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The Trent system of lakes, rivers, and canals occupies a considerable part of the counties of Hastings, Durham, Northumberland, Peterborough, Haliburton, and Victoria, in the province of Ontario. This volume of documents, records, and early writings covers the discovery and settlement of the valley, development and decline of the lumber trade, the Trent Canal and community life, and is abundantly illustrated in gravure and line from source materials. The Times Literary Supplement says of this first volume that is "raised high hopes of an important contribution to Canadian social and economic history." British Book News says that the "excerpts from manuscripts, newspapers, old and rare books and pamphlets, with the excellent contemporary illustrations, give a vivid and valuable account of early life in this interesting area."
Canada's leaders were key participants. Governor-generals, from Sir Guy Carleton, who ordered the first survey, to Lord Syndenham, who cancelled construction in 1841, were intimately involved in the project. For nearly a century every prime minister, from Francis Hincks, who tried to sell the decaying locks and dams, through John A. Macdonald, who revived the scheme, to Robert Borden, who finally completed it, was caught up in this most persistent public project. But the most important participants were countless little-known Canadians who, for one reason or another, promoted the scheme and doggedly pushed it to a conclusion. This is their story.
These biographies of Canadians are arranged chronologically by date of death. Entries in each volume are listed alphabetically, with bibliographies of source material and an index to names.
In this lavishly illustrated new book, the author of Early Life in Upper Canada and other famous histories of pioneer days, relates the story of the Canadian farm and farmer from the primitive to the machine age. Farm life and farm processes are pictured in fascinating detail, and Mr. Guillet quotes generously from books, newspapers, letters and hitherto unpublished archives material, using the words of those who actually witnessed the life of other days–the pioneers themselves, or the more observant of the numerous travellers who visited Canada during the period. The 450 illustrations contained in the two volumes of this work include many never before reproduced. A detailed list of contents and a full index enable the reader to find readily any topic of pioneer life to which he wishes to refer.
Winner of The Ontario Historical Society’s Fred Landon Award for Best Regional History. With 300 photos and 11 maps. A work of unexpected delights and surprises: here is a one-of-a-kind guidebook that pinpoints the best of Ontario’s architectural heritage in its most charming towns, offers tantalizing and informative details of provincial history, indulges the near universal vice of real-estate voyeurism, and beckons even the most reluctant to physical exercise. Katherine Ashenburg is our knowledgeable and charmingly opinionated companion on walking tours of ten small (populations 1000 to 27,000) Ontario communities that provide a rewarding variety of domestic and public architecture in a walkable compass. Each tour begins with a brief historical sketch of the town, then, with the aid of a detailed map, guides the reader/walker to some 60 sites over a leisurely but carefully plotted two-and-a-half to three-and-a-half hour stroll. We visit churches and jails, libraries and town halls, theatres and factories, and all manner of houses - homes of startling grandiosity and humble integrity. We become conversant with belvederes and ogee arches, Flemish bond and board and batten, at ease with Regency and Queen Anne, Italianate and Romanesque. And along the way, Ashenburg reveals the town’s true personality, its distinctive architectural styles, forms and materials, and the genius, ambition, and vanities of its founders and builders. Every town - Perth, Picton, Cobourg, St. Mary’s, Niagara-on-the-Lake, Merrickville, Port Hope, Paris, Stratford and Goderich - is a day’s excursion from Toronto by a car or public transit; most are day-trips from either Ottawa or London. Over 300 black and white photographs capture the highlights; 11 maps show the way. For easy reference, there is a helpful, illustrated Guide to Historical Styles and an exhaustive Glossary of Architectural terms - everything from Apse to Voussoir.
During her history, the steamboat Kingston survived wrecks and fires, until finally being sunk near one of Kingstons ship graveyards in 1930. This book tells her story.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
In 1860, Queen Victoria sent her eighteen-year-old son, Albert Edward, Prince of Wales, on a goodwill mission to Canada and the United States. The young heir-apparent (later King Edward VII) had not yet gained his reputation as a fashion setter and rake, but he nevertheless attracted enormous crowds both in Canada, where it was the first royal visit, and in the United States. Civic leaders hosted the visitor in princely style, decorating their towns with triumphal arches and organizing royal entries, public processions, openings, and grand balls. In Royal Spectacle, Ian Radforth recreates these displays of civic pride by making use of the many public and private accounts of them, and he analyses the heated controversies the visit provoked. When communities rushed to honour the prince and put themselves on display, social divisions inadvertently became part of the spectacle seen by the prince and described by visiting journalists. Street theatre reached a climax in Kingston, where the Prince of Wales could not disembark from his steamer because of the defiance of thousands of Orangemen dressed in their brilliant regalia and waiving their banners. Contemporary depictions of the tour provide an opportunity to interpret the cultural values and social differences that shaped Canada during the Confederation decade and the United States on the eve of the Civil War. Topics explored include Orange-Green conflict, First Nations and the politics of public display, contested representations of race and gender, the tourist gaze, and meanings of crown and empire. An original and erudite study, Royal Spectacle contributes greatly to historical research on public spectacle, colonial and national identities, Britishness in the Atlantic world, and the history of the monarchy.
" She was homely, overweight, and over the hill, but there was a time when Marie Dressler outdrew such cinema sex symbols as Garbo, Dietrich, and Harlow. To movie audiences suffering the hardships of the Great Depression, she was Everywoman, and in the early 1930s her charming mixture of pathos and comedy packed movie theaters everywhere. In the early days of the century, Dressler was constantly in the headlines. She took up the cause of the "ponies" in the chorus lines, earning them better pay and benefits. She played in productions organized to raise money for the women's suffrage movement. And during World War I she claimed she sold more liberty bonds than any other individual in the United States. Dressler was an astute observer of public mood and taste. When she was lucky enough to find work in the newly minted Hollywood talkies, she grabbed the brass ring with fierce enthusiasm, even making three films in the year before her death, when she was so sick she had to rest between scenes on a sofa just out of camera range. The two-hundred-pound actress's remarkable stage presence captivated audiences even though her roles were not Hollywood beauties. She played tough, practical characters such as the old wharf rat in Anna Christie (1930), the waterfront innkeeper in Min and Bill (1931) -- for which she won the Academy Award for best actress -- the aging housekeeper in Emma (1932), and the title role in Tugboat Annie (1933). She spoke honestly to her audiences, and troubled people in the comforting darkness of the Depression-era movie theaters embraced her as one of themselves.