A guide to the Charlottetown of William and Robert Harris /

A guide to the Charlottetown of William and Robert Harris /

Charlottetown (P.E.I.) History.

Charlottetown (P.E.I.) History.

Charlottetown

Robert Harris, 1849 - 1919, left, and his brother, William C. Harris, jr., 1854 - 1913, above, came to Prince Edward Island as small children in an Anglo- Welsh immigrant family in 1856. Today Charlottetown has important collections of Robert's paintings of people and landscapes, and is rich in churches, private homes, public buildings and business blocks designed by William. This little book will tell you what there is to see, and where to find it

Robert Harris, 1849 - 1919, left, and his brother, William C. Harris, jr., 1854 - 1913, above, came to Prince Edward Island as small children in an Anglo- Welsh immigrant family in 1856. Today Charlottetown has important collections of Robert's paintings of people and landscapes, and is rich in churches, private homes, public buildings and business blocks designed by William. This little book will tell you what there is to see, and where to find it

the Charlottetown of

A Guide to the Charlottetown of William and Robert Harris

Books, , Charlottetown, Prince Edward Island, CIA 2X6 Email rtuck@isn.net 902-628-1955

Books, , Charlottetown, Prince Edward Island, CIA 2X6 Email rtuck@isn.net 902-628-1955

Design, Production & Printing: Books Binding: Irwin Print, Charlottetown.

The Charlottetown of Robert and William Harris

Quite often I am asked to give a talk on William Harris, or take a group on a walk about Charlottetown to see the buildings he designed. This little book is the outcome of these invitations. It is brief enough to be read in an hour, and small enough to fit in your pocket as you explore the old town.

You will notice that the subject of this book is the Charlottetown not only of architect William Harris, but also of his brother, portrait painter and landscape artist Robert Harris. Robert's Charlottetown is not as obvious as William's, but it is there nevertheless, not only in the paintings in All Souls' Chapel and in the Confederation Centre Art Gallery and Museum Permanent Collection, but also in Province House and Fanning Bank, the Lieutenant Governor's mansion. There are always Robert Harris paintings from the Permanent Collection in these government buildings; and there are others in private collections in Charlottetown and elsewhere in Prince Edward Island

You will notice that the subject of this book is the Charlottetown not only of architect William Harris, but also of his brother, portrait painter and landscape artist Robert Harris. Robert's Charlottetown is not as obvious as William's, but it is there nevertheless, not only in the paintings in All Souls' Chapel and in the Confederation Centre Art Gallery and Museum Permanent Collection, but also in Province House and Fanning Bank, the Lieutenant Governor's mansion. There are always Robert Harris paintings from the Permanent Collection in these government buildings; and there are others in private collections in Charlottetown and elsewhere in Prince Edward Island

You will notice that the subject of this book is the Charlottetown not only of architect William Harris, but also of his brother, portrait painter and landscape artist Robert Harris. Robert's Charlottetown is not as obvious as William's, but it is there nevertheless, not only in the paintings in All Souls' Chapel and in the Confederation Centre Art Gallery and Museum Permanent Collection, but also in Province House and Fanning Bank, the Lieutenant Governor's mansion. There are always Robert Harris paintings from the Permanent Collection in these government buildings; and there are others in private collections in Charlottetown and elsewhere in Prince Edward Island

You will notice that the subject of this book is the Charlottetown not only of architect William Harris, but also of his brother, portrait painter and landscape artist Robert Harris. Robert's Charlottetown is not as obvious as William's, but it is there nevertheless, not only in the paintings in All Souls' Chapel and in the Confederation Centre Art Gallery and Museum Permanent Collection, but also in Province House and Fanning Bank, the Lieutenant Governor's mansion. There are always Robert Harris paintings from the Permanent Collection in these government buildings; and there are others in private collections in Charlottetown and elsewhere in Prince Edward Island

Also part of Robert and William Harris's Charlottetown are the houses in which they lived as children, growing up in an immigrant family in the 1850s and 1860s. Their parents, W. Critchlow and Sarah Stretch Harris, lived in no fewer than 14 different houses following their arrival in Charlottetown from Liverpool on the barque Isabel on October 10, 1856. Several of these houses are still standing, and you will find pictures of them in an appendix.

Also part of Robert and William Harris's Charlottetown are the houses in which they lived as children, growing up in an immigrant family in the 1850s and 1860s. Their parents, W. Critchlow and Sarah Stretch Harris, lived in no fewer than 14 different houses following their arrival in Charlottetown from Liverpool on the barque Isabel on October 10, 1856. Several of these houses are still standing, and you will find pictures of them in an appendix.

Robert C. Tuck, Charlottetown, July 1, 1997

Robert Harris financed his first formal art studies in Boston, Massachusetts, in the early 1870s by painting portraits of prominent

citizens and politicians at home in Prince Edward Island. Each commision paid him $25 to $30 - when he was able to collect it. Today several of these portraits hang in the Legislative Chamber of the Provincial Building in Charlottetown (left),

citizens and politicians at home in Prince Edward Island. Each commision paid him $25 to $30 - when he was able to collect it. Today several of these portraits hang in the Legislative Chamber of the Provincial Building in Charlottetown (left),

including that of Cornelius Howatt (below right), notable as an opponent of Prince Edward Island's entry into Confederation, and Edward Whelan, a fearless journalist and opponent of the land ownership system that hobbled the development of the Island in Colonial days. Other Robert Harris paintings, as for example Comrades (below left), presently hanging in the Speaker's suite, are on loan to Province House from the Permanent Collection at the Confederation Centre of the Arts Gallery and Museum.

3. Charlottetown through Harris Eyes

Some of the best visual recordings of early Charlottetown come from the hand of Robert Harris. The watercolour sketch of the city (below) dates from about 1869, and shows the timber spires of St.

Dunstan's Cathedral, . Paul's Parish Church, and the Kirk of . James (all three have since been replaced by stone buildings). As a teenager Robert Harris was employed by surveyor Henry Cundall, and a carefully drawn map of the city dates from this period. These and other pencil and watercolour drawings of Charlottetown, as well as later oil paintings of the city by Robert, form part of the Permanent Collection at the Confederation Centre Art Gallery and Museum, and are often on show in the Gallery. In the 1880s and 1890s Ned Harris, the younger brother of Robert and William, who was born in Charlottetown in 1861, took photographs of Charlottetown. The picture (right) of the children of Tom and Henrietta \ 4

Dunstan's Cathedral, . Paul's Parish Church, and the Kirk of . James (all three have since been replaced by stone buildings). As a teenager Robert Harris was employed by surveyor Henry Cundall, and a carefully drawn map of the city dates from this period. These and other pencil and watercolour drawings of Charlottetown, as well as later oil paintings of the city by Robert, form part of the Permanent Collection at the Confederation Centre Art Gallery and Museum, and are often on show in the Gallery. In the 1880s and 1890s Ned Harris, the younger brother of Robert and William, who was born in Charlottetown in 1861, took photographs of Charlottetown. The picture (right) of the children of Tom and Henrietta \ 4

Dunstan's Cathedral, . Paul's Parish Church, and the Kirk of . James (all three have since been replaced by stone buildings). As a teenager Robert Harris was employed by surveyor Henry Cundall, and a carefully drawn map of the city dates from this period. These and other pencil and watercolour drawings of Charlottetown, as well as later oil paintings of the city by Robert, form part of the Permanent Collection at the Confederation Centre Art Gallery and Museum, and are often on show in the Gallery. In the 1880s and 1890s Ned Harris, the younger brother of Robert and William, who was born in Charlottetown in 1861, took photographs of Charlottetown. The picture (right) of the children of Tom and Henrietta \ 4

playing with some friends in the front yard of Villa (see page 18), is reproduced from an old print made on blue paper from Ned's camera. In the background is the steeple of the Kirk of . James (left), and on the right the roof of St. Peter's Cathedral.

In February, 1884, fire destroyed the Charlottetown post office on Queen's Square, and a row of wooden shops across from it on . At this time William Harris was in Winnipeg, but he returned immediately to Charlottetown at the prospect of work. was rebuilt in brick. Two of the new buildings were designed by Harris: the Cameron block (above), and the Newson Block (below). The Cameron block is unique among Harris's designs in that its front elevation is symmetrical.

In February, 1884, fire destroyed the Charlottetown post office on Queen's Square, and a row of wooden shops across from it on . At this time William Harris was in Winnipeg, but he returned immediately to Charlottetown at the prospect of work. was rebuilt in brick. Two of the new buildings were designed by Harris: the Cameron block (above), and the Newson Block (below). The Cameron block is unique among Harris's designs in that its front elevation is symmetrical.

Terrible fires that wiped out timber-built town cores in the Maritime Provinces were common before the First World War - Digby, Windsor, and Summerside were all devastated. Before the ruins had cooled, the towns were descended upon by architects looking for work. Some fine buildings of brick ensued, none better anywhere than those in "".

The DesBrisay block (below), at the corner of Grafton and Queen streets, was built in 1901 to plans drawn by William Harris^ and features the multi-coloured brickwork popularised by the English architect William Butterfield. The brick was imported from Ontario.

Architecturally, it is one of the finest buildings of its kind in . Both William Harris and his older brother Tom had offices in the building On the morning of February 2, 1904, Tom was found lying on the floor of his office with his doorkey in his hand, dead of a heart attack just after arriving at work. For many years Hughes drug store, reputed to be the oldest in Canada, occupied the ground floor of the building. All that's left of the drugstore is some elaborate oak wood work carved by James A Stewart. The brickwork was cleaned recently, and the building presents an attractive appearance appropriate to the premier corner of Charlottetown.

Architecturally, it is one of the finest buildings of its kind in . Both William Harris and his older brother Tom had offices in the building On the morning of February 2, 1904, Tom was found lying on the floor of his office with his doorkey in his hand, dead of a heart attack just after arriving at work. For many years Hughes drug store, reputed to be the oldest in Canada, occupied the ground floor of the building. All that's left of the drugstore is some elaborate oak wood work carved by James A Stewart. The brickwork was cleaned recently, and the building presents an attractive appearance appropriate to the premier corner of Charlottetown.

The Owen Connolly building (right) at , erected in 1889 two years after Mr. Connolly's death by the trustees of his estate, on the other hand remains uncleaned. The black grime on its rough hewn Island and Nova Scotia stone facade is a relic of days gone by when Charlottetown was largely heated by coal fires in open grates. The exterior of the building is mostly unspoiled including the passageway on the left that admitted horse-drawn carts to the yard at the back. A massive parapet supports a bust of Mr. Connolly carved by Howard Ramsay.

The Owen Connolly building (right) at , erected in 1889 two years after Mr. Connolly's death by the trustees of his estate, on the other hand remains uncleaned. The black grime on its rough hewn Island and Nova Scotia stone facade is a relic of days gone by when Charlottetown was largely heated by coal fires in open grates. The exterior of the building is mostly unspoiled including the passageway on the left that admitted horse-drawn carts to the yard at the back. A massive parapet supports a bust of Mr. Connolly carved by Howard Ramsay.

In 1886 William Harris designed his most elaborately ornamented house (below, left) for the widow of the Reverend John MacLennan, who had been minister to the Selkirk settlers at St. John's Presbyterian

Church, Belfast, east of Charlottetown. It still stands at , substantially intact, but now divided into apartments that have necessitated some minor changes. The house is a cookie cutter's dream - or nightmare - adorned with fretwork rabbits, foxes and squirrels. The bargeboards are a riot of quatrefoils. Gingerbread trim is everywhere. In keeping with the canons of the Queen Anne Style, the elevations are non¬ symmetrical, and each differs from the others. In the 1880s Harris provided most of his houses with veranda-like side entrances, surmounted by open balconies on the second floor. Those on the MacLennan house have been walled in to make some of the apartments larger.

Church, Belfast, east of Charlottetown. It still stands at , substantially intact, but now divided into apartments that have necessitated some minor changes. The house is a cookie cutter's dream - or nightmare - adorned with fretwork rabbits, foxes and squirrels. The bargeboards are a riot of quatrefoils. Gingerbread trim is everywhere. In keeping with the canons of the Queen Anne Style, the elevations are non¬ symmetrical, and each differs from the others. In the 1880s Harris provided most of his houses with veranda-like side entrances, surmounted by open balconies on the second floor. Those on the MacLennan house have been walled in to make some of the apartments larger.

When the Presbyterian Kirk of . James was being built in 1877 W. Critchlow Harris, the father of Robert and William, observed in a letter that "the new Kirk will be the A-l building of Charlottetown." In many respects it still is. The design of the building has always been attributed to David Stirling, William Harris's master, who in 1877 came to Charlottetown from Halifax, and formed a partnership with his 23 year old protege. He had been awarded the commission to design the new Falconwood Asylum, built that same year on the shores of the Hillsborough River near Charlottetown. Certainly, the Kirk bears a resemblance in some respects to other Stirling churches, such as and . David's churches in Halifax, the Hensley Memorial Chapel in Windsor, Nova Scotia - and even the nearby St. Peter's Cathedral, which almost certainly was designed by Stirling in 1869. However, the Kirk is included in a list of Harris's churches published in his obituary notice in 1913. Be that as it may, there is no doubt about the ceiling and the pews being Harris's work. They were installed following a fire about 1900. A possible clue to further evidence of Harris's hand in the Kirk is the Perpendicular or Tudor Style window incorporated in the wall on the north side of the building - a Harris signature throughout his career.

When the Presbyterian Kirk of . James was being built in 1877 W. Critchlow Harris, the father of Robert and William, observed in a letter that "the new Kirk will be the A-l building of Charlottetown." In many respects it still is. The design of the building has always been attributed to David Stirling, William Harris's master, who in 1877 came to Charlottetown from Halifax, and formed a partnership with his 23 year old protege. He had been awarded the commission to design the new Falconwood Asylum, built that same year on the shores of the Hillsborough River near Charlottetown. Certainly, the Kirk bears a resemblance in some respects to other Stirling churches, such as and . David's churches in Halifax, the Hensley Memorial Chapel in Windsor, Nova Scotia - and even the nearby St. Peter's Cathedral, which almost certainly was designed by Stirling in 1869. However, the Kirk is included in a list of Harris's churches published in his obituary notice in 1913. Be that as it may, there is no doubt about the ceiling and the pews being Harris's work. They were installed following a fire about 1900. A possible clue to further evidence of Harris's hand in the Kirk is the Perpendicular or Tudor Style window incorporated in the wall on the north side of the building - a Harris signature throughout his career.

When the Presbyterian Kirk of . James was being built in 1877 W. Critchlow Harris, the father of Robert and William, observed in a letter that "the new Kirk will be the A-l building of Charlottetown." In many respects it still is. The design of the building has always been attributed to David Stirling, William Harris's master, who in 1877 came to Charlottetown from Halifax, and formed a partnership with his 23 year old protege. He had been awarded the commission to design the new Falconwood Asylum, built that same year on the shores of the Hillsborough River near Charlottetown. Certainly, the Kirk bears a resemblance in some respects to other Stirling churches, such as and . David's churches in Halifax, the Hensley Memorial Chapel in Windsor, Nova Scotia - and even the nearby St. Peter's Cathedral, which almost certainly was designed by Stirling in 1869. However, the Kirk is included in a list of Harris's churches published in his obituary notice in 1913. Be that as it may, there is no doubt about the ceiling and the pews being Harris's work. They were installed following a fire about 1900. A possible clue to further evidence of Harris's hand in the Kirk is the Perpendicular or Tudor Style window incorporated in the wall on the north side of the building - a Harris signature throughout his career.

When the Presbyterian Kirk of . James was being built in 1877 W. Critchlow Harris, the father of Robert and William, observed in a letter that "the new Kirk will be the A-l building of Charlottetown." In many respects it still is. The design of the building has always been attributed to David Stirling, William Harris's master, who in 1877 came to Charlottetown from Halifax, and formed a partnership with his 23 year old protege. He had been awarded the commission to design the new Falconwood Asylum, built that same year on the shores of the Hillsborough River near Charlottetown. Certainly, the Kirk bears a resemblance in some respects to other Stirling churches, such as and . David's churches in Halifax, the Hensley Memorial Chapel in Windsor, Nova Scotia - and even the nearby St. Peter's Cathedral, which almost certainly was designed by Stirling in 1869. However, the Kirk is included in a list of Harris's churches published in his obituary notice in 1913. Be that as it may, there is no doubt about the ceiling and the pews being Harris's work. They were installed following a fire about 1900. A possible clue to further evidence of Harris's hand in the Kirk is the Perpendicular or Tudor Style window incorporated in the wall on the north side of the building - a Harris signature throughout his career.

When the Presbyterian Kirk of . James was being built in 1877 W. Critchlow Harris, the father of Robert and William, observed in a letter that "the new Kirk will be the A-l building of Charlottetown." In many respects it still is. The design of the building has always been attributed to David Stirling, William Harris's master, who in 1877 came to Charlottetown from Halifax, and formed a partnership with his 23 year old protege. He had been awarded the commission to design the new Falconwood Asylum, built that same year on the shores of the Hillsborough River near Charlottetown. Certainly, the Kirk bears a resemblance in some respects to other Stirling churches, such as and . David's churches in Halifax, the Hensley Memorial Chapel in Windsor, Nova Scotia - and even the nearby St. Peter's Cathedral, which almost certainly was designed by Stirling in 1869. However, the Kirk is included in a list of Harris's churches published in his obituary notice in 1913. Be that as it may, there is no doubt about the ceiling and the pews being Harris's work. They were installed following a fire about 1900. A possible clue to further evidence of Harris's hand in the Kirk is the Perpendicular or Tudor Style window incorporated in the wall on the north side of the building - a Harris signature throughout his career.

In 1880 William A. Weeks of Charlottetown built himself a new house in fashionable French style on to plans drawn by William Harris (below). It had 16 rooms and a curved staircase

in 1895. William Weeks' house is on the far right. The spire of the Kirk is in the centre, and St. Peter's Cathedral, with a wooden front, is on the left. The original plan for St. Peter's called for a steeple on the corner. It was never built.

in 1895. William Weeks' house is on the far right. The spire of the Kirk is in the centre, and St. Peter's Cathedral, with a wooden front, is on the left. The original plan for St. Peter's called for a steeple on the corner. It was never built.

In 1869 a new "chapel-of-ease" was opened on for the convenience of poor people who lived at "The Bog" in west end Charlottetown and couldn't afford the pew rents at . Paul's Parish Church on . The Harris family transferred their attendance to the new Church, which was dedicated to St. Peter, and William was a member of the first class confirmed in it that year. In 1879 it was made the Anglican Cathedral on the Island by the Right Reverend Hibbert Binney, who, as Bishop of Nova Scotia, had, by his letters patent from the Crown, episcopal jurisdiction in Prince Edward Island. This removed it from the control of the Rector of Charlotte, a "low" churchman opposed to the Anglo-Catholic practices desired by many young people, as well as by the Bishop himself. The consequence was the development of a strong liturgical, musical and artistic tradition at St. Peter's, which flourishes to this day.

In 1869 a new "chapel-of-ease" was opened on for the convenience of poor people who lived at "The Bog" in west end Charlottetown and couldn't afford the pew rents at . Paul's Parish Church on . The Harris family transferred their attendance to the new Church, which was dedicated to St. Peter, and William was a member of the first class confirmed in it that year. In 1879 it was made the Anglican Cathedral on the Island by the Right Reverend Hibbert Binney, who, as Bishop of Nova Scotia, had, by his letters patent from the Crown, episcopal jurisdiction in Prince Edward Island. This removed it from the control of the Rector of Charlotte, a "low" churchman opposed to the Anglo-Catholic practices desired by many young people, as well as by the Bishop himself. The consequence was the development of a strong liturgical, musical and artistic tradition at St. Peter's, which flourishes to this day.

In 1869 a new "chapel-of-ease" was opened on for the convenience of poor people who lived at "The Bog" in west end Charlottetown and couldn't afford the pew rents at . Paul's Parish Church on . The Harris family transferred their attendance to the new Church, which was dedicated to St. Peter, and William was a member of the first class confirmed in it that year. In 1879 it was made the Anglican Cathedral on the Island by the Right Reverend Hibbert Binney, who, as Bishop of Nova Scotia, had, by his letters patent from the Crown, episcopal jurisdiction in Prince Edward Island. This removed it from the control of the Rector of Charlotte, a "low" churchman opposed to the Anglo-Catholic practices desired by many young people, as well as by the Bishop himself. The consequence was the development of a strong liturgical, musical and artistic tradition at St. Peter's, which flourishes to this day.

In 1869 a new "chapel-of-ease" was opened on for the convenience of poor people who lived at "The Bog" in west end Charlottetown and couldn't afford the pew rents at . Paul's Parish Church on . The Harris family transferred their attendance to the new Church, which was dedicated to St. Peter, and William was a member of the first class confirmed in it that year. In 1879 it was made the Anglican Cathedral on the Island by the Right Reverend Hibbert Binney, who, as Bishop of Nova Scotia, had, by his letters patent from the Crown, episcopal jurisdiction in Prince Edward Island. This removed it from the control of the Rector of Charlotte, a "low" churchman opposed to the Anglo-Catholic practices desired by many young people, as well as by the Bishop himself. The consequence was the development of a strong liturgical, musical and artistic tradition at St. Peter's, which flourishes to this day.

In 1869 a new "chapel-of-ease" was opened on for the convenience of poor people who lived at "The Bog" in west end Charlottetown and couldn't afford the pew rents at . Paul's Parish Church on . The Harris family transferred their attendance to the new Church, which was dedicated to St. Peter, and William was a member of the first class confirmed in it that year. In 1879 it was made the Anglican Cathedral on the Island by the Right Reverend Hibbert Binney, who, as Bishop of Nova Scotia, had, by his letters patent from the Crown, episcopal jurisdiction in Prince Edward Island. This removed it from the control of the Rector of Charlotte, a "low" churchman opposed to the Anglo-Catholic practices desired by many young people, as well as by the Bishop himself. The consequence was the development of a strong liturgical, musical and artistic tradition at St. Peter's, which flourishes to this day.

When the Reverend George Hodgson, St. Peter's first priest, died in 1844 William Harris designed a small Chapel (above) in memory of him and other deceased members. Robert Harris painted memorial pictures showing, left side, Dorcas, Athanasius, . Jerome, Ambrose, . Augustine, Chrysostom, . Gregory, and Luke. On the right side are Christ Calling . Andrew, the Morson Children, The Martyrdom of . Stephen^ the Harris Family (shown as a Holy Land family being blessed by Christ), and . James. Over the entry, and under a window showing Christ's Resurrection, is Robert's tribute to William, the Crucifixion of Christ. Three other windows, by the English firms of Kemp and Morris, show, from the left, Michael, Mary, and Christ the King. Dominating the interior is one of Robert Harris's finest paintings, the Ascending Christ. There is a daily mass in the Chapel, preceded by Morning Prayer, and Evensong is also said daily, at 5 p.m. (6 p.m. on Sundays).

In 1904 the five St. Peter's Cathedral Trustees* built a Rectory at (below) to plans by William Harris. Apart from the loss

England seaside resorts at the time by

of Prince Edward Island, J.A. Mathieson. Years later his daughters, Mrs Campbell and Mrs. . Rogers, turned it into a guest house, renaming it Caroma Lodge, a title concocted out of their married surnames. In recent years the exterior has been splendidly restored by Mr and Mrs Keir Kenny. Note the sunburst ornament in the gables on the side. All now missing is a part of the veranda, removed some years ago to allow more light into the reception rooms. A beautiful arch and a fine "crinoline" staircase were destroyed when the house was for a time subdivided into apartments.

The Clergy House (left), at , was built to William Harris's plans in 1877 for his pastor at St. Peter's Cathedral, the Rev. George Hodgson. It served not only as a home for him and his curates, but also as a residence for the out-of-town students and teachers of St. Peter's School that operated in association with the Cathedral from 1871 to 1932. Father Hodgson died at the age of 44 eight months after marrying Gertrude Magdalene DesBrisay. She and her four sisters, all widows, took up residence in the house. They were known as "The Holy Family", making their way daily to mass and evensong at All Souls' Chapel, built as a memorial to Father Hodgson and others, many of them their relatives. The house today is divided into apartments, and has lost much of its character by the application of vinyl siding and other poorly informed changes.

The Clergy House (left), at , was built to William Harris's plans in 1877 for his pastor at St. Peter's Cathedral, the Rev. George Hodgson. It served not only as a home for him and his curates, but also as a residence for the out-of-town students and teachers of St. Peter's School that operated in association with the Cathedral from 1871 to 1932. Father Hodgson died at the age of 44 eight months after marrying Gertrude Magdalene DesBrisay. She and her four sisters, all widows, took up residence in the house. They were known as "The Holy Family", making their way daily to mass and evensong at All Souls' Chapel, built as a memorial to Father Hodgson and others, many of them their relatives. The house today is divided into apartments, and has lost much of its character by the application of vinyl siding and other poorly informed changes.

16. Two Terraces - Dundas and Wellner

scalloped and straight shingles, board and batten cladding, and the flared string courses common to Queen Anne Style buildings. The architectural integrity of has been maintained over the years, and it remains today after 100 years one of the landmark buildings of Charlottetown.

About 1890 William Harris, after having worked with property owners for some time, and having seen how a number of them prospered (with the exception of those like James Peake and Alexander Coombs whose financial troubles we have already noted), decided to go into property development for himself. He bought land opposite the old exhibition ground on and moved on to it the old Revere Hotel from the foot of Great . The hotel was very large, so he cut it in half, and made each half into a semi¬ detached dwelling, Nos. 24-26 and 28-. Buildings were moved in those days by putting them on rollers and attaching them by ropes to a capstan in the middle of the street that was turned by a horse. William installed himself, his sister Sarah, and his parents into No. 24, his brother Tom and his wife Etta and their four children into No. 26, and his sister Maggie and her husband, Will Cotton (publisher of Charlottetown's daily paper, The Examiner), and their seven children into No. 30. Tom's business partner, W.H. Stewart, bought the lot on the corner in 1891 and built on it a house, No. 22, designed by William, that had an umbrage and holey bargeboards. The Harrises called No. 24 Villa, so No. 22 became Cottage. As you can see from the picture the name Hawthorne was most appropriate, for within a few years the property was smothered in creeper. Houses with creepers are difficult to paint, and present problems in maintenance. But they appealed to lovers of the Picturesque a hundred years ago. William Harris always drew creepers in his architectural drawings of exterior elevations.

About 1890 William Harris, after having worked with property owners for some time, and having seen how a number of them prospered (with the exception of those like James Peake and Alexander Coombs whose financial troubles we have already noted), decided to go into property development for himself. He bought land opposite the old exhibition ground on and moved on to it the old Revere Hotel from the foot of Great . The hotel was very large, so he cut it in half, and made each half into a semi¬ detached dwelling, Nos. 24-26 and 28-. Buildings were moved in those days by putting them on rollers and attaching them by ropes to a capstan in the middle of the street that was turned by a horse. William installed himself, his sister Sarah, and his parents into No. 24, his brother Tom and his wife Etta and their four children into No. 26, and his sister Maggie and her husband, Will Cotton (publisher of Charlottetown's daily paper, The Examiner), and their seven children into No. 30. Tom's business partner, W.H. Stewart, bought the lot on the corner in 1891 and built on it a house, No. 22, designed by William, that had an umbrage and holey bargeboards. The Harrises called No. 24 Villa, so No. 22 became Cottage. As you can see from the picture the name Hawthorne was most appropriate, for within a few years the property was smothered in creeper. Houses with creepers are difficult to paint, and present problems in maintenance. But they appealed to lovers of the Picturesque a hundred years ago. William Harris always drew creepers in his architectural drawings of exterior elevations.

On the next corner, in 1903, Harold Jenkitis built hihtself a house (No. 36) to a William Harris design with cottier buttresses (like the buttress On St. Peter's Rectory) and an umbrage (like the umbrage on Cottage). Unfortunately, the umbrage was later filled in with a Colonial Style doorway appropriate to a different style of architecture. Mr. Jenkin's claim to fame is that he coined the word groceteria.

damaged by fire; an abusive husband set it on fire in order to harm his wife, who lived in one of the apartments. The roof was destroyed and had to be replaced; unfortunately, it was rebuilt without the snub gables. Down at the far end of on a site overlooking Charlottetown harbour and the North River, Frederick W. Hyndman in 1877 built a house known variously as Watermere or Windermere (below). Contemporary with Beaconsfield, Westbourne, and the Clergy House, it shares no similarity of features with any of these, or with Harris's later buildings. The 23 year old architect had yet to develop his own distinctive style. The house is Harris's only essay in a familiar Island type, the L-shaped farmhouse. When the house was under construction a passerby remarked to Harris that it looked "odd"; he replied, "Have you ever seen an egg that looked like a chicken?" At the time it was built, Watermere was outside town. Mrs. Hyndman didn't like the isolation and persuaded her husband to move back into town. Their son, Eardley, grew up and married Winnifred Cotton, the daughter of William and Robert Harris's sister, Margaret Ellin (or Maggie, as she was called). F.W. Hyndman was founder of the Charlottetown insurance firm, Hyndman & Company.

damaged by fire; an abusive husband set it on fire in order to harm his wife, who lived in one of the apartments. The roof was destroyed and had to be replaced; unfortunately, it was rebuilt without the snub gables. Down at the far end of on a site overlooking Charlottetown harbour and the North River, Frederick W. Hyndman in 1877 built a house known variously as Watermere or Windermere (below). Contemporary with Beaconsfield, Westbourne, and the Clergy House, it shares no similarity of features with any of these, or with Harris's later buildings. The 23 year old architect had yet to develop his own distinctive style. The house is Harris's only essay in a familiar Island type, the L-shaped farmhouse. When the house was under construction a passerby remarked to Harris that it looked "odd"; he replied, "Have you ever seen an egg that looked like a chicken?" At the time it was built, Watermere was outside town. Mrs. Hyndman didn't like the isolation and persuaded her husband to move back into town. Their son, Eardley, grew up and married Winnifred Cotton, the daughter of William and Robert Harris's sister, Margaret Ellin (or Maggie, as she was called). F.W. Hyndman was founder of the Charlottetown insurance firm, Hyndman & Company.

The Charlottetown of William and Robert Harris

i mix of architectural history, gossip and anecdote, this little book will fit in your pocket as you roam the streets of the Prince Edward Island capital spotting the 39 William Harris designed churches, business blocks, tenements and dwelling houses.

Villa A Hawthorne Villa B Hawthorne Cottage 1892 Major Weeks House Lodge E.J. Hodgson Library 1895 The Cottage/Caroma Lodge R. Moore House . Paul's Church 1896 J. MacMillan House Sheriff House Rogers Warehouse 1900

Family Room House St. Peter's Rectory