CABOT, John (Giovanni Caboto) (1449/50 -1498/99?)
John Cabot landed on the coast of North America on St. John the Baptist Day, June 24, 1497 and formally took possession of the surrounding territory in the name of King Henry VII of England. The letters patent from the king authorized him to sail under the royal flags, banners, ensigns and to take possession of any establishment or land under his banners and ensigns. During the land claiming ceremony, Cabot planted a large cross with the royal standard (or banner) and the banner of St. Mark. The royal standard at the time consisted of the three gold fleurs-de-lis of France on blue and the three gold lions of England on red, both repeated twice. Since 1340, the fleurs-de-lis occupied the most important quarters of both the royal standard and royal arms to express England’s claim to the throne of France. Both banners are illustrated on the following site:
http://www.reformation.org/british-lion-venetian-lion.html.
Some historians have concluded that the flag Cabot raised was the banner of St. George with its red cross on white. This is surely not a valid interpretation. The letters patent from the king clearly specified “our banners, flags and ensigns” and the flag raised with the cross is designated as the bandera (bandièra) regia or royal banner. It is also well documented that, at such ceremonies, the royal arms were usually displayed and the royal standard is essentially a banner of the royal arms. At that time, the red cross of St. George was a military flag and perhaps in the process of becoming a naval flag, but there is no reason to believe that it was closely connected with the sovereign. For another English land claiming ceremony see Sir Humphrey GILBERT.
Where Cabot landed exactly has been the object of much speculation. A Canadian landing is most likely, though a Maine site remains a possibility. What is important here is that Cabot’s landing describes thee first British land claiming ceremony in North America.
Ref: The flags or insignia Cabot was authorized to use and what he effectively deployed at the land claiming ceremony is known by a few documents of the period: 1) Letters patent of Henry VII for John Cabot and his sons, March 5, 1496; 2) Letter by Lorenzo Pasqualigo, London, August 25, 1497; 3) Second dispatch of Raimondo Soncino to the Duke of Milan, December 18, 1497 all in H. P. Biggar, The precursors of Jacques Cartier (1497-1534) : A Collection of documents relating to the early history of the Dominion of Canada (Ottawa: Government printing Bureau, 1911), p. 7-10, 13-15, 17-21; also John Day’s letter at: http://www.heritage.nf.ca/exploration/johnday.html, consulted November 1, 2013. In support of the royal standard, see Conrad Swan, Canada: Symbols of Sovereignty (University of Toronto Press, 1977 p. 9, 76 and Timothy Wilson, Flags at Sea (London: Her Majesty’s Stationery Office, 1986), p. 33. Regarding the banner of St. George, see Samuel Edward Dawson, “Discovery of the Mainland of North America by the Cabots” in Rossiter Johnson, ed., The Great Events by Famous Historians, vol. 8 (London: The National Alumni, 1905), p. 298 and Nick Groom, The Union Jack, the Story of the British Flag (London: Atlantic Books, 2006), p. 75, 78. Regarding Cabot’s point of landing, see the site: http://www.essaysinhistory.com/articles/2012/87, consulted November 1, 2013 and Auguste Vachon, “Mystery Flags on a Renaissance Map” on this site.
CAMPBELL, Colin (? - ?)
Describes himself as Assistant Paymaster of the Royal Navy (retired) in his article “The Flag of our Country” in The Canadian Almanac,(Toronto: Copp, Clark, 1894), p.195-204. In the 1895 Almanac, p. 214-17, he published a second article: “The Imperial and Canadian Flags.”
CAMPBELL, Ian Lachlan (1927 – 2007)
Born in Ottawa, he had a distinguished academic career which he completed as Principal and Vice-Chancellor of Renison College at the University of Waterloo. He was President of the HSC in 1990-91 and founder of Canadian Heraldry Associates. Was granted arms by Lyon Court in 1980 and by the CHA in 1992. Became a Fellow of the HSC in 1985. He left his stamp on Canadian heraldry with numerous reference works that he published with the help of his family.
1) Campbell, Ian L., Marion Campbell & Colin Campbell. An Index to Heraldry in Canada, vols. I to XXX and to Flagscan, nos. 1 to 40. Waterloo (Ontario): Canadian Heraldry Associates, 1996.
2) Campbell, Ian L., Campbell, Marion & Campbell, Colin. An Index to Heraldry in Canada, vols. XXXI to XXXV. Waterloo (Ontario): Canadian Heraldry Associates, 2002.
3) Campbell, Ian L., The Identifying Symbols of Canadian Institutions. Waterloo (Ontario): Canadian Heraldry Associates.
Part I Heraldry: A Canadian Perspective and Context, 1990.
Part II The Identifying Symbols of Canadian Educational Institutions, 1990.
Part III The Identifying Symbols of Canadian Municipal Institutions, 1990.
Part IV The Identifying Symbols of Ontario Hospitals, 1990.
Part V Canadian Mottoes, 1993.
Ref: Gonfanon (Winter 2007), p. II; http://www.heraldry.ca/misc/bios/bio_campbell_ian.htm
CARMICHAEL-GALLOWAY, Col. A. Strome (1915-2004)
Born at Humboldt, Saskatchewan, he had a long and distinguished military career. He joined the HSC in 1968 and produced his first article for HC that same year.* Afterwards he was a regular contributor to HC, and after retiring from the Canadian Forces, he served as HC Editor from 1970 to 1987, following which he was honoured with the title of Honorary Editor Emeritus. He published articles on heraldry in many other publications.** One of his outstanding achievements was to edit Alan BEDDOE’s voluminous manuscript on Canadian heraldry, which was published as Beddoe’s Canadian Heraldry in 1981. He was authorized to use the name and arms of Carmichael by the Lord Lyon King of Arms.
Ref: * HC Sept. 1968, p 4-5, 8; Campbell, Index (Bibliog.), p. 216. ** See for instance: “Heraldry is booming again: the skills of the ‘crest creator’s’ are in demand … right here in Canada” in The Ottawa Citizen, 7 May 1970, p. 33; “Why the maple leaf is our national emblem” in Canadian Geographic, Aug.-Sept. 1982, p. 30-32; http://www.heraldry.ca/misc/bios/bio_galloway.htm.
CARTER, Alexander Scott (1881-1968)
Born in Harrow, Middlesex, England, he graduated as an architect from the London Polytechnic (now the University of Westminster). He came to Toronto in 1912 where he became a member of the R.A.I.C. He specialized “in architectural decoration and heraldic ornament. He completed heraldic decorations for the main dining hall of Hart House, University of Toronto, coats of arms representing universities throughout the world … ” * He was an important maker of heraldic bookplates and a mentor to the well-known heraldic artist R.G. M. Macpherson who first met him in 1946. An article by Mr. Macpherson describes many of his outstanding heraldic achievements.** He drew the 1921 arms of Canada with red and white lambrequins, an initiative on his part which played a role in giving Canada its colours.*** He was elected ARCA (1922), RCA (1927).
Ref: * MacDonald, Dictionary Canadian Artists (Bibliog.); **R.G.M. Macpherson, “A. Scott Carter, R.C.A.” in HC, Sept. 1990, p. 34-35, also online with many colour illustrations: http://www.heraldry.ca/art/painter/carter/carter.htm, consulted 28 Oct. 2011; Auguste Vachon, “Did Alexander Scott Carter give Canada its National Colours?” in Heraldry in Canada, 2010, p. 9-18;
http://fisher.library.utoronto.ca/sites/default/files/halcyon_nov_2002.pdf
CARTIER, Jacques (1491-1557)
Bien avant Cartier, navigateur malouin, des explorateurs avaient effectué des relevés cartographiques de la côte est de l’Amérique du Nord. Cartier avait exploré le golfe Saint-Laurent en 1534 et, l’année suivante, avait remonté le fleuve Saint-Laurent vers l’intérieur du continent, ce qui lui méritait le titre de découvreur du Canada. Il fit planter au moins cinq croix lors de ses voyages, en 1534 et en 1535-1536. Les plus connues, plantées sur la côte de Gaspé le 24 juillet 1534 et à Québec le 3 mai 1536, arboraient les armes royales sous le croisillon accompagnées d’inscriptions, à Gaspé VIVE LE ROY DE FRANCE et à Québec FRANCISCVS PRIMUS, DEI GRATIA FRANCORUM REX REGNAT (François premier, par la grâce de Dieu, roi des Français, règne). Les explorateurs qui suivront arboreront presque exclusivement les armes royales lors des cérémonies de prises de possession dont certaines seront fort élaborées, par exemple : Simon-François DAUMONT de SAINT-LUSSON prenant possession de la région de Sault-Sainte-Marie le 4 juin 1671 et René-Robert CAVELIER de LA SALLE prenant possession de la Louisiane le 9 Avril 1682. Néanmoins, la prise de possession d’un territoire dans la région de la baie des Esquimaux (probablement l’inlet de Hamilton, Labrador) par Louis FORNEL, le 11 juillet 1743, s’est effectuée en arborant le pavillon blanc de la marine royale, vu par les Canadiens à l’époque comme le drapeau de la nation française.
Réf : Auguste Vachon, « L’héraldique de Jacques Cartier » dans HC, sept. 1984, p. 7-8; Auguste Vachon, « Bannière de France et pavillon blanc en Nouvelle-France » dans HC, année 2008, p. 26.
***
The coast of North America had been explored and chartered long before the arrival of Jacques Cartier, an explorer from Saint-Malo (Brittany). He is credited as the discoverer of Canada because, after exploring the Gulf of St. Lawrence in 1534, the next year he followed the river into the interior of the continent. He planted at least five crosses during his voyages in 1534 and 1535-36, the best known instances being on the Gaspé coast on July 24, 1534 and at Quebec on May 3, 1536. In both cases, the royal arms of France were displayed below the crossbar along with inscriptions in French and Latin that translate, at Gaspé “Long live the king” and at Quebec “Francis I, by the Grace of God, King of the French, reigns.” The other French explorers that came after him displayed almost exclusively the royal arms during land claiming ceremonies. Some of them were grandiose, for instance that of Simon-François DAUMONT de SAINT-LUSSON who took possession of the region of Sault Ste Marie on June 4, 1671 and that of René-Robert CAVELIER de LA SALLE who claimed the territory of Louisiana on April 9, 1682. One exception to this rule was the claim on July 11, 1743 of Eskimo Bay (probably Hamilton Inlet, Labrador) by Louis FORNEL, where the white flag of the French Royal Navy was raised, this flag being viewed by Canadians, at the time, as the flag of the French nation.
CASSON, Alfred Joseph (1898-1992)
Casson is well known to Canadians as a member of the Group of seven. In 1927, he joined the firm Sampson-Matthews for which he later produced renderings of the arms of Canada, its provinces and territories, printed in large format. A booklet entitled Floral Emblems Coats of Arms and Flags of Canada, the Provinces and Territories printed ca. 1970 by Sampson-Matthews for The Toronto Dominion Bank is illustrated with these arms. Some depictions of Canadian arms on souvenirs are also in the style of Casson. Around 1964, Casson submitted a design to the Flag Committee composed of a sprig of three red maple leaves edged white on a blue field. After WW II, in his studio at Sampson-Matthews, he prepared a design for an Honour Roll that could be adapted to include the name of an institution and the names of those who fought in the war with a cross preceding the name of those who died in action. These were hung in churches, schools and other public buildings. At the top of the design were the arms of Canada surrounded by shields with a maple leaf and floral emblems of the founding nations. Below, separated by a large sword are the names of the combatants and, at the bottom, three fanciful shields with various symbols of England and Canada. Many of these Honour Rolls can still be seen, particularly in churches, and some are now on the internet.* Another artist of the Group of Seven to submit designs for Canada’s flag was A.Y. JACKSON.
Ref: *Church: http://www.stjamesanglicanchurch.ca/WW_II_Roll_of_Honour.html; school: http://torontofamilyhistory.org/kingandcountry/tdsb/elementary-g-j, consulted 5 Oct. 2012; MacDonald, Dictionary Canadian Artists (Bibliog.); Auguste Vachon, “Heraldic Treasures of the National Archives of Canada,” Beley Lecture 1988, HC, Dec. 1988, p. 33-34.
CAVELIER de LA SALLE, René-Robert (1643-1681)
Le 7 août 1679, il lançait un bateau qu’il avait construit pour naviguer sur les Grands-Lacs. Ce bateau se nommait le Griffon en l’honneur de son protecteur BUADE de FRONTENAC qui portait sur ses armes trois pattes de griffon et parfois deux griffons comme supports. Le 9 avril 1682, La Salle prit possession de la Louisiane à l’embouchure du Mississippi, sur le golfe du Mexique, au cours d’une cérémonie qui rappelle celle de DAUMONT de SAINT-LUSSON qui avait lieu le 4 juin 1671 dans la région de Sault-Sainte-Marie. La Salle fait défricher le sommet d’une colline, se pare d’un manteau écarlate galonné d’or, d’un grand chapeau et d’une épée, fait équarrir un tronc d’arbre qui roulait dans le Mississippi et le fait planter solidement sur l’éminence. Sur ce poteau, sont peintes les armes du roi et gravée, au fer rouge, l’inscription : « Louis le Grand, Roy de France et de Navarre, règne le 9 avril 1682 ». On grave aussi les armes royales sur une plaque de cuivre découpée dans une marmite, et on les fixe au tronc. On érige ensuite une grande croix en chantant le Vexilla Regis et le Te Deum, puis on tire trois salves de mousquet en criant « Vive le roi ! ». La Salle prononce ensuite une harangue et prend « possession au nom de Sa Majesté et des successeurs de sa couronne, de ce pays de la Louisiane, mers, havres, ports, baies, détroits adjacents et de toutes les nations, peuples, provinces, villes, bourgs, villages, mines, minières, pêches, fleuves, rivières, compris dans l’étendue de ladite Louisiane … »
Réf : La biographie de René-Robert Cavelier de La Salle dans DBC; Naissance de la Louisiane, tricentenaire des découvertes de Cavelier de La Salle : catalogue d’exposition imprimé à Alençon, France, 1982, p. 12.
***
On 7th August 1679, René-Robert Cavelier de La Salle launched a boat he had constructed to navigate on the Great Lakes. The boat was named the Griffon in honour of BUADE de FRONTENAC his protector, whose arms bore three griffin legs and often featured two griffins as supporters. On 9th April 1682, La Salle took possession of Louisiana at the mouth of the Mississippi River on the Gulf of Mexico during a ceremony which recalls that of DAUMONT de SAINT-LUSSON, on 4 June 1671 in the Sault Ste Marie region. He had the top of a hill cleared, put on a scarlet coat with gold trimmings, a large hat and a sword. A tree trunk that was floating in the river was squared and firmly planted on the hill. The arms of the king were painted on the post, and an inscription engraved with a red-hot iron read: “Louis the Great, King of France and Navarre, reigns April 9, 1682.” Then the arms of the king were engraved on a sheet of copper cut out of a pot and were fixed to the post. Next, a large cross was erected while the Vexilla Regis and Te Deum were being sung followed by three musket salvos and cries of “Long live the king.” Finally La Salle harangued the crowd and took possession of the territory in the name of the king and his heirs. The new possessions of the king were listed like an inventory which included geographic features and inhabitants: seas, harbours, ports, bays, adjacent straits, and all its nations, peoples, provinces, cities, towns, villages, mines, open-pit mines (minières), fisheries, and rivers.
Le champ des armoiries de LA SALLE est de sable (noir), l’étoile et le lévrier sont d’argent (blanc) The field of LA SALLE’s arms is Sable (black), the star and greyhound are Argent (white).
Illustration: HC, 2 (1968), p. 7.
Illustration: HC, 2 (1968), p. 7.
CHADWICK, Edward Marion (1840-1921)
Born in Cravendale, Ancaster, Upper Canada, was by profession a lawyer with a keen interest in both genealogy and heraldry. From 1898 to 1901, he edited The Ontarian genealogist and family historian and was author of Ontarian families (2 vols, Toronto, 1894-98), both of which he illustrated with coats of arms. “In 1908, he presented the Ontario government with a manuscript embodying the results of his investigations into coats-of-arms borne in Ontario.”* He corresponded a great deal on heraldic matters with Sir Joseph POPE and with the committee set up in 1919 to design proper arms for Canada.** Chadwick designed many arms which never received official sanction but made their way into the composite Dominion shield, namely: Prince Edward Island, the Yukon and the Northwest Territories. What is little known is that he designed the arms of Saskatchewan.*** The arms of the Yukon approved by Queen Elizabeth II in 1956, and evidently designed by Alan BEDDOE, included the reversed piles with gold roundels (bezants) already found in Chadwick’s earlier design.**** Chadwick insisted that the Dominion shield should display the arms of all the provinces and territories of Canada, which seems to explain his zeal for creating new and unauthorized coats of arms. For such a comprehensive shield, he coined the phrase écu complet.*****
Ref: * Wallace and McKay, Macmillan Dictionary Canadian Biography (Bibliog.), p. 144. ** LAC, MG 30, E86, vols, 24 to 29 and RG 6, A1, vol. 210, file 1156-1919. ***This is made evident by correspondence in LAC, MG 30, E 86, vol. 129, file 89: Reid to Pope 14 Sept. 1905; Pope to Reid, 19 Sept. 1905; Lee to Pope 3 Oct. 1906. **** His biography in Dictionary of Canadian biography online. Alan Beddoe never claimed the authorship of the arms of the Yukon and Northwest Territory, neither in his lectures, nor in his original manuscript for Beddoe’s Canandian Heraldry entitled: Heraldry in Canada, Our Unknown Heritage. However, an article by Chales R. Maier (“The Yukon Coat of Arms” HC, Sept. 1982, p. 11-12), describes significant involvement by Alan Beddoe in the design of the Yukon arms. Auguste Vachon remembers Mr. Beddoe proudly telling him that both the arms of the territories had been approved as he had designed them. In the case of the Yukon, he added that he had retained the reversed piles with the bezants of the earlier design to express the idea “There is gold in them thar hills.” This is substantiated by three preliminary drawings initialled “ABB” (in stylised monogram) in the files of the Secretary of State, now in LAC, two for the Yukon and one for the Northwest Territories. Moreover very few people in Canada at the time could have described such complex designs accurately in heraldic terminology as we see in the submissions sent to the Queen. A definitive answer may be contained in the Beddoe Papers, now in LAC, MG 30, D 252. *****LAC, MG 30, E 86, vol. 129, file 89, p. 10-11. For further information on the life and work of Chadwick, see Robert Merrill Black, “Shagotyohgwisaks; E.M. Chadwick and Canadian Heraldry” in HC., Sept. 1990, p. 2-4; Matheson, Canada’s Flag (Bibliog.), p. 9, 12-15; Auguste Vachon, “The Mystery Arms of Manitoba” in The Prairie Tressure, (Spring/Summer 2008), p. 6, 10.
Born in Cravendale, Ancaster, Upper Canada, was by profession a lawyer with a keen interest in both genealogy and heraldry. From 1898 to 1901, he edited The Ontarian genealogist and family historian and was author of Ontarian families (2 vols, Toronto, 1894-98), both of which he illustrated with coats of arms. “In 1908, he presented the Ontario government with a manuscript embodying the results of his investigations into coats-of-arms borne in Ontario.”* He corresponded a great deal on heraldic matters with Sir Joseph POPE and with the committee set up in 1919 to design proper arms for Canada.** Chadwick designed many arms which never received official sanction but made their way into the composite Dominion shield, namely: Prince Edward Island, the Yukon and the Northwest Territories. What is little known is that he designed the arms of Saskatchewan.*** The arms of the Yukon approved by Queen Elizabeth II in 1956, and evidently designed by Alan BEDDOE, included the reversed piles with gold roundels (bezants) already found in Chadwick’s earlier design.**** Chadwick insisted that the Dominion shield should display the arms of all the provinces and territories of Canada, which seems to explain his zeal for creating new and unauthorized coats of arms. For such a comprehensive shield, he coined the phrase écu complet.*****
Ref: * Wallace and McKay, Macmillan Dictionary Canadian Biography (Bibliog.), p. 144. ** LAC, MG 30, E86, vols, 24 to 29 and RG 6, A1, vol. 210, file 1156-1919. ***This is made evident by correspondence in LAC, MG 30, E 86, vol. 129, file 89: Reid to Pope 14 Sept. 1905; Pope to Reid, 19 Sept. 1905; Lee to Pope 3 Oct. 1906. **** His biography in Dictionary of Canadian biography online. Alan Beddoe never claimed the authorship of the arms of the Yukon and Northwest Territory, neither in his lectures, nor in his original manuscript for Beddoe’s Canandian Heraldry entitled: Heraldry in Canada, Our Unknown Heritage. However, an article by Chales R. Maier (“The Yukon Coat of Arms” HC, Sept. 1982, p. 11-12), describes significant involvement by Alan Beddoe in the design of the Yukon arms. Auguste Vachon remembers Mr. Beddoe proudly telling him that both the arms of the territories had been approved as he had designed them. In the case of the Yukon, he added that he had retained the reversed piles with the bezants of the earlier design to express the idea “There is gold in them thar hills.” This is substantiated by three preliminary drawings initialled “ABB” (in stylised monogram) in the files of the Secretary of State, now in LAC, two for the Yukon and one for the Northwest Territories. Moreover very few people in Canada at the time could have described such complex designs accurately in heraldic terminology as we see in the submissions sent to the Queen. A definitive answer may be contained in the Beddoe Papers, now in LAC, MG 30, D 252. *****LAC, MG 30, E 86, vol. 129, file 89, p. 10-11. For further information on the life and work of Chadwick, see Robert Merrill Black, “Shagotyohgwisaks; E.M. Chadwick and Canadian Heraldry” in HC., Sept. 1990, p. 2-4; Matheson, Canada’s Flag (Bibliog.), p. 9, 12-15; Auguste Vachon, “The Mystery Arms of Manitoba” in The Prairie Tressure, (Spring/Summer 2008), p. 6, 10.
An example of CHADWICK’s écu complet: 1st row: Ontario, Québec, Nova Scotia (all granted in 1868); 2nd row New Brunswick (granted 1868), British Columbia (created by BEANLANDS in 1895), Prince Edward Island (created by Chadwick ca. 1901); 3rd row Northwest Territories (created by Chadwick ca. 1901), Yukon (created by CHADWICK ca. 1903), arms of Manitoba (from its provincial seal, 1870). The arms illustrate a plate by Frank Beardmore, Fenton, England, ca. 1905 in the Vachon Collection, Canadian Museum of Civilization.
CHAMPAGE, Fortunat (1873-1950)
Enlumineur, calligraphe et musicien, il était à l’emploi du Secrétariat d'État du Canada où il préparait les documents calligraphiés et enluminés, souvent illustrés d’armoiries, destinés à des présentations officielles. Un bon nombre de ces documents s’adressaient à des prélats canadiens de l’Église catholique. En 1920, le Secrétariat d’État le chargea d’effectuer un dessin des armoiries proposées pour le Canada. Parmi ses créations enluminées d’emblèmes, citons une adresse présentée au cardinal Onésime Mercier en 1919 lors d’une visite à Ottawa, la première page d’une lettre adressée au roi par l’Association des ambulanciers St-Jean en 1931, une adresse du Parlement canadien pour le jubilé d’argent de George V en 1935, une adresse lue au gouverneur Bessborough lorsqu’il quitta le Canada en 1935. Sa carrière se rapproche de celles de Joseph-Charles-Théophile CHARLEBOIS et de Joseph Henry LEE-GRAYSON.
Réf : Marcel Gingras, « Un maître : feu Fortunat Champagne, enlumineur, calligraphe et musicien » dans Le Droit, (Ottawa) avril 1, 1950; David Karel, Dictionnaire des artistes de langue française en Amérique du Nord (Québec : Musée du Québec et les Presses de l’Université Laval, 1992, p. 9; biographie de Charles Marchand Dictionnaire biographique du Canada en ligne; Auguste Vachon, “Did Alexander Scott Carter give Canada its National Colours?” dans HC, 2010, p.11-12.
***
Fortunat Champage was an illustrator, calligrapher, and musician who worked for the Secretary of State of Canada where he created, calligraphed and illuminated documents for official presentations, often decorated with heraldic arms. A number of such documents were addressed to Canadian dignitaries of the Catholic Church. In 1920, he produced a drawing of the proposed arms for Canada for the Secretary of State. Among his notable works illuminated with heraldry were an address presented to Cardinal Onésime Mercier in 1919 on the occasion of his visit to Ottawa, the first page of a letter presented to the king by the St. John Ambulance Association in 1931, an address of the Parliament of Canada for the Silver Jubilee of George V in 1935, an address read to Governor Bessborough when he left Canada in 1935. His career parallels that of Joseph-Charles-Théophile CHARLEBOIS and Joseph Henry LEE-GRAYSON.
Enlumineur, calligraphe et musicien, il était à l’emploi du Secrétariat d'État du Canada où il préparait les documents calligraphiés et enluminés, souvent illustrés d’armoiries, destinés à des présentations officielles. Un bon nombre de ces documents s’adressaient à des prélats canadiens de l’Église catholique. En 1920, le Secrétariat d’État le chargea d’effectuer un dessin des armoiries proposées pour le Canada. Parmi ses créations enluminées d’emblèmes, citons une adresse présentée au cardinal Onésime Mercier en 1919 lors d’une visite à Ottawa, la première page d’une lettre adressée au roi par l’Association des ambulanciers St-Jean en 1931, une adresse du Parlement canadien pour le jubilé d’argent de George V en 1935, une adresse lue au gouverneur Bessborough lorsqu’il quitta le Canada en 1935. Sa carrière se rapproche de celles de Joseph-Charles-Théophile CHARLEBOIS et de Joseph Henry LEE-GRAYSON.
Réf : Marcel Gingras, « Un maître : feu Fortunat Champagne, enlumineur, calligraphe et musicien » dans Le Droit, (Ottawa) avril 1, 1950; David Karel, Dictionnaire des artistes de langue française en Amérique du Nord (Québec : Musée du Québec et les Presses de l’Université Laval, 1992, p. 9; biographie de Charles Marchand Dictionnaire biographique du Canada en ligne; Auguste Vachon, “Did Alexander Scott Carter give Canada its National Colours?” dans HC, 2010, p.11-12.
***
Fortunat Champage was an illustrator, calligrapher, and musician who worked for the Secretary of State of Canada where he created, calligraphed and illuminated documents for official presentations, often decorated with heraldic arms. A number of such documents were addressed to Canadian dignitaries of the Catholic Church. In 1920, he produced a drawing of the proposed arms for Canada for the Secretary of State. Among his notable works illuminated with heraldry were an address presented to Cardinal Onésime Mercier in 1919 on the occasion of his visit to Ottawa, the first page of a letter presented to the king by the St. John Ambulance Association in 1931, an address of the Parliament of Canada for the Silver Jubilee of George V in 1935, an address read to Governor Bessborough when he left Canada in 1935. His career parallels that of Joseph-Charles-Théophile CHARLEBOIS and Joseph Henry LEE-GRAYSON.
Estampe des armoiries proposées pour le Canada à partir d’un dessin par Fortunat CHAMPAGNE, signé par les membres du comité sur les armoiries, le 7 juillet 1920.
Print of the proposed arms for Canada from a drawing by Fortunat CHAMPAGNE, signed by members of the Arms Committee, Ottawa, July 7, 1920.
BAC/LAC neg. C-133325.
Print of the proposed arms for Canada from a drawing by Fortunat CHAMPAGNE, signed by members of the Arms Committee, Ottawa, July 7, 1920.
BAC/LAC neg. C-133325.
CHAMPLAIN, Samuel de (ca. 1570- 1635)
Champlain continua la pratique de Jacques CARTIER de prendre possession de nouveaux territoires en érigeant des croix portant les armes et parfois le nom du roi.* Un petit drapeau en queue d’hirondelle à trois fleurs de lis flottait sur son Abitation érigée à Québec en 1608. Sur certaines de ses cartes les bateaux arborent des pavillons à une croix qui vraisemblablement est le drapeau bleu à croix blanche de la marine marchande de l’époque, l’une des sources d’inspiration pour le drapeau actuel de la province de Québec.**
Réf : *L’abbé C.H. Laverdière, Œuvres de Champlain, 2e éd. 5 t., Québec, Université Laval, 1870, t. III, p. 451, 467, t. V, p. 864, 879. **Auguste Vachon, « L’emblème royal en Nouvelle-France » dans L’Archiviste, janv.-fév. 1990, p. 12-13; Jacques Archambault et Eugénie Lévesque, Le drapeau québécois (Éditeur officiel du Québec, 1974), p. 6.
***
Samuel de Champlain, like Jacques CARTIER before him, took possession of new territories by erecting crosses bearing the arms and sometimes the name of the sovereign. A small swallow-tailed flag decked with three fleurs-de-lis floated from his Abitation built at Quebec in 1608. A certain number of his maps show ships flying a flag with a cross. This was probably the blue flag with a white cross of the French merchant marine, which was a source of inspiration for the flag of the province of Quebec.
CHAPIN, Howard M. (1887-1940)
An American historian with an interest in heraldry and a designer of arms. Is the author of several heraldic works, for instance: Civil heraldry: a roll of arms of cities and towns in the United States including those of some counties, councils and courts (1935). His contribution to Canadian heraldry consists of a civic armorial “Canadian Municipal Arms” published in The Canadian Historical Review, Sept. 1937, p. 245-260, with a foreword by Charles W. Jeffereys. Chapin’s own introduction begins with the striking words “Heraldry is neither dead nor undemocratic.”
CHARLEBOIS, Joseph-Charles-Théophile (1872 -1935)
Né à Montréal, il travailla un temps à New York, puis revint dans sa ville natale. Il est mieux connu comme caricaturiste, mais a aussi enluminé plusieurs adresses que la ville de Montréal présentait à ses visiteurs de marques : Édouard VII (1902), Georges V (1911), le prince de Galles (1919), la reine Mary (1935), aussi à plusieurs cardinaux et au général Joffre. Ces enluminures comprenaient des éléments héraldiques, un aspect de sa carrière qui le rapproche de Fortunat CHAMPAGE et de Joseph Henry LEE-GRAYSON.
Réf: Dictionnaire des artistes de langue française en Amérique du Nord , Québec, Musée du Québec et Les Presses de l'Université Laval, 1992, p. 162; The Montreal Gazette, 21 octobre 1935, p. 6.
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Joseph-Charles-Théophile Charlebois was born in Montreal, worked a time in New York and returned to his native city. He is best known as a cartoonist, but has illuminated a number of addresses presented by the City of Montreal to visitors of distinction: Edward VII (1902), George V (1911), the Prince of Wales (1919), Queen Mary (1935), as well as to several cardinals and to General Joffre. His work as an illuminator included heraldic elements, an aspect of his work which parallels the careers of Fortunat CHAMPAGE and Joseph Henry LEE-GRAYSON.
CHAUSSEGROS DE LÉRY, Gaspard-Joseph (1682 – 1756)
Officier d'infanterie, ingénieur du roi en Nouvelle-France de 1716 à 1756. En 1725, il fit confectionner et installer des sculptures des armoiries royales sur les portes, les immeubles, les forts et les places publiques à Québec, Montréal, et Trois-Rivières de manière à marquer clairement la souveraineté du roi sur son territoire nord-américain, ce qu’on avait négligé de faire auparavant. Son fils du même nom, aussi ingénieur militaire, s’était rendu en France au printemps de 1762 dans l’espoir d’obtenir un poste intéressant. N’ayant pas reçu l’attention qu’il escomptait et las de courir les antichambres, il avait décidé de collaborer avec le nouveau régime. Se trouvant à Londres à l’été de 1763, il fit, avec le concours des hérauts Sommerset et Lancaster, enregistrer au Collège des Hérauts d’Angleterre la généalogie et les armoiries de son père ainsi que la croix de Saint-Louis décernée à plusieurs membres de sa famille. Le fils était l’un des premiers Canadiens à se prévaloir des services héraldiques de Londres après la conquête et le premier seigneur canadien à être présenté à un souverain britannique, notamment à George III.
Réf : Bernard Pothier, « The Royal Arms of France and its Ancillary Artifacts » dans Canadian Military History, printemps 1998, p. 56-64; Auguste Vachon, « Bannière de France et pavillon blanc en Nouvelle-France » dans HC, année 2008, p. 26-27; AugusteVachon, « Les armoiries personnelles au Québec » dans L’Ancêtre, été 2008, p. 342.
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Army officer, royal engineer in New France, 1716-1756. In 1725, Gaspard-Joseph Chaussegros de Léry had a number of sculptures of the royal arms made and placed on gates, buildings, forts and public places in the cities of Quebec, Montreal and Three-Rivers so that the king’s sovereignty was affirmed in his North American possessions, something that had been neglected up to that time. His son, who went by the same name, also a military engineer, went to France in the spring of 1762 in the hope of continuing his career in France. But the response was disappointing, and tired of soliciting favours, he decided to try his luck with the new regime. The summer of 1763 found him in London where, with the help of Sommerset and Lancaster Heralds, he registered the genealogy and arms of his father at the College of Arms along with the Croix de Saint-Louis awarded to several members of his family. The son was one of the first Canadians to enlist the services of the College of Arms after the conquest and the first Canadian seigneur to be presented to a British Sovereign, namely George III. CRAIG, John (1804-1854) Originally a painter of portraits, fancy signs, and heraldry, he was forced by economic circumstances to extend his activities to include coach, sign, and house painting. His designs included coats of arms for several provincial court-houses as well as banners for many local Orange and Masonic lodges, and for Toronto’s national societies, such as the St Andrew’s, St George’s, and St Patrick’s. His name appears regularly in the papers of the architect John George Howard (Metropolitan Toronto Library) in connection with various designs in stained glass which include coats-of-arms. He designed other coats of arms in various mediums for the buildings of this architect. He decorated the Middlesex County Court-house (London, Ont.) with the Arms of George IV. See James BLOMFIELD for other heraldic stained glass designs.
Ref: His biography in Dictionary of Canadian Biography online.
Champlain continua la pratique de Jacques CARTIER de prendre possession de nouveaux territoires en érigeant des croix portant les armes et parfois le nom du roi.* Un petit drapeau en queue d’hirondelle à trois fleurs de lis flottait sur son Abitation érigée à Québec en 1608. Sur certaines de ses cartes les bateaux arborent des pavillons à une croix qui vraisemblablement est le drapeau bleu à croix blanche de la marine marchande de l’époque, l’une des sources d’inspiration pour le drapeau actuel de la province de Québec.**
Réf : *L’abbé C.H. Laverdière, Œuvres de Champlain, 2e éd. 5 t., Québec, Université Laval, 1870, t. III, p. 451, 467, t. V, p. 864, 879. **Auguste Vachon, « L’emblème royal en Nouvelle-France » dans L’Archiviste, janv.-fév. 1990, p. 12-13; Jacques Archambault et Eugénie Lévesque, Le drapeau québécois (Éditeur officiel du Québec, 1974), p. 6.
***
Samuel de Champlain, like Jacques CARTIER before him, took possession of new territories by erecting crosses bearing the arms and sometimes the name of the sovereign. A small swallow-tailed flag decked with three fleurs-de-lis floated from his Abitation built at Quebec in 1608. A certain number of his maps show ships flying a flag with a cross. This was probably the blue flag with a white cross of the French merchant marine, which was a source of inspiration for the flag of the province of Quebec.
CHAPIN, Howard M. (1887-1940)
An American historian with an interest in heraldry and a designer of arms. Is the author of several heraldic works, for instance: Civil heraldry: a roll of arms of cities and towns in the United States including those of some counties, councils and courts (1935). His contribution to Canadian heraldry consists of a civic armorial “Canadian Municipal Arms” published in The Canadian Historical Review, Sept. 1937, p. 245-260, with a foreword by Charles W. Jeffereys. Chapin’s own introduction begins with the striking words “Heraldry is neither dead nor undemocratic.”
CHARLEBOIS, Joseph-Charles-Théophile (1872 -1935)
Né à Montréal, il travailla un temps à New York, puis revint dans sa ville natale. Il est mieux connu comme caricaturiste, mais a aussi enluminé plusieurs adresses que la ville de Montréal présentait à ses visiteurs de marques : Édouard VII (1902), Georges V (1911), le prince de Galles (1919), la reine Mary (1935), aussi à plusieurs cardinaux et au général Joffre. Ces enluminures comprenaient des éléments héraldiques, un aspect de sa carrière qui le rapproche de Fortunat CHAMPAGE et de Joseph Henry LEE-GRAYSON.
Réf: Dictionnaire des artistes de langue française en Amérique du Nord , Québec, Musée du Québec et Les Presses de l'Université Laval, 1992, p. 162; The Montreal Gazette, 21 octobre 1935, p. 6.
***
Joseph-Charles-Théophile Charlebois was born in Montreal, worked a time in New York and returned to his native city. He is best known as a cartoonist, but has illuminated a number of addresses presented by the City of Montreal to visitors of distinction: Edward VII (1902), George V (1911), the Prince of Wales (1919), Queen Mary (1935), as well as to several cardinals and to General Joffre. His work as an illuminator included heraldic elements, an aspect of his work which parallels the careers of Fortunat CHAMPAGE and Joseph Henry LEE-GRAYSON.
CHAUSSEGROS DE LÉRY, Gaspard-Joseph (1682 – 1756)
Officier d'infanterie, ingénieur du roi en Nouvelle-France de 1716 à 1756. En 1725, il fit confectionner et installer des sculptures des armoiries royales sur les portes, les immeubles, les forts et les places publiques à Québec, Montréal, et Trois-Rivières de manière à marquer clairement la souveraineté du roi sur son territoire nord-américain, ce qu’on avait négligé de faire auparavant. Son fils du même nom, aussi ingénieur militaire, s’était rendu en France au printemps de 1762 dans l’espoir d’obtenir un poste intéressant. N’ayant pas reçu l’attention qu’il escomptait et las de courir les antichambres, il avait décidé de collaborer avec le nouveau régime. Se trouvant à Londres à l’été de 1763, il fit, avec le concours des hérauts Sommerset et Lancaster, enregistrer au Collège des Hérauts d’Angleterre la généalogie et les armoiries de son père ainsi que la croix de Saint-Louis décernée à plusieurs membres de sa famille. Le fils était l’un des premiers Canadiens à se prévaloir des services héraldiques de Londres après la conquête et le premier seigneur canadien à être présenté à un souverain britannique, notamment à George III.
Réf : Bernard Pothier, « The Royal Arms of France and its Ancillary Artifacts » dans Canadian Military History, printemps 1998, p. 56-64; Auguste Vachon, « Bannière de France et pavillon blanc en Nouvelle-France » dans HC, année 2008, p. 26-27; AugusteVachon, « Les armoiries personnelles au Québec » dans L’Ancêtre, été 2008, p. 342.
***
Army officer, royal engineer in New France, 1716-1756. In 1725, Gaspard-Joseph Chaussegros de Léry had a number of sculptures of the royal arms made and placed on gates, buildings, forts and public places in the cities of Quebec, Montreal and Three-Rivers so that the king’s sovereignty was affirmed in his North American possessions, something that had been neglected up to that time. His son, who went by the same name, also a military engineer, went to France in the spring of 1762 in the hope of continuing his career in France. But the response was disappointing, and tired of soliciting favours, he decided to try his luck with the new regime. The summer of 1763 found him in London where, with the help of Sommerset and Lancaster Heralds, he registered the genealogy and arms of his father at the College of Arms along with the Croix de Saint-Louis awarded to several members of his family. The son was one of the first Canadians to enlist the services of the College of Arms after the conquest and the first Canadian seigneur to be presented to a British Sovereign, namely George III. CRAIG, John (1804-1854) Originally a painter of portraits, fancy signs, and heraldry, he was forced by economic circumstances to extend his activities to include coach, sign, and house painting. His designs included coats of arms for several provincial court-houses as well as banners for many local Orange and Masonic lodges, and for Toronto’s national societies, such as the St Andrew’s, St George’s, and St Patrick’s. His name appears regularly in the papers of the architect John George Howard (Metropolitan Toronto Library) in connection with various designs in stained glass which include coats-of-arms. He designed other coats of arms in various mediums for the buildings of this architect. He decorated the Middlesex County Court-house (London, Ont.) with the Arms of George IV. See James BLOMFIELD for other heraldic stained glass designs.
Ref: His biography in Dictionary of Canadian Biography online.
COCHRANE, John (1813-1850)
Sculptor, born in Scotland; settled in Toronto. “His advertisement in the British Colonist of 31 Aug. 1847 announced his field as ‘sculpture in marble and stone’ and listed as his specialities ‘Statues, Coats of Arms, Monuments, Tomb Stones, Sun Dials, Fonts, Vases, Chimney Pieces, Modelling, Ornaments &c.’ ” … “The sculptor worked with Thomas on the decorations for the interior of St Paul’s Church (Anglican) in London [Ontario]. Cochrane was also responsible for the stone and stucco ornamentation of St Michael’s Cathedral (Roman Catholic) in Toronto, and for the stone carving, including a coat of arms in the central gable, on the episcopal palace just north of the cathedral.” … “The most sophisticated work in the hall [St Lawrence Hall] was on the coats of arms. Before 1850 Cochrane had already attracted favourable attention for his carving of coats of arms, including the one that adorned the Bank of British North America (now demolished) sculpted shortly after his arrival in Toronto. The arms of the city of Toronto, combined with the royal arms and standing figures of an Indian and Britannia, all mounted on the pediment of the façade of St Lawrence Hall, was almost certainly one of his last works.” … “To the 1848 Toronto Mechanics’ Institute exhibition he contributed a royal arms in plaster, a rustic sun-dial, and the statue of Brant (which he owned). The statue attracted praise for its wealth of truthful detail and may have served as the model for the Indian in the St Lawrence Hall coat of arms.”
Ref: http://www.biographi.ca/en/bio/cochrane_john_7E.html, consulted 9 February 2014.
Sculptor, born in Scotland; settled in Toronto. “His advertisement in the British Colonist of 31 Aug. 1847 announced his field as ‘sculpture in marble and stone’ and listed as his specialities ‘Statues, Coats of Arms, Monuments, Tomb Stones, Sun Dials, Fonts, Vases, Chimney Pieces, Modelling, Ornaments &c.’ ” … “The sculptor worked with Thomas on the decorations for the interior of St Paul’s Church (Anglican) in London [Ontario]. Cochrane was also responsible for the stone and stucco ornamentation of St Michael’s Cathedral (Roman Catholic) in Toronto, and for the stone carving, including a coat of arms in the central gable, on the episcopal palace just north of the cathedral.” … “The most sophisticated work in the hall [St Lawrence Hall] was on the coats of arms. Before 1850 Cochrane had already attracted favourable attention for his carving of coats of arms, including the one that adorned the Bank of British North America (now demolished) sculpted shortly after his arrival in Toronto. The arms of the city of Toronto, combined with the royal arms and standing figures of an Indian and Britannia, all mounted on the pediment of the façade of St Lawrence Hall, was almost certainly one of his last works.” … “To the 1848 Toronto Mechanics’ Institute exhibition he contributed a royal arms in plaster, a rustic sun-dial, and the statue of Brant (which he owned). The statue attracted praise for its wealth of truthful detail and may have served as the model for the Indian in the St Lawrence Hall coat of arms.”
Ref: http://www.biographi.ca/en/bio/cochrane_john_7E.html, consulted 9 February 2014.
COLVILLE, Alex [David Alexander] (1920-2013)
This outstanding Canadian artist became involved with heraldry in 1975 when Governor General Jules Léger, a friend, asked him to render artistically the imagery for his privy seal, which design also appeared on his medal. Coleville may not have had any input as to the content, which seems an interpretation by Léger of his role as governor general. The seal displays the crown above the maple leaf which is stylized as in Canada’s flag, and above both, an owl with wings spread out as an umbrella. The crown and leaf represent the office of the governor general as vice-regal representative of the Canadian Crown (Her Majesty having the title of Queen of Canada since 1953). The owl symbolizes the wisdom which should prevail in the exercise of the governor general’s function. A memorandum dated 1984 explains that Léger adopted this device himself because there was no granting authority in Canada at the time. It also informs us that the artist depicted these emblems on a shield with “a medium French blue” field, the owl being gold with white highlights and both the crown and leaf being white.* This design was granted to the descendants of Léger in 1990 by the CHA, but the owl in the granted arms is white and both the maple leaf and crown are gold.** It has been speculated that the owl is the snowy owl which is a symbol of the Province of Quebec where Governor Léger was born. This seems unlikely since this symbol was adopted by the province in 1987, several years after Léger’s term in office.
Ref: *Memorandum to Her Excellency from R.H. Hubbard, 12 June 1984, Rideau Hall Archives, file 822-1; ** http://reg.gg.ca/heraldry/pub-reg/project.asp?lang=e&ProjectID=1865&ShowAll=1; MacDonald, Dictionary Canadian Artists (Bibliog.).
This outstanding Canadian artist became involved with heraldry in 1975 when Governor General Jules Léger, a friend, asked him to render artistically the imagery for his privy seal, which design also appeared on his medal. Coleville may not have had any input as to the content, which seems an interpretation by Léger of his role as governor general. The seal displays the crown above the maple leaf which is stylized as in Canada’s flag, and above both, an owl with wings spread out as an umbrella. The crown and leaf represent the office of the governor general as vice-regal representative of the Canadian Crown (Her Majesty having the title of Queen of Canada since 1953). The owl symbolizes the wisdom which should prevail in the exercise of the governor general’s function. A memorandum dated 1984 explains that Léger adopted this device himself because there was no granting authority in Canada at the time. It also informs us that the artist depicted these emblems on a shield with “a medium French blue” field, the owl being gold with white highlights and both the crown and leaf being white.* This design was granted to the descendants of Léger in 1990 by the CHA, but the owl in the granted arms is white and both the maple leaf and crown are gold.** It has been speculated that the owl is the snowy owl which is a symbol of the Province of Quebec where Governor Léger was born. This seems unlikely since this symbol was adopted by the province in 1987, several years after Léger’s term in office.
Ref: *Memorandum to Her Excellency from R.H. Hubbard, 12 June 1984, Rideau Hall Archives, file 822-1; ** http://reg.gg.ca/heraldry/pub-reg/project.asp?lang=e&ProjectID=1865&ShowAll=1; MacDonald, Dictionary Canadian Artists (Bibliog.).
Arms granted to the descendants of former Governor General Jules Léger, 15 January 1990 (Vol. I, p. 68). Reproduced by permission of the Canadian Heraldic Authority of Canada © Her Majesty in Right of Canada.
CRAIG, John (1804-1854)
Originally a painter of portraits, fancy signs, and heraldry, he was forced by economic circumstances to extend his activities to include coach, sign, and house painting. His designs included coats of arms for several provincial court-houses as well as banners for many local Orange and Masonic lodges, and for Toronto’s national societies, such as the St Andrew’s, St George’s, and St Patrick’s. His name appears regularly in the papers of the architect John George Howard (Metropolitan Toronto Library) in connection with various designs in stained glass which include coats of arms. He designed other coats of arms in various mediums for the buildings of this architect. He decorated the Middlesex County Court-house (London, Ont.) with the arms of George IV. See James BLOMFIELD for other heraldic stained glass designs.
Ref: His biography in Dictionary of Canadian Biography online.
Originally a painter of portraits, fancy signs, and heraldry, he was forced by economic circumstances to extend his activities to include coach, sign, and house painting. His designs included coats of arms for several provincial court-houses as well as banners for many local Orange and Masonic lodges, and for Toronto’s national societies, such as the St Andrew’s, St George’s, and St Patrick’s. His name appears regularly in the papers of the architect John George Howard (Metropolitan Toronto Library) in connection with various designs in stained glass which include coats of arms. He designed other coats of arms in various mediums for the buildings of this architect. He decorated the Middlesex County Court-house (London, Ont.) with the arms of George IV. See James BLOMFIELD for other heraldic stained glass designs.
Ref: His biography in Dictionary of Canadian Biography online.
CROWNE, William (1617-1682)
Colonizer, independent minister in the Parliament of Cromwell, and colonel in the British militia. “In 1636, William Crowne, in his nineteenth year, accompanied as a member of his suite the Earl of Arundel on a mission to the emperor Ferdinand II. He subsequently wrote an account of this journey. On 24 Sept. 1638, at the Red Tavern Inn, Richmond, the Earl of Arundel created Crowne Rouge-Dragon, entitling him to armorial bearings. William Crowne held this office after he went to America. He returned to London and officiated as Rouge-Dragon at the coronation of Charles II on 23 April 1661. Crowne resigned 25 May 1661.” … “In the year 1656, Crowne tied up his fortune in a venture in the New World. He became joint proprietor, with Col. Thomas Temple, of Nova Scotia, by buying Charles de Saint-Étienne de La Tour’s patent as baronet of Nova Scotia.”
Ref: http://www.biographi.ca/en/bio/crowne_william_1E.html, consulted 9 February 2014.
Colonizer, independent minister in the Parliament of Cromwell, and colonel in the British militia. “In 1636, William Crowne, in his nineteenth year, accompanied as a member of his suite the Earl of Arundel on a mission to the emperor Ferdinand II. He subsequently wrote an account of this journey. On 24 Sept. 1638, at the Red Tavern Inn, Richmond, the Earl of Arundel created Crowne Rouge-Dragon, entitling him to armorial bearings. William Crowne held this office after he went to America. He returned to London and officiated as Rouge-Dragon at the coronation of Charles II on 23 April 1661. Crowne resigned 25 May 1661.” … “In the year 1656, Crowne tied up his fortune in a venture in the New World. He became joint proprietor, with Col. Thomas Temple, of Nova Scotia, by buying Charles de Saint-Étienne de La Tour’s patent as baronet of Nova Scotia.”
Ref: http://www.biographi.ca/en/bio/crowne_william_1E.html, consulted 9 February 2014.