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'Free from All Possibility of Historical Error': Orillia's Champlain

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'Free from All Possibility of Historical Error': Orillia's Champlain Document generated on 09/29/2021 2:26 a.m. Ontario History ’Free from all possibility of historical error’ Orillia’s Champlain Monument, French-English Relations, and Indigenous (Mis)Representations in Commemorative Sculpture Michael D. Stevenson Volume 109, Number 2, Fall 2017 Article abstract The 1925 unveiling of the Champlain monument in Orillia capped nearly three URI: https://id.erudit.org/iderudit/1041285ar decades of public commemoration of Samuel de Champlain’s explorations in DOI: https://doi.org/10.7202/1041285ar North America. Promoted tirelessly by local entrepreneur Charles Harold Hale and designed by English sculptor Vernon March, the monument was beset by See table of contents controversy, construction delays and cost overruns. Nonetheless, when completed, it was initially greeted with nearly unanimous international acclaim. Two overarching themes marked the monument. First, its backers sought to use Publisher(s) it to improve frayed relations between Ontario’s anglophone and Quebec’s francophone populations. Second, the monument’s design misrepresented the The Ontario Historical Society mutually beneficial relationship between Champlain and his Huron allies and promoted Eurocentric and colonial mentalities that marginalized the Indigenous ISSN contribution to the development of New France and Canada. While the first goal was largely unrealized, the second has resonated down to the present day. 0030-2953 (print) 2371-4654 (digital) Explore this journal Cite this article Stevenson, M. D. (2017). ’Free from all possibility of historical error’: Orillia’s Champlain Monument, French-English Relations, and Indigenous (Mis)Representations in Commemorative Sculpture. Ontario History, 109(2), 213–237. https://doi.org/10.7202/1041285ar Copyright © The Ontario Historical Society, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 213 ’Free from all possibility of historical error’ Orillia’s Champlain Monument, French-English Relations, and Indigenous (Mis)Representations in Commemorative Sculpture by Michael D. Stevenson n 1 July 1925, a jubilant crowd brought to Huronia’s Indigenous popu- estimated at more than 10,000 lation by Recollect friars and coureurs de persons thronged Couchich- bois. Representing the Dominion gov- Oing Beach Park in the town of Orillia, ernment, Rodolphe Lemieux, the Speak- Ontario, to witness the unveiling of the er of the House of Commons, addressed Samuel de Champlain monument cele- the festive audience and lauded the na- brating the French explorer’s visit to Hu- tion-building initiatives inaugurated by ronia in 1615-1616. Designed by famed French pioneers that resonated into the sculptor Vernon March and standing twentieth century: thirty-six feet in height, the monument ey planted here a new society in the featured a twelve-foot bronze of a swash- principles of the purest religion; they sub- buckling Champlain standing atop an dued the wilderness before them; they built temples to the true God where formerly had imposing stone pedestal, with two side ascended the smoke of idolatrous sacrices; bronze groupings titled “Christianity” they broke the rst sod where now extend and “Commerce” emphasizing the as- elds and gardens, and stretching over the sumed spiritual and economic benets hills and valleys which had never until then Ontario History / Volume CIX, No. 1 / Autumn 2017 OH inside pages autumn 2017.indd213 213 2017-08-22 9:13:22 PM 214 ONTARIO HISTORY been reclaimed, can now be seen in the autumn, the waving of golden harvests. Abstract From the farms, the factories, the vil- lages, the cities, the resides scattered in 1925 uneiling of the Champlain monument e Ontario and uebec is raised the joyous in Orillia capped nearly three decades of public com- murmur of wealth, agricultural, indus- memoration of Samuel de Champlain’s explorations 1 in North America. Promoted tirelessly by local entre- trial, and commercial. preneur Charles Harold Hale and designed by Eng- e 1925 celebration in Oril- lish sculptor Vernon March, the monument was beset by controersy, construction delays and cost overruns. lia capped nearly three decades Nonetheless, when completed, it was initially greeted of public commemoration recog- with nearly unanimous international acclaim. Two nizing Champlain’s explorations overarching themes marked the monument. First, its in North America, with major backers sought to use it to improe ayed relations be- monuments of the French voyager tween Ontario’s anglophone and Quebec’s ancophone populations. Second, the monument’s design misrep- unveiled in uebec City (1898), resented the mutually benecial relationship between Saint John (1910), and Ottawa Champlain and his Huron allies and promoted Eu- (1915). ese tributes were also rocentric and colonial mentalities that marginalized part of a broader impulse to com- the Indigenous contribution to the development of New France and Canada. While the rst goal was memorate signicant events in the largely unrealized, the second has resonated down to history of Canada and the British the present day. Empire, and the period from the 1890s to the 1930s represented the Résumé: En 1925 à Orillia, le dévoilement du golden age of monument build- monument de Champlain avait été le point culmi- ing and public remembrance of nant de commémorations publiques de l’exploration events such as the diamond ju- de l’Amérique du Nord par Samuel de Champlain. bilee of ueen Victoria in 1897, Promu sans relâche par l’entrepreneur local Charles Harold Hale et conçu par le sculpteur anglais Vernon the South African War, uebec’s March, ce monument fut proie à des controerses, des tercentenary in 1908, and the First délais de construction et des dépassements de coûts. World War. e many scholarly ac- Néanmoins, une fois complété, il fut reconnu sur la counts of these commemorations scène internationale. Deux thèmes principaux cara- ctérisaient ce monument. Premièrement, ses fonda- and monument constructions in- teurs oulaient l’utiliser pour améliorer les relations clude several of the most highly entre les populations anglophones de l’Ontario et regarded studies published in the ancophones du Québec. Deuxièmement, la concep- elds of Canadian social and cul- tion du monument n’avait pas bien représenté la re- lation mutuellement bénéque entre Champlain and tural history, among them H.V. ses alliés Hurons et avançait une mentalité coloniale Nelles’ e Art of Nation Building et eurocentrique qui minimalisait la contribution in- and Jonathan Vance’s Death So No- digène au développement de la Nouvelle France et du Canada. Si le premier objectif a échoué, le second en 1 “Mr. Lemieux’s Oration at the Un- revanche résonne jusqu’à nos jours. veiling,” Orillia Packet, 2 July 1925. 2 H.V. Nelles, e Art of Nation-Build- ing: Pageantry and Spectacle at Quebec’s OH inside pages autumn 2017.indd214 214 2017-08-22 9:13:22 PM orillia’s champlain monument 215 ble.2 Yet the Champlain monument in torical representation of Indigenous Orillia remains virtually ignored in this populations. ese representations have otherwise rich historiography—which frequently portrayed First Nations in a also extends to cover monument build- subservient or diminished role. Vivien ing in most industrial societies3—despite Green Fryd, for example, describes the its impressive cost and scale, its national Native American in Benjamin West’s and international reception, and its suc- Death of General Wolfe as combining cessful placement in a small Ontario “masculine power with feminine weak- town seemingly unsuited to host such a ness, underscoring both his strength major commemorative marker.4 A com- and his subservience to British power. prehensive examination of the history of By rendering the Indian as naked and Orillia’s Champlain monument provides vulnerable in his seated pose, West di- critical insight into the role of local entre- minished his threat and placed him in a preneurs in fostering civic pride, the part secondary position, as a tributary to the played by external events in dictating the British forces during the French and In- pace of the monument’s construction, dian War.”5 Artists and sculptors them- and the long-term signicance of his- selves frequently emphasized their intent torical memorials in fostering a distinct to denigrate Indigenous peoples in their municipal identity in Canada during the work. In his written interpretation of twentieth century. the Canadian Nurses’ Association War Perhaps the most illuminating issue Memorial in Ottawa unveiled in 1926, in the examination of the Champlain for example, sculptor George William monument in Orillia concerns the his- Hill described the “noble sisters” who Tercentenary (Toronto: University of Toronto Press, 1999), and Jonathan Vance, Death So Noble: Memory, Meaning, and the First World War (Vancouver: UBC Press, 1997). See also James Opp and John C. Walsh, eds., Placing Memory and Remembering Place in Canada (Vancouver: UBC Press, 2010); Phillip Buckner and John G. Reid, eds., Remembering 1759: e Conquest of Canada in Historical Memory (Toronto: Univer- sity of Toronto Press, 2012); Cecilia Morgan, Creating Colonial Pasts: History, Memory, and Commemoration in Southern Ontario, 1860-1980 (Toronto: University of Toronto Press, 2015); and Greg Marquis, “Cel- ebrating Champlain in the Loyalist City: Saint John, 1904-10,” Acadiensis, 33:2 (2004), 27-43. 3 See David Gobel and Daves Rossell, eds., Commemoration in America: Essays on Monuments, Me- morialization, and Memory (Charlottesville: University of Virginia Press, 2013); Rachel Tsang and Eric Taylor Woods, eds., e Cultural Politics of Nationalism and Nation-Building (New York: Routledge, 2014); Stefan Berger and Bill Niven, eds., Writing the History of Memory (New York: Bloomsbury, 2014); John R.
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