A Kingston Album: Glimpses of the Way We Were

Sarah Robertson is editor of the Canadian Book Review Annual.

The city of Kingston, Ontario, located at the eastern end of Lake
Ontario, is known today for its institutions: Queen’s University,
Royal Military College, Kingston Penitentiary. In earlier times, this
charming town—which served as capital of the Province of Canada from
1841 to 1843—seemed destined to become a major industrial centre. But
such was not to be its fate. A variety of circumstances (in particular,
the city’s loss of status as a major port) conspired to usher in what
the author of A Kingston Album describes as Kingston’s “languid
decline.” Ironically, the city’s failure to evolve into an economic
behemoth accounts in large part for its current appeal as a tourist
centre.

The book features more than 100 black-and-white archival photographs
that span nearly a century of Kingston’s history, from the 1860s
through to the early 1950s. The photos, some of which are undated,
depict streetscapes and architectural landmarks, commercial and
recreational activities, and important events in the city’s history.
Frequent graininess does not diminish the allure of many of these
photos. Reminiscent of a Alex Colville painting, “A boy and his dog,
c. 1886” is perhaps the most arresting. “Barrie Street after the ice
storm, c. 1890” will have particular resonance for residents of
Eastern Ontario who endured Ice Storm ’98. Kingston’s aforementioned
institutions are generously represented, and we see Market Square in its
various incarnations over the years.

The accompanying text traces Kingston’s waxing and waning economic
fortunes; profiles local figures, both notable and notorious; and
outlines significant events in the city’s history. Among the most
dramatic was the fire of 1840, which destroyed much of the town’s
centre and made limestone—as opposed to wood—a sine qua non for
future construction in the downtown core.

The photographs are organized more or less chronologically, although
some are grouped by subject. Their relationship with the immediate text
is often obscure. For example, the profile of Sir John A. Macdonald is
accompanied by the photo “Cutting ice on the bay, 1894.” Three pages
earlier there appears the photo “Sir John A. Macdonald’s coffin,
1891.” Also unfortunate is the absence of captions. Although some of
the photos are self-explanatory and some are clarified by the text,
others are neither.

Identical in format to the Kingston volume, An Ottawa Album traces
Ottawa’s development from its early days as a lumber town through to
the years immediately following the end of World War II. The book’s
100-plus black-and-white photographs are sharper and more varied than
those featured in A Kingston Album, suggesting that the Ottawa volume
was the beneficiary of a more extensive archival record. Interspersed
among the landmarks are images of a community at work and play. Sports,
both organized and recreational, loom large, as do streetcars and fire
trucks, canals and bridges, pleasure boats and entertainment sites. A
number of photos depict the aftermath of streetcar collisions and the
devastating effects of fire (the original Centre Block was a casualty in
1916). “Smallpox tents on Porter’s Island” is a grim reminder of
another threat to area residents at the turn of the century. Appearing
alongside images of calamity are images of astonishing beauty.
“Major’s Hill Park, c. 1920” and “Watering the horses at
Billings Bridge, c. 1910” exhibit the lushness of a landscape
painting, while the stark and arresting “Wireless Station” evinces
an altogether different kind of beauty.

With its superior photography and broader canvas, An Ottawa Album
should appeal to a wider audience than A Kingston Album. The latter
volume is recommended especially for those with a previous interest in
the limestone tourist attraction.