Articles
Religious Architecture of Bouctouche
Excerpts of a speech given by Pierre A. Cormier
Fervently, on June 24th 1785, two men carved a cross on a huge pine tree in the Bouctouche wilderness. Having left Memramcook six days prior, Charles and François LeBlanc had explored the region before resting next to Bouctouche Bay. Kneeling at the foot of the tree marked with the symbol of their faith, the LeBlanc brothers placed their future settlement under the protection of the Precursor of Christ. In the 19th century, Father Michaud, the parish priest, wrote about this event which constitutes one of the very first Christian manifestations in the parish of Saint-John the Baptist.
The first Acadian dwellings of Bouctouche seem to go back to 1763. If we pay attention to the map entitled Harbours of Richibucto and Buctush on the West Shore of the Gulf of St. Lawrence, as drawn in 1778 by J.F.W. Desbarres, we notice some small squares representing three houses on this Pointe-à-Jacquot where we are meeting today. The four or five families living in those shelters during those years of great uncertainty, were probably forced to leave. According to the writings of Father François-Xavier-Joseph Michaud, the Micmacs of Bouctouche would have shown the remains of those dwellings to the founding families in 1785. At the end of the 19th century, three imposing wooden structures, indicative of a well established parish, rose on the spot where the very first houses had stood a century before. Saint John the Baptist Church, the Convent of the Immaculate Conception and the rectory were buildings of great beauty, showing eloquently the skills of the local carpenters and woodworkers. This architectural grouping, nestled in a pastoral setting, having a background of blue skies and water, presented an exceptional panorama.
Theconvent of the Immaculate Conception still exists in its entirety. Father Michaud, being in charge of these constructions, was very probably inspired by some beautiful Victorian buildings in Saint John which he had been able to appreciate while he was curate at the Cathedral of the Immaculate Conception. This cathedral shared the same dedication as the Congregation of the Sisters of Charity of the Immaculate Conception founded in Saint-John in 1854, year of the proclamation of the dogma of the Immaculate Conception. As the priest in charge of the Portland region near Saint John, he had greatly supported this religious order when they founded the convent of St. Peter's in 1857. Hence, it is not surprising that the convent in Bouctouche was named after the cathedral and the Sisters for whom the convent was destined. Arriving in Bouctouche on May 4th 1880, the five nuns had to cross the river in a small rowboat as the bridge had been destroyed by a cyclone the year before. At the parish church, they were welcomed in a moving ceremony, which ended with the singing of the solemn Te Deum. The Sisters then took possession of their new dwelling. After climbing the oak staircase,they gathered their thoughts in this ravishing sanctuary and must certainly have sung the Salve Regina. They were astonished to be the keepers of such a richly decorated chapel.
At the end of the last century, the many priests visiting the convent in Bouctouche had never seen such a well-executed gothic revival style in this area. The craftsman of the chapel Léon Léger gained the confidence of the clergy at a time when the Church was investing in beauty. Léon Léger became a builder of altars and decorator of churches, an occupation he held until his death in 1918. But who was Léon Léger and how did he become such a craftsman? He was born in Barachois on July 29th 1848. Having been initiated to woodworking in his brother Placide's shop, he then worked at building houses, sawmills and gristmills for which he would draw the plans himself. At a young age, he had studied surveying, linear drawing and architecture with James McDevitt at Saint Joseph College. He was thus interested in the European cathedrals and in the nicest American constructions. He then went to Boston to study photography and chromolithography. Claude Roussel wrote on this subject that "Léon Léger was, at the time, the youngest person to study art abroad". Even though his studies permitted him to discover other artistic fields, he opted for architectural craftsmanship, a field in which he would excel. Being a good craftsman, Léger was a painter and a gilder, indispensable abilities needed for the finishing work on altars. All of his works show a great faithfulness to the gothic revival style.
