From the 1920s to the 1950s, thousands of Quebec school children were exposed to Desrosiers-Bertrand’s educational institutions. Some people still remember that these images, presented on posters or in school textbooks, were used to teach Quebec history. But where did these images come from? ? Who are their creators? ? Could their content be used in current courses? ? Let’s discover these illustrations from the last century !
Teaching materials 100 % Quebecois
Let’s go back to the last century. It is the early 1920s and school inspectors on their annual tours are noticing that many classes lack teaching materials. The Montreal Catholic School Commission (CECM) is particularly looking for new teaching materials with the aim of standardizing teaching in its classes. Then national history occupies more space than sacred history in the education of the students to whom we want to introduce the past and the great historical figures of Quebec. The image used to support the lesson seems to be the royal way to shape the young minds of schoolchildren and instill in them a taste for national history!
School children and clergy of Montreal around 1925. BAnQ, Monique Mercure-Vézina Collection, P157,S4,P851. Public domain.
Clients are then informed of the existence of a beautiful series of illustrations currently in production. This collection commemorates nearly 400 years of Canadian and Quebec history and includes events considered significant, from the arrival of Jacques Cartier in 1534 to the battle in the French village of Courcelette during the First World War. What’s remarkable is that these history educational images are the first to be produced entirely here, from design to print!
As early as June 1921, the commissioners decided to proceed with the purchase and, in particular, the distribution of Desrosiers-Bertrand historical paintings to schools in Montreal. Several other school boards in the province followed suit and in turn purchased the collection to fill classes in their area. We will even find them in certain public schools!
A duo or trio ?
If the name of the images suggests that they are a duo, it is actually a trio that is the source of these illustrations. It consists of Louis-Adélard Desrosiers (1873–1953), Camille Bertrand (1877–1957) and Jean-Baptiste Lagacé (1868–1946).
Portrait of Abbé Desrosiers in Biographies and Portraits of Canadian Writers, 1st Series, Montreal, Librairie Beauchemin, 1926, p. 45. Public domain.
The first, Father Louis-Adélard Desrosiers, is a teacher and educator. During his career he was first professor and then director of the École Normale Jacques-Cartier and also taught courses in commercial history at the École des Hautes Études. He also thrilled the audience at the Monument-National in Montreal with his lectures about French discoveries and explorations in America.
Jacques-Cartier Normal School in Montreal, first third of the 20th century. Postcard published by Neobromure A. Breger Frères, Paris. BAnQ, Michel-Bazinet Collection, notice 0003540253. Public domain.
The second, Camille Bertrand, is a historian, archivist and paleographer, i.e. a specialist in deciphering ancient texts. He works at the National Archives of Canada and the Montreal Judicial Archives and is the author of several works dealing primarily with Montreal’s past, notably a history of Montreal in three volumes.
The two men were co-authors of Histoire du Canada, a lengthy 567-page work published by the Librairie Beauchemin Ltée in 1919. Although the book contains several maps, the authors would like to give it more visual material. In this context, they began to look for an artist who could illustrate their point of view. And they don’t call just anyone…
The third element of the trio is Jean-Baptiste Lagacé, who enjoyed great reputation at the time. In 1904, this artist became the first Canadian teacher to receive a chair (a prestigious and subsidized position) in art history. The series of images he commissioned is therefore intended to illustrate the new edition of History of Canada in 1925, which appeared in the Librairie Granger Frères Ltée on Notre-Dame Street in Montreal.
Jean-Baptiste Lagacé receiving his master’s degree in 1917. Wikimedia Commons, public domain.
If Lagacé doesn’t have copyright on the History of Canada book, it would be a good idea to rename the images with his last name included. “Tableaux Desrosiers-Bertrand-Lagacé” is certainly longer, but that would do justice to the man whose talent as an illustrator will be crucial to the dissemination of this educational project. This artist will also develop a great familiarity with historical illustration: in the 1920s, 1930s and 1940s he will create the stained glass windows that decorate the Notre-Dame Basilica and design the allegorical paintings for the Saint-Jean parade in Montreal!
400 years History in 36 pictures
What exactly does this collection of images consist of? The history of Canada and Quebec is presented in 36 paintings, depicting as many key moments that took place between 1534 and 1916. Its composition is reminiscent of a play: we see, clearly presented, the roles of each individual protagonist, regardless of whether they are being judged. good or bad”. They are naturally idealized, have a heroic attitude and clean clothes…that even appear freshly ironed! Librairie Granger Frères Ltée has printed 3,000 complete sets, each retailing for $22.50.
Example of a chromolithographic process: The image becomes clearer when the nine colors that make it up are superimposed. Source: www.meisterdrucke.fr. Public domain.
On a technical level, Desrosiers-Bertrand’s historical paintings are actually chromolithographs made based on the watercolors of Jean-Baptiste Lagacé. Chromolithography is a printing process that allows the use of up to 16 different colors.
In the case we are interested in, the images are printed in seven colors on sheets measuring 38 x 48 cm. They are then glued to strong cardboard measuring 40 x 50 cm. On the back there is a label with information explaining the historical fact as well as the characters (both main and secondary) depicted there. Thanks to two metal eyelets, the diagrams can be easily hung on classroom walls.
Explanatory label on the back of the painting “Peace of Montreal”. We also notice the two eyelets at the top that are used to hang the board in class. Montreal, Granger Brothers Ltd. BAnQ, notice 0005514686. Public domain.
Here is the complete list of these 36 paintings. 1. Jacques Cartier seizes Canada; 2. Jacques Cartier in Hochelaga; 3. Louis Hébert first colonist; 4. Champlain off Quebec; 5. Champlain’s first fight; 6. Champlain receives the Récollets; 7. The Missionaries; 8. Champlain regains possession of Canada; 9. Arrival of the Ursulines and Hospitallers; 10. Montreal Foundation; 11. Battle at Place d’Armes; 12. Martyrdom of the fathers of Brébeuf and Lalemant, p. 92. 13. Sister Bourgeoys; 14. Monsignor de Laval; 15. Dollars; 16. Lambert Closse; 17. Jolliet discovers the Mississippi; 18. Cavelier de La Salle in Mississippi; 19. The Lachine Massacre; 20. Frontenac answers the Phipps envoy; 21. D’Iberville wins over the English; 22. Madeleine de Vercheres; 23. The Peace of Montreal; 24. From Vérendrye to the Rocky Mountains; 25. Dispersion of the Acadians; 26. Battle of Carillon; 27. Death of Montcalm on the Plains of Abraham; 28th victory for Lévis at Sainte-Foye [sic] ; 29. Lévis burns his flags; 30. Montgomery off Quebec; 31. From Salaberry to Chateauguay; 32. The Patriots in Saint-Eustache; 33. La Fontaine in Parliament; 34. Parliament destroyed by arsonists; 35. The Confederacy; 36. The Canadians in Courcelette. Note that this numbering did not exist when the tables were originally published in 1921: it was introduced by Olga Hazan, who dedicated a biographical work to Lagacé.
Montage of some Desrosiers-Bertrand paintings. These images or even the entire collection can sometimes be found at antique dealers or booksellers who specialize in used works. Montreal, Granger Brothers Ltd. BAnQ, public domain.
Now let’s take a closer look at some of them! (Warning – the images and descriptions appearing in the following paragraphs may seem disrespectful or inappropriate in light of diversity, but it should be noted that this content reflects values that were current in the 1920s and that society is fortunate to adhere to today no longer holds.) (Please keep these considerations in mind when looking at the illustrations and the accompanying text.)
Frontenac and the Ambassador of Phipps in 1690
Around 1921, Frontenac responded to Phipps’ envoy, Jean-Baptiste Lagacé. Montreal, Granger Frères Ltée. BAnQ, notice 0005514619. Public domain.
A 1690 scene in the living room of the Château Saint-Louis in Quebec, the residence of the governor of New France. The latter, Louis de Buade, Count of Frontenac, is depicted in armor and carrying a sword to greet his enemy’s emissary, General William Phipps. The English officer indicates the time at which Frontenac must surrender, otherwise the city will be taken… Frontenac then replied with this famous sentence: “Tell your master that I will answer him with the muzzle of my cannon!” » After several After unsuccessful attempts, Phipps and his fleet returned to England.
In the classroom, this table allowed the teacher to address the topic of conflicts between the French and English nations and their transfer to North America.
The Great Peace of Montreal
The Peace of Montreal, Jean-Baptiste Lagacé, c. 1921. Montreal, Granger Frères Ltée. BAnQ, notice 0005514686. Public domain.
In this painting honoring the Great Peace of 1701, we see Governor Hector de Callières in his beautiful blue coat with gold lace and his silk trousers, surrounded by civil and religious dignitaries of the colony. He leans on his cane and makes a gesture to emphasize his speech. Directly behind the governor stands the negotiator and great chief Kondiaronk in ceremonial clothing. In front of the canopy made of blue and red fabric sit the chiefs of the various nations, whose tents are pitched all the way to the foot of the mountain. Right in the middle we can see the bell tower of the Montreal church.
This painting commemorates the signing of this important peace treaty that calmed decades of conflict and is a great opportunity to discuss the development of relations between France and the native peoples in the 17th and 18th centuries.
The patriots in Saint-Eustache
It depicts an episode of the patriot uprisings, the battle that took place at Saint-Eustache on December 14, 1837. At the head of the patriots, Doctor Chenier leads the confrontation against the English, wielding a sword and a pistol. The Canadians, armed with rifles, pitchforks or sticks, charged towards the enemy. The scene takes place in the village of Saint-Eustache with its gabled houses and its large wayside cross.
The Patriots in Saint-Eustache, Jean-Baptiste Lagacé, around 1921. Montreal, Granger Frères Ltée. BAnQ, notice 0005514691. Public domain.
By commemorating this event, the table offers the teacher a great opportunity to examine the power relations between populations of French and English origin and the protest and armed resistance movements.
It is understood that this type of visual material had great educational utility in classrooms between the 1920s and 1950s. The ease of use, the size of the images and the additional information on the back made an interesting contribution at the time to teach national history to young people in primary and secondary schools!
A text prepared by historian Catherine Ferland for the Rendez-vous d’histoire de Québec.
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