The Resurrectionist of Ainleyville: Body Snatching in 19th Century Brussels

The Resurrectionist of Ainleyville: Body Snatching in 19th Century Brussels

Written by Sinead Cox, Curator of Engagement & Dialogue 

Panic in Ainleyville 

“AINLEYVILLE: EXCITING CHASE AFTER A RESURRECTIONIST,” reads an intriguing headline from the May 5, 1864 Huron Signal: “The Miscreant Overhauled and the ‘body’ captured!” After no doubt succeeding in capturing its reader’s full attention, the cheeky tale of the so-called ‘resurrectionist’ (grave robber) unfolds as follows: a group of young men raucously depart an Ainleyville tavern where they had been discussing current politics with whiskey and rye. Passing a burial ground, they spot a suspicious figure carrying a heavy sack, and quickly identify him as a scoundrel and “one of the bloody body snatchers!” The men proceed to pursue and tackle the suspected fiend, and wrestle the sack away from him:  

The bag was opened by excited fingers, and what was the sight that met the eyes stretched wide open to take in a horror? Not a mutilated, outraged human body, but a lot of most harmless looking bran, which the supposed resurrectionist had borrowed from a neighbor.  

The punchline of the piece is that the vindicated ‘resurrectionist’ promised his assailants not to tell anyone about this embarrassing encounter, “but he made no promise against writing.” (i) 

Whether or not this exact sequence of events ever happened, the newspaper’s uncredited account satirizes a perceived preoccupation with “body raising” that afflicted residents of Ainleyville in the spring of 1864: a scare that was not quite as outlandish as the Signal’s mockery may suggest. The story itself acknowledges that before their misadventure, the excitable young men were discussing, “the recent cases of body snatching…very naturally.”  Natural because, only a few months prior, a very real ‘body snatcher’ had admitted to illegally disinterring the remains of a young woman from the Methodist New Connexion Cemetery (today Brussels Cemetery).  

While the Huron Signal could merrily recount the apprehension of a bran resurrectionist, the same paper had gravely (no pun intended) condemned this actual incident as a “hideous offence.” (ii)  The alleged grave robber was 22-year-old Edward Hudson (also spelled Hotson), originally of Markham. (iii) Committed to the Huron Gaol on March 6, 1864, the registry described him as 5 ft 7 inches tall, with blue eyes and dark brown hair. This record mentions only the commonplace crime of “trespass,” but his given profession provides a motive for something more lurid: he was a medical student. 

The Progress of Science vs. the Sanctity of the Grave 

The Grand Jury at Edward Hudson’s eventual trial would be reminded of the seriousness of his offence, and that “it be might well be for the ‘progress of science,’ but that progress was not to be aided by sacrilege.” (iv) Grave-robbing (either by ‘resurrectionists’ for-hire or medical practitioners themselves) was a longstanding practice in medicine because of a seemingly unresolvable paradox: training doctors to save lives and advances in medical science both required human cadavers, but there was no adequate supply of consenting donors to bequeath those bodies. Prevailing social norms and tradition meant that most 19th-century Canadians (v) preferred prompt burial with religious rites. Two decades before Ainleyville’s body snatching scare, the controversial 1843 Anatomy Bill for the United Canadas set out to provide medical schools with legal cadavers. It allocated the remains of those who died “publicly exposed” or in public institutions like gaols or hospitals if they were not claimed by friends or family. (vi)  

Dr. William “Tiger” Dunlop, then Huron’s Member of the Legislative Assembly and himself a medical doctor, argued firmly in favour of the 1843 Bill against those who feared it would deny a ‘decent’ burial to vulnerable groups like new immigrants. He acknowledged that “there is a prejudice all over the world, a strong prejudice in favour of the sanctity of the grave…but he would not have it obstruct the acquisition of anatomical knowledge, for without it even a physician may do more harm than good.” During debates, he also raised the spectre of the notorious Burke & Hare case in Scotland, wherein the perpetrators had resorted to murder to supply valuable corpses. Dunlop viewed the matter pragmatically, arguing that since medical students would always need cadavers to learn, the graves of the poor would be pilfered regardless of any law. He owned that he himself had participated in grave-robbing excursions at least 70 times in the United Kingdom:  

A dissecting room was a dirty sight to a stranger, more so because [it] was not under legal protection. The work has to be done by stealth, in a hurry, and by night. [Dr. Dunlop] had carried bodies in baskets and [re]buried them in a ploughed field to escape detection. But place these [medical] schools under law, and these things will cease.  

Dr. Dunlop proclaimed he would not object to his own corpse being dissected after death (but any visitor to his tomb at Gairbraid north of Goderich will know this did not happen). (vii) 

The passing of the 1843 bill provided medical schools with cadavers in a manner that was conveniently out-of-sight and out-of-mind for those not facing extreme poverty, homelessness or institutionalization. Illegal exhumations persisted in the coming decades, however, confronting wider Canadian society with the fact that the essential paradox of societal needs versus norms had never actually been resolved.   

Men Pretending to be Doctors   

A new and developing settler community, Ainleyville, was still a relatively remote outpost in the 1860s, situated on the border of Morris and Grey Townships. Part of the amalgamated municipality of Huron East today, the village was not officially renamed Brussels until 1872 to align with its train station. A rural community located a great distance from any medical college would seem an unlikely place to encounter a black market for cadavers. When a grisly “trail of blood” leading from a Thornhill churchyard revealed the emptied grave of a man killed in a farm accident in 1861 for example, the York Herald confidently predicted that the culprits would be found in nearby Toronto. (viii) Referring to the 1864 case in Huron County, the Signal lamented that stealing bodies from their graves, “has been too much in vogue in large cities, but is now first heard of here.” (ix) 

Although there was no anatomy school in Huron County, the northeast part of the county had several medical men practicing at the time. Ainleyville’s Dr. Isaac J. Hawks was initially co-accused alongside Edward Hudson for the crime of “disinterring a dead body” in March, 1864, although he was not ultimately jailed. According to newspaper accounts, Hudson lived with Hawks at the time of the crime and worked in his drug store. (x) Remembered as Brussels’ first doctor, Dr. Hawks was also an enterprising businessman. In addition to his services as a physician and surgeon, the County employed him as coroner in the townships of Grey and Morris during the early 1860s, and he owned a general store in Bodmin. (xi) Both Edward Hudson “medical student” and Dr. Isaac J. Hawks, M.D. appear in the 1863/1864 County of Huron gazetteer as professionals in Ainleyville, implying that Hawks provided medical services with a license, and Hudson without. (xii)  

A so-called ‘indignation meeting’ at Ainleyville two years earlier had publicly exposed, though, that the credentials of many rural physicians with that reassuring “Dr.” prefix fell short of a completed university degree or medical license. Angry citizens had convened in 1862 after Dr.  A. Lenders had used his powers as coroner to delay a Morrisdale man’s funeral and burial. (xiii) Lenders insisted on holding an inquest, despite colleagues Dr. Hawks and Dr. Caw’s preceding assessment that it was a straightforward death from natural causes. The assembled residents suspected that Dr. Lenders had callously offended “the feelings of the bereaved” for a petty rivalry. The secretary for the meeting referred to Lenders as a “medical student” and concluded:   

The would be Dr. (Lenders) raised the whole excitement in the community because he wished to vent his spleen on the other two medical gentlemen, who unfortunately have no license, and the inconsistency of the thing is, he is said to have none himself…Men pretending to be Doctors have carried the thing too far in this part. We are daily trampled on by charlatans. There is a great need for reform…But we want no more quacks. (xiv)  

With the medical education of so many practitioners allegedly incomplete, it is not difficult to imagine that informal lessons in anatomy or surgery were taking place in Morris and Grey Townships, requiring the illicit purchase of cadavers.  The questionable legality of medical practice generally around Ainleyville in the 1860s certainly set the scene for the graverobbing scandal to come.   

The Queen Vs. Edward Hudson 

On the morning of March 3, 1864,  the body of Elizabeth Hislop Broadfoot was found to have been “partially exhumed.” (xv) It is unlikely there was any actual grave to rob dug in the frozen grounds of the New Connexion cemetery south of Ainleyville in early March. Cold weather could actually expedite a body snatcher’s work by better preserving remains and necessitating that they be stored in an above-ground mortuary until the spring thaw. Although the available details are few, reference to a partial exhumation suggests that some part of the remains or their coverings were discovered missing: perhaps either because of tampering onsite, or the body had been hastily re-interred after dissection.  

Elizabeth had died days before on Feb. 29—1864 being a leap year. Born in Scotland only 25 years earlier, she had emigrated with her family as a child and settled in Grey Township. She lived in a log home about two miles north of Walton with her father, John Hislop, before marrying “respectable” Morris farmer Robert Broadfoot in December, 1862. (xvi)  The same month as her tragically short life ended, she had given birth to her only son, John H. Broadfoot.  

Maternal mortality was not uncommon in the 19th century, and post-partum complications were very likely responsible for Elizabeth’s demise. During the period many devastating diseases also claimed the lives of young people in Huron County. Diphtheria, scarlet fever, typhoid and meningitis, among other outbreaks, could claim several members of the same family in a manner of days or even hours, necessitating hasty burials.  Perhaps any knowledge that Elizabeth had passed away from a post-partum infection or blood loss, rather than contagion, could have also factored into a grave robber’s choice.  

Whatever the circumstances of the young woman’s death, the illegal disinterment of her body would have shocked the community, the grieving Hislop and Broadfoot families most of all.  Elizabeth’s widower stood before the Justice of the Peace to accuse Dr. I. J. Hawks and Edward Hudson on March 5. Hawks was discharged when this local court failed to find sufficient evidence for the doctor’s involvement in the crime. The young medical student, however, was committed to the gaol at Goderich to await his trial at the higher Quarter Sessions court on March 10 and 11 

Contemporary community gossip in the vicinity of Ainleyville was no doubt consumed by this case. Most locals would have been connected to a victim or alleged perpetrator, as indicated by the more than dozen potential witnesses listed on court documents. Names included not only bereaved husband Robert Broadfoot and his father-in-law John Hislop, but multiple local doctors including Dr. D. B. McCool, Dr. Hawks and Dr. Lenders, and prominent citizens including merchant N. W. Livingston and a son of the village’s namesake Ainley family. (xvii) According to The Mitchell Advocate, a local tailor and a clerk in Livingston’s store were widely known to have assisted Hudson with the crime, but the 22-year-old medical student remained the only one facing legal consequences. (xviii)   

Hudson faced two separate indictments: one charge for the larceny of Elizabeth’s shroud and coffin, and another for disinterring a body. The Grand Jury at Goderich determined that there was no proof of larceny, and returned “no true bill” against the defendant. For the charge of body raising, Edward Hudson changed his plea to guilty and the jury did return a true bill. Whether he admitted guilt out of remorse or pragmatism, he was now a confessed and convicted resurrectionist.  The resulting sentence was “to be imprisoned for one month in the common Gaol and pay a fine of ten pounds, and remain in Gaol until the same be paid.” (xix) This penalty Hudson must have paid in full, as he walked free on April 13 

My Life with You did not Long Last 

Ainleyville’s  lingering fear of graverobbing seems to have escalated to something of a brief moral panic, as derided in the Huron Signal’s story about its citizens rescuing a snatched bag of bran. This hypervigilance was not gothic Victorian imaginations run amok, but precipitated by true events that had no doubt sincerely frightened people. The consensus of public opinion was that Hudson had not acted alone, and it is unlikely that he could have moved and dissected a body without help.  His shocking arrest would have prodded villagers to contemplate if more undetected disinterments had already taken place, and whether they were still in the company of those responsible. The scandal would have also further broken trust with the region’s dubious ‘doctors,’ if not professional medicine in general.  

More than a decade later, Brucefield would similarly face “considerable excitement” when the bones of a long-buried man were reported missing from Tuckersmith’s Friarton Brae cemetery in May,1878. (xx) This panic was short-lived. The man’s widow corrected the spread of false information in a correction to Clinton’s New Era newspaper months later: “the grave was not robbed, but had been disturbed by a horse tramping over it.” (xxi)   

After serving his time in gaol, Edward Hudson soon escaped ignominy in Canada West for the United States. Amidst the American Civil War, he enlisted in the U.S. Army at Detroit in September, 1864. Although his erstwhile colleague Dr. Isaac J. Hawks avoided criminal charges,  the accusations reportedly damaged the doctor’s reputation: “the prevailing opinion of the country is, that he was quite cognizant of the whole affair.” (xxii) Dr. Hawks was the most generous financial donor to the Ainleyville New Connexion Methodist church in 1865, but he seemingly disappeared from local prominence after the mid 1860s. (xxiii) After years of already working as physician and surgeon for the rural residents of Huron County, he finally acquired a license to practice medicine on Dec. 20, 1864. (xxiv)  

Widower Robert Broadfoot remarried and moved to western Canada and ultimately Kansas. John Hislop continued to occupy the family farm between Walton and Brussels until his own death in 1881, survived by several of his other children.  

Although there is little detail known about the short life of Elizabeth Broadfoot, her gravestone still stands in the Brussels Cemetery today as an enduring monument to how much her loved ones cared for her and deeply missed her when she died in the winter of 1864. Her son would sadly never have the chance to know his mother, but the inscription on Elizabeth’s stone includes a poem that made her love for him immortal: “Mourn not for me my life is past/my life with you not long did last/But mercy show and pity take/and love my infant for my sake.”  

Graverobbing as Gothic Tale 

Sensationalism, tragedy and even humour all co-exist in the history of grave robbing. In 1843, Tiger Dunlop garnered laughter on the floor of the Legislative Assembly when he joked about a false accusation of body snatching received in his Glasgow youth: the doctor was unable to disclose his alibi because he had actually been disinterring a corpse at a different churchyard. (xxv)  From the opposite side of the matter two decades later, Elizabeth Broadfoot’s family were rightfully horrified to discover that her body had been illicitly exhumed while they mourned.  Public reactions to the crime hint at broader societal discomforts. Laws regarding cadavers required that the most disadvantaged members of Canadian society provide their remains for the benefit of all: an uneasy peace for science versus the sacrosanct. Widely held concepts of “decent” burial discouraged willing donations of bodies.  Taboos therefore led to secretive, illegal—and consequently intriguingly lurid—practices. Suspicion of doctors as body snatchers fostered distrust against imperfect, evolving medicine as practiced by imperfect, questionably credentialed people. It is no wonder that the citizens of Ainleyville in 1864 were frightened and appalled, but perhaps also equal parts morbidly fascinated by the news of a resurrectionist in their midst.  

Reflecting on Canada’s grave-robbing past, Professor Royce McGillivray notes that contemporary accounts of these crimes served as horror stories that appealed to Victorian readers’ righteous moral outrage, but also simultaneously served as ghoulish entertainment. He argues that graverobbing would thus be remembered with a thrill in the next generation, “just as people delight in Gothic novels and vampire movies.” (xxvi) Both outrage and sensationalism can be recognized in local newspapers’ coverage of the Hudson case. And both impulses were skewered by the Huron Signal’s mocking tale about a bag of resurrected cereal, demonstrating a culture self-aware of its own obsessions, its “eyes stretched wide open to take in a horror.” In digging up this incident from 1864 (pun intended), I don’t claim any modern superiority in my motivations as a reader or storyteller, but a macabre lens on the past does not have to strip these tales of their humanity or their pathos. A bit of ghoulish fascination can be a light that guides us through the darker corners of history, and to better understand something of our attitudes and fixations surrounding death and dying today.

 

Further Reading
Sources
  • i“Ainleyville: Exciting Chase after a Resurrectionist,” The Huron Signal, 1864-05-05. Pg 2. Accessed via Huron County’s Digital newspapers.
  • ii The Huron Signal, 1864-03-10, pg 2.
  • iii He appears in the transcribed gaol records as “George.” All court and newspaper accounts refer to him as Edward. It is possible he gave a false name or this was an error. George coincidentally was his father’s name. It is unlikely (but not impossible) that this was simply a case of going by a second name, as the 1851 census also shows he had a brother named George. Hotson seems to be the more accurate spelling of his surname, but I have used the “Hudson” spelling to be consistent with Huron court records.
  • iv The Huron Signal, 1864-03-10, pg 2.
  • v At this time meaning residents of Canada East and Canada West.
  • vi The Provincial Statutes of Canada, passed in the year 1843,  Kingston: Stewart Derbishire & George Desbarats, 1843. 7 Victoria – Chapter 5 An Act to regulate and facilitate the study of Anatomy, 9th December, 1843.  Accessed via British North America Legislative Database; University of New Brunswick.
  • vii Canada. Parliament. Legislative Assembly. Debates of the Legislative Assembly of United Canada, 1841-1867, Volume 3, pg 464-467.
  • vii York Herald, 1861-12-20, pg 7. Accessed via Richmond Hill Public Library (Our Ontario).
  • ix The Huron Signal, 1864-03-10, pg 2.
  • x “Ainsleyville,” County of Perth Herald (Stratford), 1864-03-23, pg 3. Accessed via Stratford-Perth Archives.
  • xi  A bygone Morris Township village with a modest population of 50 in 1864.
  • xii County of Huron gazetteer and general business directory for 1863-4, Sutherland Bros Publishers & Printers: Ingersoll (Canada West), 1863, pg 107. Accessed via Canadiana. Appears as “Edward Hotson.”
  • xiii His name appears elsewhere as ‘Lander,’ but appears to be the same man working as doctor and coroner in vicinity of Ainleyville. Dr. Hawks’ name appears in records as ‘Hawkes’ also, and is sometime mis-transcribed as “J.J. Hawkes” instead of “I.J.”
  • xiv “Indignation Meeting,” The Semi-Weekly Signal, 1862-09-19, pg 4.
  • xv County of Perth Herald, 1864-03-23, pg 3.
  • xvi Ibid.
  • xvii Indictment: The Queen vs. Edward Hudson, Counties of Huron & Bruce, 1864, Box #49, Municipality Court Records 1864, Huron County Archives.
  • xviii County of Perth Herald, 1864-03-23, pg 3.
  • xix Proceedings of the Quarter Sessions including the Clerk’s transactions for the Huron County Quarter Sessions 1841-1873, Vol 30, pg 153, CA3ONHU3UOU1P76, Box 827, Huron County Archives.
  • xx“Grave Robbing,” Huron Expositor, 1878-05-17, pg 8.
  • xxi “Correction,” The Clinton New Era, 1878-09-05, pg 8.
  • xxii County of Perth Herald, 1864-03-23, pg 3.
  • xxiii Report of the Canadian Wesleyan Methodist New Connexion Missionary Society, auxiliary to the Methodist New Connection Missionary Society in England, Wesleyan New Connection Missionary Society: London, Canada West, 1865. Accessed via Canadiana.
  • xxiv Licenses, Upper and Lower Canada, Canada East and Canada West and Ontario, 1817-1867 – 3947 C-3947, Library and Archives Canada / Bibliothèque et Archives Canada. Accessed via Canadiana.
  • xxv Debates of the Legislative Assembly of United Canada, 1841-1867, Volume 3, pg 464.
  • xxvi Royce McGillivray, “Body Snatching in Ontario,” Canadian Bulletin of Medical History Volume 5, Number 1, 1988, pg 58.

 

 

Remembering the Lyceum: A History of Cinema in Wingham

Remembering the Lyceum: A History of Cinema in Wingham

Historic black and white image showing main street Wingham with the Lyceum Theatre in the distance. The street is lined with snow banks.

Written by Museum Archives Assistant Natalie Conrad

The story of Wingham’s picture house begins in earnest in 1908, when local undertaker William Briton opened the Wonderland. It was located north of the town hall on Josephine Street, in a building that had formerly been a farm machinery dealership. In March 1909 came the first of many changes in ownership when the theatre was purchased by George Corbett. Corbett renamed his new business the Lyceum, a name that would stick until the theatre closed nearly a century later.

Under Corbett’s ownership, the Lyceum Theatre showed both films and concerts. However, these new forms of local entertainment were not without their problems. There were complaints of the theatre being cramped, with improper lighting, and of the pictures being generally difficult to see.

In 1912, Lachlan Kennedy would purchase the theatre from Corbett. Promising that nothing objectionable would be shown at the theatre, the opening film footage was of the Titanic disaster. While some today might find showing disasters for entertainment objectionable, this was certainly not what they meant in the day. In 1914, Kennedy took to renovating the theatre. The Lyceum was enlarged and redecorated, the ventilation improved, and a new electric player piano installed.

Historic ad promoting Charlie Chaplin in Sunnyside published in the Wingham Advance, Jan. 22, 1920.

Advertisement promoting Charlie Chaplin in “Sunnyside”. Published in the Wingham Advance, Jan. 22, 1920.

The early 20th century saw considerable backlash around the introduction of movie theatres, with both moral and health concerns. Indeed, as David Yates reports, not all residents approved of having a picture house in town, with some seeing it as a symbol of modern decadence. In 1924, Dr. J. Middleton of the Provincial Board of Health stated that moving pictures were bad for the eyesight of the young, and time spent sedentary in a stuffy theatre would be put to better use outside. (i)

“Fearing Hollywood Babylon in Wingham” (ii), in 1915 town council proposed a hundred-dollar fee for a license for the theatre. Today, this would amount to about $2,700—a fine surely meant to be prohibitively expensive for a small business. Rallying against this, Kennedy argued the theatre paid no small sum to the town in electricity and business taxes, as well as employing four. Council eventually relented somewhat, with Reeve Mitchell admitting the movie house was a good place for youths—or at least better than pool halls and hotels. For the lesser evil of entertainment, a revised, lesser fee of $60 was levied.

The Wingham Advance reports that in October 1921, Robert VanNorman purchased the Lyceum from Kennedy and Maxwell, describing plans to overhaul the building and to put on a new front. In an opinion column published two months later, said front would be described as “… a decided improvement [that] adds greatly to the appearance of the main street.”(iii) The theatre would go on to re-open on Nov. 10, 1921, with new and reduced admission prices. Twenty cents for adults, including war tax, and 10 for children, who must be accompanied by a parent or guardian.

June 1923 would see the Lyceum sell again, this time to Hyde Parker of Stratford. Curiously, the Advance reported that the theatre was sold to Parker by Mr. Kennedy, and not VanNorman. (iv) A short two years later came another change of hands. In December 1925, Parker sold the theatre to Captain William James Adams of Orangeville, who would come to be known simply as “Capt. Adams”. Adams was a sailor by trade, formerly in charge of the Greyhound, a famed Great Lakes passenger ship that regularly sailed out of Goderich. The ship’s three hour “Moonlight Cruises” and Detroit excursions were popular amongst local holidaymakers for many years, with the Goderich to Detroit trips operating from 1902 to 1927. (v)

Captain Adams and his son, Alton, would run the theatre for several decades, overseeing many major renovations. It can be assumed that changes to the theatre were made between 1925 and 1929. A retrospective issue published by the Advance-Times in 1929 states that he “… ha[d] completely renovated it, and made it an attractive place.”(vi) In June of 1930, however, the Lyceum would really be changed, inside and out—in the ballpark of a practically new building, and the installation of equipment for “talkies”, or movies with sound. Closure began on June 16, and it would re-open on Aug. 18. After congratulatory remarks that evening by Mayor Fells, the first show was Sally, a musical in Technicolor, which was standing room only, with a packed house. The building was described as being made of steel, brick, and concrete, and absolutely fireproof. New and improved capacity for “talkies” was complemented by a new seating capacity of 300, a new screen, hot water heating, improved ventilation, and a new lobby.

Upgrades, renovations, and general improvements were constantly being made under the ownership of the Adamses. In February 1937, new soundproofing; in April 1941, new seats; redecorating in 1944; in November 1946, new amplifiers of “greatly improved quality” (vii); and in 1948, a completely new sound system from Northern Electric, “making [the] local theatre one of the best in Western Ontario”, according to one Advance-Times contributor (viii).

A Lyceum program from Winter 1946. From the collection of the Huron County Museum, 2025.0002.218.
A Lyceum program from Winter 1946. From the collection of the Huron County Museum, 2025.0002.218.

A Lyceum program from Winter 1946. From the collection of the Huron County Museum, 2025.0002.218.

Management was handed over to Alton Adams in 1942. Throughout the ’40s, the Lyceum would play its part in the collective war effort on the home front. In 1940, the theatre participated in a nationwide event in which admission to a show would be free with the purchase of two war saving stamps, costing 25 cents. The Advance-Times reports the event went well, with $294 of stamps sold and over 500 people attending. Tickets were donated for charitable purposes on many occasions— for one example, 600 tickets were presented to the Wingham Red Cross in March 1943.

In March of 1947, new programs for the Lyceum Theatre would be rolled out. For April to June, they were ready at the end of the month and could be obtained by calling at the box office or mailing in one’s name. A permanent mailing list was in the process of being established.

One of the new Lyceum programs. From the collection of the Huron County Museum, 2025.0002.219.

One of the new Lyceum programs. From the collection of the Huron County Museum, 2025.0002.219.

With the advent of television in the home, small-town movie houses across the province would feel a loss, with many being forced to shut down. The Lyceum was certainly not unique in this regard: beginning in the mid-’50s, and over the course of the next two decades, would come repeated shutdowns and re-openings of the theatre.

In October 1954, the first Cinemascope picture to be shown in Wingham was The Robe. This came with another huge leap in theatre technology— “the new wide screen necessary for Cinemascope pictures, which give the effect of breadth and three dimensions without the use of glasses on the part of the spectators”.(ix) Always at the vanguard of these new innovations, the Lyceum was first in the area with Cinemascope.

Here comes what seemed the beginning of the end. Matinees at the Lyceum were discontinued in July 1955, for lack of interest. As early as February 1956, the first of several pieces forewarning the closure of the Lyceum were published in the Advance-Times. In the “Worth Thinking About” column, the author observed that the popularity of TV had begun to wreak havoc on community entertainment. It discussed hockey games, but more presciently, the small-town movie house and how many had been forced to close due to wanting patronage. The piece sagely remarked that the Lyceum was a top-of-the-line picture house, and it “would be a sad day for Wingham” should it be forced to close. (x)

In October of 1960, another piece would be published in the local news, urging community members to attend matinees, which were being given another try. At this point, the theatre had been operating only part-time, and the article once again ending on a warning note: “If the Lyceum were to close completely it would be a distinct loss to the community and it would be altogether likely that no other theatre would ever open its doors in Wingham”.(xi) Just under a year later, in September 1961, a similar announcement would be made—a trial period of matinees, despite their having been unprofitable in the past. By January of 1963, the Lucknow Sentinel was reporting that lack of patronage had forced opening hours down to Saturday and Sunday evenings. (xii)

Theatre attendance continued to dwindle, the warnings of local columnists apparently gone unheard. In April of 1963, it seemed it was finally going to happen. Unable to turn enough profit (after all, the Adams ran a business, not a public service), the Lyceum was to close its doors for good.

A heartfelt editorial, “Sorry To See It Go”, mourned the loss of a town institution and what was once a community hub.(xiii) It had, under two names, numerous owners, and with various fronts, served the community for five and a half decades. The editor expressed sincere regret, sympathy for Adams (who had hung on for as long as possible), and the opinion that Wingham would be the poorer for its loss.

Half a year later, in September 1963, the Advance-Times was reporting on a rumor about town—that the Lyceum, not in operation since March, had sold, and the purchaser intended to put it back in business. Only one week later, the buyer would be revealed: W.T. “Doc” Cruickshank, well-known resident and president of CKNX.

The theatre would re-open on Oct. 3, featuring the film The Longest Day, the story of the Allied landing on D-Day. Under new ownership, the Lyceum was to be back in operation six days a week, and the building was already in the process of being redecorated.

Another editorial, this one published on the theatre’s opening day, was pleased to see the lights back on at the Lyceum. However, the editor’s fears were not completely allayed. In a cautioning tone, it recalled that the Lyceum, for a decade, had experienced challenges faced by many small-town theatres. The town, according to the editor, was lucky that Adams had kept the business open as long as he did, and that even though it had been reopened, no one could expect the theatre to remain open without the support of the public.

Three years later, in May of 1966, yet another editorial—the topic and title, “Unwanted Amusements”. The editor was not amused by local youths complaining of having nothing to do, especially since their own disengagement had caused the decline of said amusements. Weekly dances at the Kin Pavilion had been cancelled, and it seems implied that the Lyceum was once again set to close. The editor writes, “[t]here will be a second gap when the Lyceum Theatre closes—also for lack of public support. The management of the theatre has brought first-class films to town and has made every effort to maintain the theatre, but now they have decided its operation cannot be continued on the present scanty attendance … There is no law which forces people of any age to attend dances or shows. This is a free country. But let’s not hear that plaintive cry that there is nothing to do in Wingham. It’s too late for that theme now.” (xiv)

Once again, however, the Lyceum appears to have been saved from closing its doors— in July 1966, an ad in the Advance-Times stated that the theatre would re-open on Aug. 3.

In March of 1967, the Lyceum would begin a six-week closure, re-opening mid-June. Operations seem to have continued to struggle into the 1970s, with the theatre lacking a snack bar and open only a few nights a week.

1973 would see the theatre purchased by John Schedler, a man with theatre experience from all over, but most recently employed at the Capitol in Listowel. In a long-form article published in the Advance-Times in January 1975, we hear of a new era for the local landmark. From when Schedler assumed management in August 1973, to the date the article was published, over $20,000 had been poured into improving the theatre. The lobby was entirely remodeled, the box office replaced, and the concession booth expanded. Almost half of the seats in the theatre were ripped out, providing patrons a better view of the screen, and many of the chairs were brand new. Perhaps the most important improvement to the moviegoing experience was a new automatic projection system. With the new projector, the number of times film reels had to be changed per showing went from five to one, and it took care of “virtually all visible errors”. (xv) With new management also came a new philosophy. Small-town theatregoers in general, and patrons of the Lyceum in particular, should be able to see the best pictures in a timely manner, right down the street.

Schedler had an original partner in business who left, and in 1976, he was joined in operating the theatre by Nelson Frank. In addition to the aforementioned renovations, the theatre had obtained a shiny new pair of Cinemascope lenses. It was back to operating seven days a week, up from three at the time of Schedler’s takeover. Ownership expressed confidence about the staying power of the movie theatre. Schedler, when interviewed, thought that people had grown tired of low-quality TV movies and that theatres offered something unique. After all, “[w]here would you go on a date?” (xvi) As a pair, Schedler and Frank also founded the Wingham Film and Nostalgia Festival, the first of which was held in 1977. In 1979, the theatre employed five additional staff members: projectionist Ward Robertson, his wife Patti, Rhonda Frank, and Lisa and Jane Vath.

In August 1981, the Lyceum was purchased by the Robertsons. At the time, Ward Robertson had already been employed seven years at the theatre as the projectionist, assistant manager, and maintenance man. When the couple was interviewed, they hoped to enforce smoking rules, install a new heating system, give the lobby a facelift, and were contemplating a new outdoor window for the ticket booth.

The eighties and nineties came with their own sets of challenges to keeping the theatre open. While in the fifties the worry was TV, there was now VHS and home movies to compete with—would patrons want to see films in theatres when they could view the exact same ones at home? An additional factor was increased mobility of local youths, who could now see pictures elsewhere before the Lyceum got hold of them.

Dale Edgar purchased the Lyceum in 1993 and would prove to be its final owner. He would operate it for 12 years until its closure in 2005. At the time, it was Huron County’s longest-running movie house. (xvii)

Sources

i “Lyceum Theatre was Huron’s longest continuous running movie house”, Clinton News Record, David Yates, Jan. 6, 2021
ii “Lyceum Theatre was Huron’s longest continuous running movie house”, Clinton News Record, David Yates, Jan. 6, 2021
iii The Wingham Advance, Dec. 1, 1921, Pg. 1
iv The Wingham Advance, June 14, 1923, Pg. 1
v “The Big Steel Steamer Greyhound”, Goderich Signal-Star, David Yates, April 25, 2024.
vi The Wingham Advance-Times, Oct. 3, 1929, Pg. 7
vii The Wingham Advance-Times, Nov. 28, 1946, Pg. 1
viii The Wingham Advance-Times, Dec. 22, 1948, Pg. 9
ix The Wingham Advance-Times, Oct. 20, 1954, Pg. 1
x The Wingham Advance-Times, Feb. 29, 1956, Pg. 2
xi The Wingham Advance-Times, Oct. 5, 1960, Pg. 2
xii “Lyceum Theatre was Huron’s longest continuous running movie house”, Clinton News Record, David Yates, Jan. 6, 2021
xiii The Wingham Advance-Times, April 4, 1963, Pg. 11
xiv The Wingham Advance-Times, May 5, 1966, Pg. 9
xv  The Wingham Advance-Times, Jan. 5, 1975, Pg. 24
xvi  The Wingham Advance-Times, Jan. 1, 1979, Pg. 7
xvii  “Lyceum Theatre was Huron’s longest continuous running movie house”, Clinton News Record, David Yates, Jan. 6, 2021

Safety bicycles and the Henderson Bicycle Co.

Safety bicycles and the Henderson Bicycle Co.

Photo of the Henderson Bicycle Co. Located At the Corner of Cambria Road and East St. Goderich,Ont.

Written by Museum Assistant Alice Bosch

 The bicycle boom of the 1890s heavily impacted most of North America, including Huron County. The area saw bicycle production companies, most notably Henderson Bicycle Co., and retailers emerging at the time. Everyone wanted to get their hands on the latest invention of the safety bike, made for everyone to ride both short and long distances.

Before safety bikes were invented, though, there were penny-farthing bikes. These bikes featured one large wheel accompanied by a smaller one, making it look like a penny and farthing side-by-side. But these bikes weren’t for the average person to ride around on, as they were hard to control and even harder to stop. With the innovation of safety bikes, local transport was made easy before cars were invented. You could quickly go across town without having to pull out the horse and carriage or walk a long distance. Safety bicycles were the blueprints for our modern bikes and what made the safety bike possible was its chain-driven rear wheel, allowing the pedals to be closer to the ground for an easier stop. Safety bicycles came in two main frame shapes – men’s and women’s. The main difference between men’s and women’s was the middle bar between the legs, on the men’s bikes there is a bar directly under the seat, while the women’s had the bar placed far lower, as to allow their dresses to fall flat, even though women’s bicycle bloomers where also popularized at this time, somewhat making that design unnecessary.

The craze these bikes created meant there had to be plenty of factories to build all of them. The Henderson Bicycle Co., later renamed Goderich Engine and Bicycle Co. after it was sold, was a bike manufacturing company in Goderich in the late 1890s and early 1900s. The business was specifically known for their Common Sense, Huron, and McCready bicycles. These bicycles were sold both straight out of factory and through other local sports goods retailers, from places like Goderich to Toronto to Winnipeg. Depending on the model, the bikes cost from about $60-$85 which for the time wasn’t cheap and unreasonable, meaning that after everyone had a bike, very few bought another. This caused competing companies to create cheaper costing bikes, made from cheaper materials and of less quality. In the end this left the bicycle boom unprofitable and boring, causing bicycles’ popularity to drop before they can rise again before the invention and widespread of cars.

Today there are many great biking trails in and around Huron County to enjoy, and while bikes are not as popular as they were then they are still a great way to be active and enjoy the outdoors. To learn more about cycling in Huron County, visit Ontario’s West Coast.

Image of a penny farthing

This black, wooden-spoked penny farthing looks to be blacksmith made. The frame is made from iron. This penny farthing has pedals on the big wheel that, when pushed on, propels the bicycle in a forward motion. The small wheel just follows behind. Both wheels have wooden spokes and rims. There are no rubber tires. The rims are the wheels. Object ID: M951.0729.001 

A “Common Sense” from the Henderson Bike Co. that was made in the Goderich around 1897. This make of bike does not have a coaster brake, the pedals continuously move round on this cycle and to stop a person would have to slow down the pedals. Object ID: M960.0142.001

Meet the Artist: Autumn Ducharme

Meet the Artist: Autumn Ducharme

The Huron County Museum Gift Shop is growing its selection of products made by area artists and makers and we are pleased to feature the work of Huron County artist Autumn Ducharme! Autumn was commissioned to create illustrations of some of our favourite features of the Museum and Gaol, including the steam locomotive, the two-headed calf, Herbie Neill’s car, and, of course, the Gaol! These illustrations will be used on a number of items, including sticker sheets and magnets! If you would like to pick up some of Autumn’s work, the Gift Shop is open during regular Museum hours and does not require admission to come in to shop and to support local! Learn more about Autumn and her work below!

Who are you and what do you make?

My name is Autumn and I am a visual artist and farm hand. I make prints, paintings, murals, tattoos now and again, and graphic illustrations. When I’m not making art or digging in the dirt, I write poems, rock climb, and travel.

How did you start making art?

I started making art when I was old enough to hold a pencil. I was an inspired little mind who was encouraged by teachers and mentors to keep drawing. From my first preschool finger paintings of butterflies the teacher sent home to be framed to my kindergarten drawings of how I imagined Zimbabwe and the Arctic to be, people kept saying how great they were. Perhaps as a tiny anxious kid I was pretty susceptible to these sorts of praises. Momentary prizes from Remembrance Day drawing contests and consistent arts awards in school keep me pursuing the world of visual communication. Not to mention being somewhat obsessed with any form of expression be it drawing, writing or dancing. Sometimes I wonder if I’d have had that kind of encouragement behind me in the sciences, I would be somewhere else in life but, one will never know! Unfortunately, you kind of have to take all the sciences for a while and I was only interested in plants. And slept through math. Haha. Maybe it’s just in my nature.

How would you describe your work?

I would describe my art as detailed and emotional, at least the more successful works. I’ve always gotten lost in line work and often had to dial it back for applications in print. Though I like the chance in bigger works to have space to explore more detail, except budget always gets in the way of this exploration. I appreciate when I get the chance to spend a lot of time with a work or idea and really fully apply myself to the themes and subjects present. I’d like if my artwork could bring you into a perspective or reality a little shifted from your own, create immersive feelings that really drew me to the art world in the first place.

What inspires you?

I’m inspired by concepts of home and freedom. I explore symbolism that describes certain places and chapters in my life and aspirations for the future. Even with commission work, I hope to connect to an aspect of the work that I can speak to personally. Otherwise, the work doesn’t feel authentic or worthwhile. My personal practice typically starts as paper collaged works or collected references both from my own albums or outside sources. I’ve had my grandmother’s National Geographic magazines around for some years now, cut up, glued together, and pinned to my walls. I’m inspired by plants of all kinds, houses and homey spaces, movement arts, and strong women.

What do you like most about being an artist?

What I like most about being an artist is the freedom to create your own life. I don’t fall into a typical career pathway with a strict schedule or routine so I have the ability to switch things up, drastically and often. I love that I can move locations, get side work to free up my creative flow, try something new, and jump country without a dramatic exit from some corporate job and responsibilities. I like that the expectations were low going in, like the starving artist trope has been with me from the very beginning so ever year when I make a liiiittle bit more from my art it feels like a win even though it isn’t much. I’ve also had the expectation from a young age that I will need to be frugal and adapt to this lifestyle because it is the one I chose. I read a lot of travelling on a shoestring books through my teens…

If someone likes your work and wants to see more, where can they go (besides the Museum GIft Shop, of course!)?

If you like my work and want to see more, follow my Instagram @autumnducharme. It acts as a sort of living portfolio. My website will be deactivated mid-January as it was too expensive to maintain. I also put up a few works for sale on Big Cartel that are always changing. This link is available through my instagram profile when I post new work. Keep an eye out for a Substack blog coming soon and subscribe to my inconsistent and well-spaced out newsletter or travel art mail via email: autumnducharme@hotmail.com.

Photo of sticker sheets created by Autumn Ducharme

Sticker sheets

Photo of magnets created by Autumn Ducharme

Museum magents

Eight Historical Diaries Now Available Online

Written by Jacob Smith, Digitization Coordinator for the Huron County Museum. Photo: Robert Watson diary, pages 8-9.

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The Museum’s digitization collection has grown to include scanned and uploaded eight historical diaries.  They were written by Douglas McTavish, Mary Longmore Green, Robert Watson, and Thomas Rowe between the mid-1800s and early 1900s, and detail rural life across Huron County, such as farming activities, the weather, and local news. These historical diaries were chosen for digitization due to their deterioration, as bits of paper on some of the diaries peel off when handled.

Photo of scanned pages from an historic diary

Photo: Mary Longmore Green Diary 1, pages 83-84 have clear examples of deterioration.

Out of the eight digitized diaries, three were written by Mary Longmore Green. Mary was born in 1870 to Andrew Green and Mary McHardy Green, and grew up on a farm in Dunlop, Colborne Township.  Throughout her three diaries in the Museum’s collection, which were written between 1899 and 1901, she documents her rural Huron County life, visits with friends and family, and her time at school.  She discusses her time studying at the Ontario Agricultural College (O.A.C.) in Guelph in the early 1900s, which you can read in Diary 3.  In her studies, she focused on dairy: how to make milk, cream, butter, and cheese, and the science behind it. Mary goes into detail about her friends and instructors at the institution, and her travels between Dunlop and Guelph. In later years, she married Robert Dures. Mary passed away in 1946, and is buried in Colborne Township.

Photo of scanned pages from an historic diary written by Mary Longmore Green

Photo: Mary Longmore Green writes about travelling to Guelph to attend school. 2023.70.3, pages 5-6.

Transcriptions of the historical diaries are available upon request.  Please contact the Huron County Archives for more information.

Government of Canada logo

This project is funded (in part) in part by the Government of Canada

Ce projet est financé (en partie) par le gouvernement du Canada.