored. The Church of the Holy Trinity is on the west (left) side of the house and the Eaton Centre is on the east (right) side of it. Toronto Archives, Fonds 1526, fl0024, item 0030.

image  DSCN2400

View of Scadding House in 2018 (left) and (right) the sign that appears on the west facade of the building.

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The balcony on the fourth floor after it was restored. A gabled window in the attic is visible on the roof.

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                     The north facade (rear) of Scadding House in 2018.

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The south (front) facade of the house in 2016. The space between the house and the Eaton Centre contains the fire-escapes. The church is to the west (left) of the house.

To view the Home Page for this blog: https://tayloronhistory.wordpress.com/

For more information about the topics explored on this blog:

https://tayloronhistory.wordpress.com/2016/03/02/tayloronhistory-comcheck-it-out/

              Books by the Blog’s Author

               DSCN2207_thumb9_thumb2_thumb4_thumb_[2]  

“ Lost Toronto”—employing detailed archival photographs, this recaptures the city’s lost theatres, sporting venues, bars, restaurants and shops. This richly illustrated book brings some of Toronto’s most remarkable buildings and much-loved venues back to life. From the loss of John Strachan’s Bishop’s Palace in 1890 to the scrapping of the S. S. Cayuga in 1960 and the closure of the HMV Superstore in 2017, these pages cover more than 150 years of the city’s built heritage to reveal a Toronto that once was.

 

                         cid_E474E4F9-11FC-42C9-AAAD-1B66D852[1]

Toronto’s Theatres and the Golden Age of the Silver Screen,” explores 50 of Toronto’s old theatres and contains over 80 archival photographs of the facades, marquees and interiors of the theatres. It relates anecdotes and stories by the author and others who experienced these grand old movie houses. To place an order for this book, published by History Press:

https://www.historypress.net/catalogue/bookstore/books/Toronto-Theatres-and-the-Golden-Age-of-the-Silver-Screen/9781626194502 .

Book also available in most book stores such as Chapter/Indigo, the Bell Lightbox and AGO Book Shop. (ISBN 978.1.62619.450.2)

 

                  image_thumb6_thumb_thumb_thumb_thumb[2]

“Toronto’s Movie Theatres of Yesteryear—Brought Back to Thrill You Again” explores 81 theatres. It contains over 125 archival photographs, with interesting anecdotes about these grand old theatres and their fascinating histories. Note: an article on this book was published in Toronto Life Magazine, October 2016 issue.

For a link to the article published by |Toronto Life Magazine: torontolife.com/…/photos-old-cinemas-dougtaylortoronto-local-movie-theatres-of-y…

The book is available at local book stores throughout Toronto or for a link to order this book: https://www.dundurn.com/books/Torontos-Local-Movie-Theatres-Yesteryear 

 

 Toronto: Then and Now®

“Toronto Then and Now,” published by Pavilion Press (London, England) explores 75 of the city’s heritage sites. It contains archival and modern photos that allow readers to compare scenes and discover how they have changed over the decades. Note: a review of this book was published in Spacing Magazine, October 2016. For a link to this review:

spacing.ca/toronto/2016/09/02/reading-list-toronto-then-and-now/

For further information on ordering this book, follow the link to Amazon.com  here  or contact the publisher directly by the link below:

http://www.ipgbook.com/toronto–then-and-now—products-9781910904077.php?page_id=21

 

Tags: , , , , , ,

The last surviving Tollkeeper’s Cottage in Canada

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      Tollkeeper’s Cottage at 750 Davenport Road, in early-June 2014.

The small, unpretentious cottage in Tollkeeper’s Park, on the northwest corner of Bathurst Street and Davenport Road, is not well known by most Torontonians. This might appear strange considering it overlooks one of the busiest intersections in the city. Hundreds of cars pass it daily, but few drivers ever give it a glance. Unfortunately, I must include myself among those who, until recently, took little notice of it.

Perhaps the reason for its relative obscurity is that except for Scadding Cabin on the CNE grounds, it is very modest in size. Casa Loma, St. Lawrence Hall, Spadina House, Campbell House, George Brown House, and Colborne Lodge reflect the lives of those who possessed considerably more wealth. Even Mackenzie House, which is quite modest, is rather grand compared to the tollkeeper’s cottager.

Yet the latter is important in our history as it is one of the oldest structures in the city and showcases the lifestyle of the poorest citizens of its era. Even today, such people are often overlooked. Proof of this is the fact that except for the dedicated efforts of a group of local historians, the Community History Project (CHP), the cottage would have been demolished. Founded in 1983, four years later CPH was incorporated as a not-for-profit corporation.

The tollkeeper’s cottage hearkens back to a time when Toronto was a small colonial town named York, nestled beside the eastern end of the harbour. At that time, the land around Bathurst Street (then known as Cruikshank’s Lane) and Davenport Road remained open fields and farmland, remote from the town to the southeast. However, even in that era, Davenport Road was an important thoroughfare, one of the oldest in the province of Upper Canada (Ontario). It was located at the base of an escarpment, created when the great sheets of glacial ice retreated. For centuries, it had been a path traversed by Native Peoples. In the final years of the 18th century, it became a narrow dirt road employed by early-day settlers. Interestingly, it appears on a map drawn in 1796 by Elizabeth Simcoe.

In the early-1800’s, constructing roads to facilitate travel was beyond the financial capabilities of the government of Upper Canada (Ontario). The hinterland of the town of York was heavily forested, requiring considerable labour and expense to clear if roads were to be built. As a result, in 1835, the government auctioned off the rights to construct and maintain sections of road. In return, the investors were allowed to collect tolls from those who travelled them.

Davenport Road was viewed as one of the better investments, resulting in five tollgates being built on the plank roadway. Tollgates required a tollkeeper, and as travellers used the roads constantly throughout the day and during the hours of darkness, it was essential that tollkeepers reside beside these tollgates. As a result, small cottages were built for the tollkeepers and their families. They were often constructed to allow the occupants to lean out a small window to collect the tolls. Women were never officially hired for the position, although they were often the ones who actually collected the tolls. This was because tollkeeper’s wages were a pittance, which resulted in their husbands being absent from the tollgates as they laboured at a second job or worked a small farm.

The cottage for Tollgate #3 was situated on the southeast corner of Bathurst and Davenport, where Starkmans Health Care Depot is today. This was confirmed by an 1875 painting by Arthur Cox. It appears that the cottage dates from c. 1835, as it has building features from between the years 1820s and 1840s. It is also believed that because it contains re-used materials from other locations, it may have been constructed on another site and moved to Bathurst and Davenport Road.

The Tollkeeper’s Cottage has three-rooms and an attic with a low ceiling and no windows. It was primarily employed for storage. The cottage is constructed of vertical planks of white pine, 2 inches thick and 30 inches wide. Very few structures of this type have survived into the modern era. Clapboard siding was nailed horizontally over the vertical planks. The cottage was approximately 20’ by 30’, containing a front and a back entrance. The floors were of hand-planed pine and the interior walls of plaster. In the kitchen there was a fireplace, the cottage’s only source of heat. It was later replaced by an iron stove. 

During the 1860s, the tollkeeper’s at Tollgate #3 was John Bullmin. He and his wife Elizabeth slept in one bedroom, and their four daughters shared the second bedroom, sleeping two to a bed. Their three sons slept on the floor in the main room, which perhaps was not so bad as it was heated by the wood stove. In the warmer months, the boys likely slept in the shed, which was attached to the west side of the cottage.

In a decade lacking electricity and modern appliances, there were many more back-breaking household chores than today. Among them was to trudge to Taddle Creek, in Wychwood Park, to retrieve water for the family’s needs. Other tasks would include untying the ropes that held the straw mattresses in place, carrying the mattresses outside and beating them to eliminate bedbugs. Food preparation and preserving fruits for the long winters were labour-intensive chores, as was gathering wood for the fireplace and later, the iron stove. 

As mentioned, tollkeepers usually had a second source of income. John Bullmin farmed 6.5 hectares of land, and the 1861 census reveals that his wife churned 50 pounds of butter that year with the milk from the family cow. It was a harsh life. Adding to the difficulties was the fact that, as one might suspect, tollkeepers were not popular and were often abused by the general public.  

Either John or Elizabeth had to be available seven days a week, year round, in all types of weather, to collect fees from those using Cruikshank’s Lane (Bathurst Street). Each time a traveller appeared, it was necessary to open the tollgate manually. Records from 1851 show that the fee for a wagon drawn by two horses was six pence, a one-horse wagon three pence, and a single horse two pence. Those travelling on foot accompanied by up to 20 cattle or sheep, paid a penny. The clergy and the military were not charged and there were no fees on Sundays to encourage people to attend church. It is not known how many years John Bullmin remained as the tollkeeper. His tombstone in the Toronto Necropolis cemetery, near Riverdale Farm, states that he died in 1867, although his wife lived until 1912.

In 1895, the toll system was abolished by the government and Davenport Road became toll free. As the small cottage for Tollgate #3 was no longer required, it was sold. The buyer relocated it to a lot on Howland Street, two blocks east of Bathurst Street, where it became an ordinary residence. Eventually, a larger structure was erected in front of the cottage to enlarge the living space. Thus, the cottage was no longer visible from the street.

It was basically forgotten until 1996, when a developer was planning to demolish the cottage and the home in front of it to clear the site for a condominium. A neighbour, who was aware of the history of the cottage, alerted the group known as the Community History Project (CHP). The CHP authenticated the information, proving that hidden under the layers of siding on the walls and the asphalt on the roof was indeed the historic tollkeeper’s cottage. It is thought to be the only dwelling lived in by those who collected tolls that remains in Canada today.

An agreement was negotiated by CHP whereby the condo developer would sell the cottage to them for $1, with the stipulation that it be removed as soon as possible. The group raised funds and succeeded in arranging an agreement with the Toronto Transit Commission (TTC) that until a permanent site was found, it could be relocated to the Wychwood Streetcar Barns. In June 1996, the move occurred. It remained at the Wychwood yards for the next six years. During this period, the restoration of the cottage began.

It was a monumental task, as there were several layers of material covering the original exterior clapboard siding, as well as on the interior walls of the rooms. On the roof, there were seven layers of asphalt shingles. All the extraneous materials were carefully removed, and despite the structure’s poor condition, it was revealed that 80% of the original building was intact. The task now was to restore it to its original state.

To finance the ongoing work, over 500 donors provided funding and finally, a grant was given by the Ontario Trillium Fund. However, a permanent site for the cottage was still required. In 2002, Toronto City Council voted to give it a permanent home in Davenport Square Park, which was to be renamed Tollkeeper’s Park. This action formally recognized the importance of the cottage in the history of the city.

After it was relocated to its present-day site, further restoration commenced. The horizontal beams at the base of the structure that supported the vertical planks had deteriorated to the extent that they needed to be replaced. Since most of the original clapboard had survived, it was possible to replace the missing parts with accuracy. In late-November, as the year 2002 drew to a close, volunteers laboured in freezing weather to protect the historic building during its first winter in its new location.

After the work was completed, the CHP decided to furnish it to reflect the 1860s, when John Bullmin and his family resided in the cottage. In 2003, the City of Toronto officially declared the Tollkeeper’s Cottage a heritage site. It was opened to the public on July 1, 2003. To enhance the experience for modern-day visitors, an addition was erected at the rear (west side) of the cottage, providing space for a museum and interpretive centre.

Though the cottage is not situated on its original location, it is very close. The original site is now under the asphalt at the intersection of Davenport Road and Bathurst Street. This occurred when the roadways were widened to meet the needs of the modern era.

Sources:

https://www.thestar.com › Your Toronto › Once Upon a City

streeter.ca/midtown/news/no-toll-charge-at-midtown-museum/

www.tollkeeperscottage.ca/html/Background.htm

https://www.geocaching.com/seek/cache_details.aspx?guid=af553a91-c921-411c

http://torontosavvy.me/tag/tollkeepers-cottage-toronto/

1875, Art Cox  reproduction -0.0.1200.806-0.0[1]

The painting is by Arthur Cox and was completed in 1875. The couple in the foreground is seated on the top of the Davenport Road hill, the man pointing southeast. Below them is the intersection of Bathurst Street and Davenport Road, where the tollkeeper’s cottage is on the southeast corner. The City of Toronto had not yet expanded this far north and the land below the hill was mostly farmland. On the left can be seen a steep pathway that ascends the hill. The copyright of the painting belongs to the Community History Project.

albert-fulton-tollkeeper-cottage-in-Tor. Archives  transit-fonds-128-4-july-9-pm1[1]

Removing the cottage from its site on the corner of Howland Avenue and Davenport Road in June 1996. Photo from “Toronto Savvy.” 

Tor. Savy  tollkeeper2[1]

Transporting the cottage westbound along Davenport Road in June 1996. Photo from “Toronto Savvy.” 

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Volunteers remove extraneous layers of materials from the roof and walls of the Tollkeeper’s Cottage in May 2001. This was performed while the cottage was temporarily located at the Wychwood Streetcar Barns. Portions of the original clapboard have been exposed. Photo from a display at the Tollkeeper’s Cottage.

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The cottage on its site in Tollkeeper’s Park. In this photo, the vertical pine planks that support the roof are visible, as well as the clapboard siding that covers them. Photo from “Toronto Savvy.”

 c07513f0-2fa4-4d2f-b0e6-7e198649aa81[1]

The cottage after it was moved in 2002 from the Wychwood Streetcar Barns and placed on its permanent home at Tollkeeper’s Park. The foundations that will support the cottage are visible. Photo from “Toronto Savvy.”

opening day July 1, 2003 Tor. Savy    tollkeeper8[1]

The official opening of the cottage to the general public on July 1, 2003. Photo from “Toronto Savvy.”

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                   The cottage after it was restored. Photo taken in 2014. 

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The main room of the cottage where cooking and meals occurred, in the only room that was heated. View faces the front (east) door. The stove is placed where the fireplace had once been. Photo taken 2018.

kitchen, living space

Table in the main room where the family gathered for meals. I have no idea why a rooster is on the table.

                                washstand in adults' room

Bedroom furnished as it might have appeared when Mr. and Mrs. Bulmin slept in it.

four girls' bedroom

               The room where the four Bulmin daughters slept.

                              image

The bedroom of the girls, looking toward the main room on the south side of the cottage. In the ceiling the trap door is visible that gave access to the attic.

DSCN0323

The cottage with its front porch facing east and at the rear, the museum and interpretive centre.

To view the Home Page for this blog: https://tayloronhistory.wordpress.com/

For more information about the topics explored on this blog:

https://tayloronhistory.wordpress.com/2016/03/02/tayloronhistory-comcheck-it-out/

              Books by the Blog’s Author

               DSCN2207_thumb9_thumb2_thumb4_thumb_[2]  

“ Lost Toronto”—employing detailed archival photographs, this recaptures the city’s lost theatres, sporting venues, bars, restaurants and shops. This richly illustrated book brings some of Toronto’s most remarkable buildings and much-loved venues back to life. From the loss of John Strachan’s Bishop’s Palace in 1890 to the scrapping of the S. S. Cayuga in 1960 and the closure of the HMV Superstore in 2017, these pages cover more than 150 years of the city’s built heritage to reveal a Toronto that once was.

 

                         cid_E474E4F9-11FC-42C9-AAAD-1B66D852

Toronto’s Theatres and the Golden Age of the Silver Screen,” explores 50 of Toronto’s old theatres and contains over 80 archival photographs of the facades, marquees and interiors of the theatres. It relates anecdotes and stories by the author and others who experienced these grand old movie houses. To place an order for this book, published by History Press:

https://www.historypress.net/catalogue/bookstore/books/Toronto-Theatres-and-the-Golden-Age-of-the-Silver-Screen/9781626194502 .

Book also available in most book stores such as Chapter/Indigo, the Bell Lightbox and AGO Book Shop. (ISBN 978.1.62619.450.2)

 

                  image_thumb6_thumb_thumb_thumb_thumb[1]

“Toronto’s Movie Theatres of Yesteryear—Brought Back to Thrill You Again” explores 81 theatres. It contains over 125 archival photographs, with interesting anecdotes about these grand old theatres and their fascinating histories. Note: an article on this book was published in Toronto Life Magazine, October 2016 issue.

For a link to the article published by |Toronto Life Magazine: torontolife.com/…/photos-old-cinemas-dougtaylortoronto-local-movie-theatres-of-y…

The book is available at local book stores throughout Toronto or for a link to order this book: https://www.dundurn.com/books/Torontos-Local-Movie-Theatres-Yesteryear 

 

 Toronto: Then and Now®

“Toronto Then and Now,” published by Pavilion Press (London, England) explores 75 of the city’s heritage sites. It contains archival and modern photos that allow readers to compare scenes and discover how they have changed over the decades. Note: a review of this book was published in Spacing Magazine, October 2016. For a link to this review:

spacing.ca/toronto/2016/09/02/reading-list-toronto-then-and-now/

For further information on ordering this book, follow the link to Amazon.com  here  or contact the publisher directly by the link below:

http://www.ipgbook.com/toronto–then-and-now—products-9781910904077.php?page_id=21

 

Tags: , ,

Exploring Historic Spadina House and Museum, Toronto

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Spadina House at 285 Spadina Road in August 2014. The view gazes northeast toward the west (left-hand) and the south facades. On the south (right-hand) side is a large second-storey veranda that has a commanding view of the city below the hill. On the first floor, below the veranda, is the glassed-in “palm room,” containing a winter garden.

Spadina House (and museum), on the brow of the hill that overlooks Davenport Road, is one of the most historic properties in Toronto. Exploring the house on a guided tour provides an intimate look into the life of the Austin family. The Austins moved into the home in 1866 and a member of the family remained in residence until 1982. Today, it mainly features the life of the Austins during the 1920s. In the warm months, visiting it also provides an opportunity to explore one of Toronto’s finest, restored Victorian gardens.

The story of the property where Spadina House is situated begins in the final years of the 18th century, when Toronto was the small colonial town of York. In 1798, the land where the house is now located was part of a 200-acre lot acquired by William Willcocks. In 1803, Willcock’s daughter, Phoebe, married William W. Baldwin, an Irish immigrant. Phoebe inherited the Baldwin property from her father’s first cousin, Elizabeth Russell, the sister of Peter Russell. Elizabeth suffered from mental illness during her later years, but did not pass away until 1822. Thus, William and Phoebe Baldwin must have gained control of the property prior to her death.

Because William Baldwin intended to erect a grand home on the land, in 1813, he commenced building an impressive roadway, 132 feet wide and a mile and a half in length, as a grand carriageway to the dwelling. The roadway led from the bottom of the hill (Davenport Road), south to Queen Street. South of Queen was Brock Street, which was connected directly to the lake.

ist Balwin by Owen Staples, done 1912.

In 1818, Baldwin finally constructed his dream home. He named it Spadina, an Anglicised version of the Ojibwa word “ishpadinaa,” meaning a “hill or a sudden rise of land.” Henry Scadding wrote rather condescendingly in “Toronto of Old,” published in 1873, that the word “ishpadinaa” had been “tastefully modified.”  On the left is a watercolour of it, painted in 1912 by Owen Staples, based on a sketch of 1888. The watercolour is in the collection of the Toronto Public Library. A description of the house is contained in a letter written by William Baldwin in 1819. “I have a very commodious house in the Country . . . The house consists of two large parlours, hall and staircase on the first floor—four bedrooms and a small library on the 2nd — three Excellent bed rooms in the attic storey or garret — with several closets on every storey, a kitchen, dairy and root cellar, wine cellar, and man’s bedroom underground.” It was indeed a luxurious residence for a “country home,” as  Baldwin owned another house in the town.

To improve the view from his residence,” Baldwin cleared 300 feet of wild growth to the south of it, between the house and the edge of the escarpment. When completed, it provided a panoramic view of the land below the heights, which included the wide carriageway that became Spadina Avenue. In the distance, the town was visible, nestled beside the waters of Lake Ontario.

2nd Baldwin House, by F W Poole, done 1912   TPL

Unfortunately, Spadina House burnt in 1835. Baldwin was now 60 years old, and rather than live on the remote property atop the hill, he moved into his mansion on the northeast corner of Bay and Front Streets. However, he erected another country home above the hill in 1836, but the one-story dwelling was more modest in size compared to the original Spadina House. The watercolour on the left depicts the second Spadina House, painted by F. W. Poole in 1912, from a sketch drawn in 1888.

William Baldwin died in 1844 and the property passed to his son Robert Baldwin. He began sub-dividing the estate, selling parcels of land to prospective buyers. By 1866, only 80 acres remained and at an auction, they were purchased by the founder of The Dominion Bank and president of the Consumers’ Gas Company—James Austin. 

James Austin was born March 6, 1813. His family immigrated to Upper Canada (Ontario), arriving in York (Toronto) in October 1829. For two months, the Austins sought to establish themselves on a farm close to York (Toronto). Unsuccessful, they settled in Trafalgar Township in the Oakville area. When James was sixteen, he was apprenticed to William Lyon Mackenzie in his printing shop. Austin spent four and a half years with Mackenzie before establishing his own printing business. After the rebellion of 1837, he relocated to the United States, since it was too risky to remain in Toronto for anyone with connections to Mackenzie, “the rebel.” In 1843, Austin determined that it was safe to return to Canada West (Ontario).

Austin had earned sufficient funds while in the United States to open in Toronto a wholesale and retail grocery business in partnership with another Irishman, Patrick Foy. Austin eventually amassed further funds by investing in banking and natural gas. In 1866, in an auction, with a successful bid of £3,550, he purchased Spadina House, built by William Warren Baldwin. He demolished the house and erected a grand residence on the site, which he named Spadina. No architect was listed. It was the third house constructed on the site that possessed the name “Spadina.”

Austin’s home had two-storeys, although a third floor was added sometime between 1905 and 1915. In 1866, the entrance hall, with its intricately carved woodwork and elaborate crown mouldings, was built to impress visitors. Austin was an avid hunter and placed two stuffed wolves on either side of the interior of the doorway. Stuffed animals of various species were very popular among the wealthy at this time. Upon entering the entrance hall, guests had an unobstructed view of the magnificent grand staircase. This added to the sense of awe that Austin was desirous of creating.

The drawing room (parlour), the most impressive room in the house, was on the right-hand (south) side of the entrance hall. For the comfort of guests, due the room’s size, it possessed two white marble fireplaces, one at each end of the room. On the south side of the drawing room was the palm room, a sunny greenhouse-like area containing many potted flowering plants, as well as palms. Large doors on the south side of the palm room opened onto the outdoor terrace that overlooked the lawns and the city in the distance, to the south.

The dining room was also on the first floor, the room’s windows facing east to catch the morning light. It was relocated in the years ahead, and the former dining room became the library. The spacious kitchen was close to the dining room. It was bright and cheerful, unlike most kitchens in wealthy homes of the period, which were in the basement. To supplement the kitchen there was a pantry, scullery, storage space, and a large built-in icebox.   

The grand curved staircase in the entrance hall led to the second floor. There was an intimate sitting room at the top of the stairs (the Blue Room). The bedrooms on the second storey were spacious and well furnished.

The home greatly impressed the citizens of Toronto. Henry Scadding in his book “Toronto of Old,” published in 1873, wrote: “. . . before us to the north, on the ridge which bounds the view in the distance, we discern a large white object. This is Spadina House, from which the avenue into which Brocks Street passes takes its name.” 

In the years after Spadina was built, other wealthy families purchased property from James Austin to erect their own mansions. By 1889, only 40 acres remained of the land that had comprised the original Austin estate. In 1892, James Austin passed the title of Spadina and the land surrounding it to his son, Albert William Austin. James Austin passed away in 1897.

Albert and Mary continued to expand Spadina. An extension was added on the north side that contained a new dining room, its windows facing west. As mentioned, the former dining room became a library, but in reality it was employed as an extension of the drawing room. During this period, Albert and Mary added two more bedrooms, improved servants’ quarters, and constructed a circular driveway and new kitchen. One of the most impressive additions was a magnificent billiard room, designed by the popular 19th-century architect W.C. Vaux Chadwick. The room also possessed colourful murals by interior decorator Gustav Hahn, who pioneered Art Nouveau in Canada.

A beautiful and visually prominent canopy of handcrafted wrought iron and glass was erected over the main door. Referred to as a “porte-cochère,” it was designed by Carrere and Hastings. It protected guests and family members that arrived by vehicle from the weather. It is likely that at the same time the enclosed porch was added, and the main doorway relocated so that it faced west, rather than south.

Albert constructed a two-storey stucco garage in 1909, which contained a chauffeur’s residence on the second floor. In 1913 a greenhouse was added to the property, its entrance possessing a Gothic-style doorway. There were now 13 bedrooms, most of them for guests. The servants at Spadina were housed on the third floor, each having their own room, though they shared a toilet, bath and sitting room. By 1913, the house was complete and appeared much the same as it appears today.

Because the family was among the most prominent in the city, an invitation to dine at Spadina was highly coveted. During formal dinners in the 1920s, Mrs. Mary Austin (wife of Albert) always sat at the head of the table, nearest to the kitchen, permitting her to inspect the food when it appeared. A small foot-pedal under the table allowed her to summons the staff surreptitiously to remove empty dishes and to signal when the next course was to be served. Thus, she controlled the pacing of the meal.

After the dining ended, guests retired to the drawing room (parlour) on the opposite side of the entrance hall. The drawing room was where they discussed the news of the day, gossiped, or were entertained. When the family was alone, in the evenings, the smaller parlour (sitting room) on the second floor was likely employed for intimate family moments.

Eventually, Albert sold all of the land of the estate except for about 10 acres. A large portion was purchased by the City of Toronto for the construction of the St. Clair Reservoir. However, Spadina House remained in the possession of the Austin family until 1982. In this year, the house, most of its contents, and the remaining land were acquired through donation and purchase by the Ontario Heritage Foundation and the City of Toronto. This was arranged by Spadina’s last resident, Anna Kathleen Thompson, the daughter of Albert and Mary Austin. At the time, she was over 90 years of age. 

The home and grounds were restored by the City of Toronto and were opened to the public as a museum in 1984.

Sources for this article :http://www.biographi.ca/en/bio/austin_james_12E.html, 

https://theculturetrip.com › North America › Canada,

https://www.thestar.com › Life › Fashion & Style

DSCN2370

Sketch of Baldwin’s Spadina House, built in 1818. The drawing first appeared in the Evening Telegram series, “Landmarks of Toronto” in December 1888.

2nd Spadina

Sketch of the second Spadina House built in 1836. The drawing first appeared in the Evening Telegram series, “Landmarks of Toronto” in December 1888. 

1885, Spadina Collection

Spadina House in 1885, a view of the north and west facades. The porch on the west facade no longer exists and the third storey had not yet been built. Photo from the Spadina Collection.

image

North and west facades of Spadina House in 1898. Photo from the Spadina Collection.

1905, Spadina Collection

View of the south facade in 1905, before the third storey was added. Photo from the Spadina Collection.

Fonds 1244, Item 4135

View of Spadina House in 1915 from a tower of Casa Loma. By this year, the third storey of the house has been added. The camera is pointed to the northeast. Toronto Archives, F 1244, item 4135.

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View gazing to the northeast at the three-storey Spadina House in 1985. The palm room and veranda above it on the second storey face south. Toronto Public Library, tspa 0113049f

1988. drawing room  tspa_0113051f[1]

The drawing room (living room or parlour) of Spadina House in 1988, one of the white marble fireplaces visible at the far end of the room. The chandeliers of cut-glass, referred to as gasoliers (gas-run chandeliers), are still in working order. They hang from the 14-foot ceiling. The doorway on the far-left leads to the library, which was originally (in 1866) the dining room. Public Library tspa 0113051f. 

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View of the drawing room in 2018, the large window facing south. The doorway on the extreme right-hand side leads to the palm room.

dining room ceiling      dining room ceiling  2

(Left photo) Ornate crown moulding above the green wallpaper in the drawing room, and in the right-hand photo, one of the gasoliers (chandeliers) with a fancy plaster medallion above it.

palm room 2    palm room 3

The palm room on the south side of the house. It is accessed from the drawing room and on its south side are doors leading to the outdoor terrace.

grand staircase

Grand staircase in the entrance hall that gives access to the second floor. The doorway at the foot of the stairs leads to an enclosed sunlit porch that was added to the house c. 1905.

stuufed wolf, outside porch

One of the stuffed wolves in the enclosed porch. Behind it is where the south-facing doorway was located in 1866, prior to the porch being built.

 

                          DSCN2316

                   View of the grand staircase from the entrance hall.

image

The dining room in Spadina House, in an addition built by Albert and Mary. A large gas fireplace is at the far (north) end of the room. A thick red curtain covers the doorway where the servants entered to serve meals.

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                View of the grand staircase from the second floor.

upstairs blie room

   Second-storey sitting room (blue room) at the top of the grand staircase.

Mrs. Austin's bedroom  2

The bedroom of Mrs. Austin on the second floor level. Originally, Albert and Mary shared the same bedroom, but later, Albert slept in a separate bedroom.

kitchen 8

The kitchen on the ground floor, located beside the family’s formal dining room.

cupboard in kitchen

The kitchen cupboard containing products employed in preparing the meals for the family. 

wood stove kitchen   stoves, kitchen

(left) The wood stove in the kitchen that has gas burners atop it, and (right) a gas stove.

servant bedroom , 3rd floor

A servants bedroom on the third floor of Spadina House. The Austins had a household staff of five: a gardener, a chauffeur, two maids and a cook.

                     telephone cupboard

The small telephone room was in a former cupboard in the first-floor hallway. It was insulated with felt to muffle the voices of people who felt that they must shout into the device to make themselves heard. Many people today do the same thing when talking in public on their IPhones. On the table is a Toronto phone book from the 1920s.

Mrs. Austin's bathroom   

The Austin’s bathroom, which has a small gas burner to warm the shaving cream of the Austin men.

shaving cream warmer

     Small gas burner in the bathroom to warm men’s shaving cream.

bill. room 4

The billiard room on the ground floor, with a cork floor surrounding it to give the players better traction when playing.

1988.  billiard room  tspa_0113050f[1]

The billiard room in 1988, the cork floor around the table evident. Photo Toronto Public Library, tspa 0113050.

billard room 3

The billiard room, designed by the popular 19th-century architect W.C. Vaux Chadwick, the influence of the Art Nouveau movement evident. The murals on the upper portion of the walls depict birds, trees and a colourful sky. They were painted by interior decorator Gustav Hahn, who pioneered Art Nouveau in Canada. 

billard room

             The murals and stuffed animals in the billiard room.

built 1913

   Greenhouse with its Gothic-style entranceway, built in 1913.

garage     barn, then coach house, gardiner's cottage 1909

(Left photo) The garage with chauffer’s quarters on the second floor, built in 1909.  (right-hand photo) An outbuilding that was first a barn, then a coach house and finally, in 1909, renovated to create a cottage for the gardener.

image

View looking west from under the wrought iron and glass “porte-cochère” (canopy) designed by Carrere and Hastings. It protected guests and family members that arrived by vehicles from the weather.

DSCN1039

               The east facade (rear) of Spadina House in 2014.

To view the Home Page for this blog: https://tayloronhistory.wordpress.com/

For more information about the topics explored on this blog:

https://tayloronhistory.wordpress.com/2016/03/02/tayloronhistory-comcheck-it-out/

              Books by the Blog’s Author

               DSCN2207_thumb9_thumb2_thumb4_thumb_[2]  

“ Lost Toronto”—employing detailed archival photographs, this recaptures the city’s lost theatres, sporting venues, bars, restaurants and shops. This richly illustrated book brings some of Toronto’s most remarkable buildings and much-loved venues back to life. From the loss of John Strachan’s Bishop’s Palace in 1890 to the scrapping of the S. S. Cayuga in 1960 and the closure of the HMV Superstore in 2017, these pages cover more than 150 years of the city’s built heritage to reveal a Toronto that once was.

 

                         cid_E474E4F9-11FC-42C9-AAAD-1B66D852

Toronto’s Theatres and the Golden Age of the Silver Screen,” explores 50 of Toronto’s old theatres and contains over 80 archival photographs of the facades, marquees and interiors of the theatres. It relates anecdotes and stories by the author and others who experienced these grand old movie houses. To place an order for this book, published by History Press:

https://www.historypress.net/catalogue/bookstore/books/Toronto-Theatres-and-the-Golden-Age-of-the-Silver-Screen/9781626194502 .

Book also available in most book stores such as Chapter/Indigo, the Bell Lightbox and AGO Book Shop. It can also be ordered by phoning University of Toronto Press, Distribution: 416-667-7791 (ISBN 978.1.62619.450.2)

 

                  image_thumb6_thumb_thumb_thumb_thumb

“Toronto’s Movie Theatres of Yesteryear—Brought Back to Thrill You Again” explores 81 theatres. It contains over 125 archival photographs, with interesting anecdotes about these grand old theatres and their fascinating histories. Note: an article on this book was published in Toronto Life Magazine, October 2016 issue.

For a link to the article published by |Toronto Life Magazine: torontolife.com/…/photos-old-cinemas-dougtaylortoronto-local-movie-theatres-of-y…

The book is available at local book stores throughout Toronto or for a link to order this book: https://www.dundurn.com/books/Torontos-Local-Movie-Theatres-Yesteryear 

 

 Toronto: Then and Now®

“Toronto Then and Now,” published by Pavilion Press (London, England) explores 75 of the city’s heritage sites. It contains archival and modern photos that allow readers to compare scenes and discover how they have changed over the decades. Note: a review of this book was published in Spacing Magazine, October 2016. For a link to this review:

spacing.ca/toronto/2016/09/02/reading-list-toronto-then-and-now/

For further information on ordering this book, follow the link to Amazon.com  here  or contact the publisher directly by the link below:

http://www.ipgbook.com/toronto–then-and-now—products-9781910904077.php?page_id=21

 

 

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Church of the Holy Trinity, Toronto (history)

DSCN8344_thumb2

The Church of the Holy Trinity, located in Trinity Square in downtown Toronto, is located on the west side of today’s busy Eaton Centre.  When the church was built in 1847, Henry Scadding, author of “Toronto of Old” (published in 1873), stated that just ten years prior to its consecration, the land to the south of the church was “fields,” and to the north of the church were swamps and dense forest. The area where the church was eventually erected was referred to as Macaulay’s Fields, as it is where the Macaulay family had built their home.

The history of the Church of the Holy Trinity commenced when Bishop Strachan, who is today buried in St. James Cathedral on King Street East, received a donation of 5000 pounds sterling to build and maintain a church in Toronto. Conditions were attached to the funds—it was to be named the Church of the Holy Trinity, the seats were to be forever free and not designated for the use of a specific person. The terms also stipulated that 3000 pounds were to be spent on the building and 2000 pounds on an investment for the incumbent clergyman that would be appointed. The land for the church was donated by James Simcoe Macaulay. His house was relocated a short distance to the north to accommodate the site for the church.

Henry Scadding wrote in 1873 in “Toronto of Old” page 290: “The church with its twin towers, now seen in the middle space of Trinity Square, was a gift of benevolence to Western Canada in 1846 from two ladies, sisters. The personal character of Bishop Strachan was the attraction that drew the boon to Toronto.” Note: Scadding did not identify the names of the sisters.

Eric Arthur states in, “Toronto—No Mean City,” (page 84): “It was not until 1898 that the donor was known to be Mrs. Lambert Swale of Settle, near Ripon, in Yorkshire.” It was said that after visiting Toronto she was dismayed at the exclusive pew-holding system at St. James Cathedral. On her return to England, she arranged for the money to be sent to the city to build the Church of the Holy Trinity. During the years ahead, Mrs. Swale continued to support the church. The following is another quote from Eric Arthur’s book, “Toronto—No Mean City.”  “She provided silver sacramental plate for public use and smaller service for private ministrations, a large supply of fair linen, a covering of Genoa velvet for the altar, and surplice for the clergy.” (page 84)

Bishop Strachan hired Henry Bower Lane as the architect for Holy Trinity. He had designed a section of Osgoode Hall, as well as Little Trinity Church on King Street East. Henry Bower Lane had been a pupil of Sir Charles Barry, the designer of the Houses of Parliament at Westminster in London.

The Church of the Holy Trinity was constructed in the Gothic style, its interior in the cruciform plan, the altar visible regardless of where parishioners were seated. The structure’s facades were of yellow bricks from the Don Valley brickyards, and timbers were cut from the nearby forests. Its main entrance faced west, with an impressive Gothic doorway and a large window above it. Two towers were built on the northwest and southwest corners of the west facade. The slate tiles for the roof arrived in Canada as ballast in sailing ships.

Because the seating in Holy Trinity was free, the church had no funds from this source and was reliant on the endowment provided by Mrs. Swale. Bishop Strachan appointed his young chaplain, Henry Scadding, who was employed as a classics master at Upper Canada College, to be the church’s incumbent clergyman. Scadding remained its rector until 1875. He died in 1901.

When Holy Trinity was consecrated on October 27, 1847, Bishop Strachan invited poor families of the Church of England faith to make the new church their spiritual home. This was not an attempt to restrict the parishioners to those of humble means, but rather to fulfill the terms attached to the donation. It was the first church in Toronto to have free pews. At the time, most churches charged pew rental fees. The cost of a pew at St. James Cathedral was prohibitive for those lacking a sizeable income.

In 1849, a fire swept along King Street that severely damaged the church of St. James. While it was being rebuilt, many of the parishioners from St. James worshipped at Holy Trinity, including Lord Elgin, Governor General of the province of Canada. This ended in 1850, when the new St. James was consecrated.

From the mid 1800s, Holy Trinity was known as a church associated with the “Catholic Revival” in the Church of England, which sought inspiration from the Medieval days. It was viewed by some as a purer faith, as it applied more formality to the services than other churches. However, this was coupled with a  keen sense of social responsibility, a commitment that was intensified when the Rev. John Frank became rector in the 1930s.  It was he who introduced the pageant of the “Christmas Story,” a tradition that continues to this day.

When the $200 million Eaton Centre was originally planned, it encompassed 15 acres, which included the land where the church was located. The developers wished to demolish the church and include the land within the Centre. The congregation refused to sell, and the Eaton Centre was forced to build around the structure, thus preserving this historic church and two other building (Scadding House and the church rectory).

The Church of the Holy Trinity is today well recognized for its outreach program, which ministers to the needs of people in the inner city. It is a unique congregation with roots in Toronto’s past, but well aware of the people’s needs today.

Macaulay-estate-1845--pictures-r-564[2]

Map of 1845 depicts what is today Trinity Square. In that era, it was a section of the estate of The Hon. John Simcoe Macaulay, part of Park Lot #9, granted to him by Lieu. Governor Simcoe in 1797. The property was referred to as Macaulay’s Fields. The map shows the large house that he named Teraulay, a grand residence, even though he referred to it as his “country cottage.” The map shows the  gardens (that included an orchard), a poultry house, stables and wood shed. The map also reveals that a carriageway connected the house with Yonge Street, to the east. Jeremy Street was later renamed Louisa Street, which has disappeared from the city scene. The eastern part of it was absorbed into the Eaton Centre. Teraulay Street became Bay Street. Macaulay Fields became Trinity Square after the Church of the Holy Trinity was erected.

Teraulay Town, on the southwest corner of the map, eventually became essentially slums. They were demolished to allow the construction of the City Hall that opened in 1899. It is today the Old City Hall. The map is from the collection of the Toronto Public Library, r-5646.

1850--pictures-r-5381_thumb4

Sketch of the interior of Holy Trinity in 1850. Toronto Public Library, r-538.

1868--pictures-r-5052_thumb2

Nave and Sanctuary of the Church of the Holy Trinity in 1868. Toronto Public Library, r- 505.

1875.--pictures-r-4691_thumb2

The camera is pointed west toward Trinity Square from near Yonge Street, in 1875. The street was formerly the carriageway that connected Macaulay’s house (Teraulay) with Yonge Street. Church of the Holy Trinity is in Trinity Square, and on the right-hand side of the photo is the parsonage, residence of the minister of the church. Toronto Public Library, r- 469.

1884--pictures-r-5041_thumb2

The Church of the Holy Trinity in 1884. Toronto Public Library, r- 504.

1908.--constrc.-of-warehouses-in-frg

View of the south facade of Holy Trinity in 1908. In the foreground  workers are beginning construction of an Eaton’s warehouse. Toronto Public Library r 1461. 

1913--pictures-r-5361_thumb2

            Holy Trinity in 1913. Toronto Public Library r 536.

         1936-looking-east-to-Yonge-pictures-[1]

View looking east in 1936 at the carriageway that connects Trinity Square with Yonge Street. The building in the foreground is the rectory. To the east of it is Scadding House, the home of Dr. Henry Scadding, when it was on its original location. To build the Eaton Centre, Scadding House was moved 150 feet to the west. Toronto Archives r 5724.

         1972.-tspa_0110944f1_thumb3

View of Trinity Square in 1972, before construction of the Eaton Centre. The view looks east towards Yonge Street, where the marquee of the Imperial Theatre (now the Ed Mirvish) is visible. Behind the church is the Parochial Building (now demolished) and the Rectory. The large Eaton warehouse is to the south (right-hand) side of the image. Toronto Public Library, tspa 0110944. 

                               tspa_0109997 relocating Scadding House, 1974  [1]

Relocating Scadding House in 1974. Toronto Public Library, tspa 0109997.

1975-look-west-from-Queen-near-Louis[2]

This dramatic watercolour was painted in 1975, the view looking northwest from Queen Street West, near Louisa Street. It depicts the construction site for the Eaton Centre. Scadding House is on its present-day site, having been relocated 150 feet west from its original location. To the right of the church is the rectory. Eaton’s warehouses are in the background. Toronto Public Library, 977-51-1.

1987.--tspa_0110945f1_thumb2

Trinity Square in 1987, the Eaton Centre having been completed in 1979. Behind the church the roof of Scadding House is visible. To the left of the church is the rectory. On the far left (west) of the church is the immense parking garage of the Eaton Centre. Toronto Public Library, tspa 0110945.

 1987.  tspa_0110949f[1]_thumb[3]  DSCN8282

(left)The restored Scadding House in 1987, the rectory visible in the background. The Eaton Centre is to the immediate east of the house. Toronto Public Library, tspa 0110949. (right) Scadding House in 2013.

DSCN8289_thumb2  DSCN8290_thumb3

Facade of the Church, with its Gothic facade and twin towers in 2013.

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The Gothic doorway on the west side (left), and the stained-glass window above it (right).

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            Gothic windows, view from the interior of the church.

DSCN8334_thumb[3]

                                  Ceiling of the church in 2013.

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              Interior view of the Church of the Holy Trinity in 2013.

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The church today remains a quiet sanctuary in the heart of downtown Toronto.

Sources of In formation: Pamphlet provided to visitors to the Church of the Holy Trinity — Eric Arthur’s book, “Toronto—No Mean City,” University of Toronto Press, published 1964 — Henry Scadding, “Toronto of Old.” Oxford University Press, published 1873 — Frederick H. Armstrong, “Toronto,” produced in cooperation with the Toronto Historical Society, 1983.

To view the Home Page for this blog: https://tayloronhistory.wordpress.com/

For more information about the topics explored on this blog:

https://tayloronhistory.wordpress.com/2016/03/02/tayloronhistory-comcheck-it-out/

              Books by the Blog’s Author

               DSCN2207_thumb9_thumb2_thumb4_thumb  

“ Lost Toronto”—employing detailed archival photographs, this recaptures the city’s lost theatres, sporting venues, bars, restaurants and shops. This richly illustrated book brings some of Toronto’s most remarkable buildings and much-loved venues back to life. From the loss of John Strachan’s Bishop’s Palace in 1890 to the scrapping of the S. S. Cayuga in 1960 and the closure of the HMV Superstore in 2017, these pages cover more than 150 years of the city’s built heritage to reveal a Toronto that once was.

 

                         cid_E474E4F9-11FC-42C9-AAAD-1B66D852[2]

Toronto’s Theatres and the Golden Age of the Silver Screen,” explores 50 of Toronto’s old theatres and contains over 80 archival photographs of the facades, marquees and interiors of the theatres. It relates anecdotes and stories by the author and others who experienced these grand old movie houses. To place an order for this book, published by History Press:

https://www.historypress.net/catalogue/bookstore/books/Toronto-Theatres-and-the-Golden-Age-of-the-Silver-Screen/9781626194502 .

Book also available in most book stores such as Chapter/Indigo, the Bell Lightbox and AGO Book Shop. It can also be ordered by phoning University of Toronto Press, Distribution: 416-667-7791 (ISBN 978.1.62619.450.2)

 

                  image_thumb6_thumb_thumb_thumb_thumb[1]

“Toronto’s Movie Theatres of Yesteryear—Brought Back to Thrill You Again” explores 81 theatres. It contains over 125 archival photographs, with interesting anecdotes about these grand old theatres and their fascinating histories. Note: an article on this book was published in Toronto Life Magazine, October 2016 issue.

For a link to the article published by |Toronto Life Magazine: torontolife.com/…/photos-old-cinemas-dougtaylortoronto-local-movie-theatres-of-y…

The book is available at local book stores throughout Toronto or for a link to order this book: https://www.dundurn.com/books/Torontos-Local-Movie-Theatres-Yesteryear 

 

 Toronto: Then and Now®

“Toronto Then and Now,” published by Pavilion Press (London, England) explores 75 of the city’s heritage sites. It contains archival and modern photos that allow readers to compare scenes and discover how they have changed over the decades. Note: a review of this book was published in Spacing Magazine, October 2016. For a link to this review:

spacing.ca/toronto/2016/09/02/reading-list-toronto-then-and-now/

For further information on ordering this book, follow the link to Amazon.com  here  or contact the publisher directly by the link below:

http://www.ipgbook.com/toronto–then-and-now—products-9781910904077.php?page_id=21

 

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