We are proud to report that Library and Archives Canada (LAC) has recently released a new data set on the Canadian Government Open Data portal as part of a First World War collaborative initiative with the Muninn Project. The project involved the partial transcription of the service records of soldiers who served in the Canadian Expeditionary Forces (CEF) during the First World War. LAC provided the digitized service files of 1,000 soldiers while the Munnin Project organized the crowdsourcing for the transcription and data linking of these historical documents. As a pilot project, the scope was limited to a specific medical form—the medical case sheet—which is found in most of the files and which contains information recorded by hospital staff on a specific soldier’s medical history.
The information that has been gathered from the transcriptions represents a spectrum of the types of health issues one would expect to occur in a large group of men. Some of the medical cases are directly related to combat injuries such as gunshot or shell wounds or shell shock. Others are related to the living conditions found in trenches which would increase ailments affecting the respiratory system and the outbreak of diseases such as influenza. A large proportion of the recorded information is just the everyday health issues of the time: toothaches, measles, etc.
To learn more about the information that was gathered from the service files, visit the First World War Linked Open Data project. The raw data is also available on the Canadian Open Data Portal in Linked Open Data and plain text format.
But it’s not what you’re thinking…
Recently, two copies of a publication in the Reserve (Rare Books) Collection were identified for rehousing. The piece is called Venise undersee.
When the objects were removed from their original silk fabric bag, it was discovered that they were made of metal and that they were corroding… yikes.
The items are part of Library and Archives Canada’s collection of artists’ books. A bronze representation of the globe, with braille text excerpts from a poem on the surface, they are about the size of a five-pin bowling ball. The globes were made in 1998 by Daniel Hogue in an edition of ten copies. Very nice pieces, but disconcerting to see the beginnings of corrosion on one, and quite a large spot on the other.
Our first thought was that after the construction of new containers, the items could be moved into a vault with a lower humidity setting at LAC’s Preservation Centre, watch for a while, and see if the corrosion continued.
But after checking the AMICUS record, it was discovered that changing the ambient humidity was not going to help… inside the bronze globes was water from the canals in Venice! Yes, give one of the globes a shake and you’ll hear water sloshing around.
You may be acquainted with the term “inherent vice,” and this is a perfect example. Something inherent, or part of the original, that can have a detrimental long-term effect on it. The effects of inherent vice can be slowed in some cases; for example, cooler storage conditions will slow acidic deterioration of paper. In this case however, without making a structural change to the object (that is, drilling a hole in it and draining the water), there is really nothing that can be done to halt the damage.
Just to make things interesting, the artist’s intent is an important consideration in making decisions about these objects. Is the corrosion damage what the artist intended? Will the artist be upset with what is happening to the works? To find out, the artist was contacted, and it was determined that leaving the water to do its thing was the preferred course of action. Just as the water is slowly eroding structures in Venice, so it will slowly erode these works.
And, because you’ll ask, the amount of water inside is not a concern in terms of a leak that could damage other items in the collection. The quantity of water is small, and would most likely be absorbed by the cardboard containers they are housed in.
We will continue to monitor the works to gauge how quickly the corrosion is proceeding, and make decisions about how to manage what will be left of the works in the future.
Canadian artist Frederick Bourchier Taylor (1906–1987), was a man of many interests and many talents. He was born in Ottawa and mostly raised there; living briefly in London, England from 1916 to 1918 after his father was transferred there during the First World War. Upon returning to Ottawa, he graduated from Lisgar Collegiate in 1918. He became a student of McGill University in 1925 after his parents asserted that he must complete university before embarking on any sort of artistic career. While at McGill, Taylor studied architecture and developed a keen interest in skiing and boxing. As a testament to Taylor’s many talents, in 1927 he was awarded McGill’s Anglin Norcross Prize for drawing, and also became the university’s heavyweight boxing champion.
After graduating in 1930, Taylor studied, exhibited and worked in Britain as well as Canada, finally settling in Montreal by 1937. During this period, he earned a living by teaching drawing at the McGill School of Architecture and painting portraits.
After war broke out in 1939, Taylor began an unsuccessful lobbying campaign in an attempt to get the Canadian Government to put into place an officially sanctioned war-art program. Undeterred by the Government’s refusal, Taylor used his artistic talent as well as family connections (his brother was Canadian businessman and millionaire E.P. Taylor) to gain access to and document Canadian Pacific Railway′s Angus Shops in Montreal, along with several Canadian shipyards and other Canadian war industry factories.
During this period, Taylor was able to paint over 200 works that document the diverse, strenuous, and often unrecognized or under-appreciated work done by Canada’s factory workers. Library and Archives Canada has some of these works in its art collection. These paintings consist of 19 small-sized studies along with eight larger finished works documenting factory workers in the fur and garment industry of Montreal during the 1940s. In these works, Taylor has used a muted palette of industrial greens, browns and greys. Taylor has demonstrated an extraordinary ability to capture not only the industrial atmosphere and harsh fluorescent factory lighting, but also the intense look of concentration on the faces of the workers.
Taylor continued his artistic career after the War, exhibiting and participating in shows mostly in Quebec and Ontario. In 1960, he moved to Mexico where he tried his hand at sculpture and silk screening. Frederick Taylor died by suicide in Mexico, in 1987.
Although Brian Walton sounds like a guy you could google or find on LinkedIn, one glance at his likeness in the 1657 Polyglot Bible, resplendent in bishop’s robes, quill in hand, will quickly disabuse you of that notion. Walton, indeed, was a product of the 17th century and left a legacy in the form of the magnificent multilingual Bible comprised of original tongues and early translations. Two versions of the bible were printed, the earlier one is known as the “Republican” version which thanks Cromwell in the dedication for removing the import tax on paper. The latter one is known as the “Loyal” version as it was printed after the Restoration of the Monarchy. Library and Archives Canada (LAC) has the privilege of owning both versions. These bibles are just some of the treasures available in the Jacob Lowy Room at 395 Wellington Street for scholars and the general public due to the foresight of Mr. Lowy and LAC.
If not for the Polyglot that bears his name, Walton’s face and backstory might not have made it to the 21st century, as his grave was destroyed in the Great Fire of London. An active and controversial clerical figure in the 1600s, he disagreed with some of his puritan parishioners and a House of Commons committee over the issue of tithes. Forced into early retirement in Oxford, he used the opportunity of enforced leisure to brush up on a few ancient languages, conceive a plan to create a polyglot Bible, sell the idea to eminent scholars of the day, and enlist the services of his colleagues who specialized in Eastern learning.
At least three polyglot Bibles had appeared in Europe in the 1600s but Walton was interested in creating a less costly, more saleable version. It was a successful commercial venture, even though Walton had priced it at £50. It often was the most expensive book on the shelves of scholars and gentlemen. This was the first work to be sold in England by subscription. By the time the work was ready for press, over £9,000 had been collected. It also represented a technological triumph of the day, being the first Bible to print all versions side by side on the same page.
That is just one of the incredible features of this six-volume set that gives new meaning to the word “tome.” Seeing the ancient biblical text appearing in nine languages, including Hebrew, Greek, Syriac, Arabic, Ethiopic, and Persian on one page, with Latin translations of each language, makes you wish you had taken more languages at school.
The Walton Polyglot is a unique work with a unique story to tell, not only through its content but also through its more than 400-year journey from London into the Montreal home of Jacob Lowy who donated his entire world-class library of rare and old Hebraica to LAC in 1977.
For more information about the Lowy Collection, please visit http://www.collectionscanada.gc.ca/lowy-collection/index-e.html.
In 2010, Library and Archives Canada (LAC) initiated a new risk-based process called “block review” to open more federal government records under the auspices of Canada’s Access to Information Act and Privacy Act. This initiative has been very successful and LAC is proud to announce that we have opened more than 10 million pages of Canadian government records, which are now available to the public.
What is a block review?
It is the systematic review of blocks or series of government records currently held in LAC’s permanent holdings. It incorporates a risk-based approach that looks at both the age of the record and the subject. Block review is completed by using various sampling strategies to determine whether the records can be opened for public access under both the Access to Information Act and the Privacy Act. The process involves identifying and examining representative parts of the archival record and, based on the findings, the records are either opened or not.
What records were targeted for the block review process?
LAC holds a myriad of Canadian federal government records documenting all aspects of Canadian public life. The block review process has opened material on many of these subjects. Of particular interest are:
- records documenting Canada’s military history
- records providing evidence of the relationship between the federal government and Canada’s Aboriginal population
- archival material detailing our significant diplomatic and trade relationships with foreign governments and international organizations
- regional documents created across all of Canada as the federal government administered its numerous functions and activities
- archival material documenting how we celebrated our centenary in 1967—of timely interest as Canadians prepare for this country’s 150th anniversary
More records will open up as LAC continues to contribute to Canada’s Open Government initiative. We will be posting updates on the progress of the initiative, so watch for highlights of the collections being opened up to Canadians.
Library and Archives Canada (LAC) is releasing its latest podcast episode, Canada’s Flag: The Maple Leaf Forever.
Our flag, with its distinctive maple leaf and bold red-and-white colour scheme has become such a potent symbol for our country that it’s hard to believe it has only been around for 50 years. On February 15, 1965, the new flag flew for the first time on Parliament Hill for all to see, but unveiling the new design was anything but easy. In this episode, we speak to retired LAC archivist Glenn Wright about the history of the flag, and the controversy that almost kept it from coming into being.
Subscribe to our podcast episodes using RSS or iTunes, or just tune in at Podcast – Discover Library and Archives Canada: Your History, Your Documentary Heritage.
For more information, please contact us at email@example.com.
Canada’s national flag celebrates its 50th anniversary! Approved by Parliament on December 15, 1964, the flag was proclaimed by Queen Elizabeth II to take effect on February 15, 1965.
The issue of selecting a representative and unique Canadian flag went through waves of debate following the First and Second World Wars, and in 1964 it became a hotly contested government priority for Lester B. Pearson’s Liberal minority government. Announced in May 1964, Pearson’s push to select a Canadian flag by December 1964 was criticized by the Progressive Conservative opposition, headed by John G. Diefenbaker, who wanted to take such a decision to a public plebiscite.
In September 1964, Tommy Douglas, leader of the New Democratic Party, suggested an all-party committee to select this nationally significant symbol through parliamentary consensus. The idea was endorsed by the government and the fifteen-member National Flag Committee was created, chaired by Member of Parliament John Matheson. After reviewing thousands of submissions, the solitary red maple leaf on a white square between two red borders was selected by the Committee as the unifying symbol for Canada. This submission was made by historian George F. Stanley who described the idea as simple, devoid of British and French national symbols, and easily recognizable as being Canadian.
The selection of the red maple leaf was then debated and voted on by Canada’s 26th Parliament. The passion surrounding the debate did not dissipate. By the time the final vote occurred in the House of Commons, the debate had lasted into the early hours of December 15th and it was two o’clock in the morning!
Library and Archives Canada (LAC) has digitized several of the public’s submissions to the National Flag Committee. Some of these proposals can be found on LAC’s Flickr website.
Do you want to know more about this moment in Canadian history? Check out the links below to investigate other parts of LAC’s flag holdings:
- Listen to the podcast: Canada’s flag – the maple leaf forever
- Lester B. Pearson fonds
- John Ross Matheson fonds
- Alan B. Beddoe fonds
- Records relating to the National Flag Committee sub-sub-series of the Department of the Secretary of State of Canada fonds
- Discover the Collection: National Identity
Here are some other links from the Internet relating to Canada’s flag debate:
Do you want to know who your first Japanese ancestor was and when he or she left Japan and arrived in Canada? Are you curious about your Japanese origins?
If so, our website is a great place to begin your research. Here you will find a page dedicated to genealogical research on the Japanese. This page provides you with historical information, archival documents and published material from the Library and Archives Canada collection, as well as links to other websites and institutions. During the Second World War, more than 20,000 Japanese people were placed in internment camps and relocation centres in the interior of British Columbia, in Alberta and in Ontario.
If your ancestor came to Canada between 1865 and 1935, you might find his or her name on the passenger lists.
In the last article on William Redver Stark, we discovered that the 14 sketchbooks show signs of structural and physical damage. We also noted that all of the sketchbooks had some pages missing and five sketchbooks had numerous pages missing. It is impossible to determine if Stark removed the pages himself or whether they were removed by someone else at a later date. Nonetheless, removing pages resulted in a series of negative outcomes for the sketchbooks:
- The remaining halves of the folio pages became loose in the text block
- The loose pages were moved so that the original order and orientation were changed
- The loose pages became damaged as their edges projected beyond the protective covers of the sketchbooks
- The spines and sewing structures of the sketchbooks became unstable and deteriorated
To begin to remedy these issues, the conservation team examined each sketchbook page by page to determine the original orientation and order of pages. This was accomplished by looking at all the little details—the media, watercolour, ink or graphite, the bindings and every instance of damage to the pages—and mapping them out very carefully. The team used various light sources, angling the light to view physical details of the paper, a microscope for magnifying every minute detail and the precise measurement of each page.
The most conclusive evidence for the original order of the pages was:
- Media transfer and media overlap
- Paper damage such as repetitive stains, tears and losses
- Impressions left in the paper from the artist’s drawing instruments and the binding materials
- Dimensions and undulations in the paper and the location of the binding’s sewing holes
- Artist’s notations with dates and locations
Evidence that matched up two or more pages in a certain sequence was documented and the long process of revising the page order began. Each detail was catalogued in a template which really helped to develop an understanding of the sequence for each sketchbook.
The first page mapping chart shows examples of media transfer and overlap. Media overlap would have occurred when Stark was actually sketching or painting as the media was applied beyond the intended area or page. Media transfer happened after sketching or painting when the sketchbook was closed and pages were in direct contact with either wet or friable (crumbly) pigments. In both cases, media was visible on the preceding or subsequent pages and provided evidence of the original order.
In the next part, we continue to explore page mapping by looking at damaged pages.