KS August 2011 - Anne of Green Gables Store

August 2011
Have you been to the New London lighthouse?
Many LMM fans think she had this lighthouse in mind
when she wrote Jane of Lantern Hill. Our kindred spirit
Carolyn Strom Collins had a chance to see inside this
light recently, and shares her stories and photos with us
in this edition.
Also this month our dear friend Sandy Wagner
shares the illustrated talk she gave this summer at the
Bideford Parsonage Museum on the quilts of L.M.
Montgomery. Quilting was a lifelong passion for our
author: “I could sit and quilt happily for hours,” she
wrote.
I hope you’re enjoying your summer! ‘Bye for now
George Campbell,
managing editor
Anne & Gilbert
make summer visit
to green gables
Photos on page 11
from the
LIGHT AT
“LANTERN HILL”
Story and photos by Carolyn Strom Collins
S
ome followers of L. M. Montgomery’s work believe that
Lantern Hill (the fictional setting of Jane of Lantern Hill)
was located near the mouth of New London Harbour and
that the New London light could be the one described in
chapter 17:
“At sunset Jane and dad went down to the outside shore . . .
as they were to do almost every night of that enchanted
summer. All along the silvery curving sand ran a silvery
curving wave. A dim, white-sailed vessel drifted past the bar
of the shadowy dunes. The revolving light across the channel
was winking at them.”
S
The New London Light has shone brightly across the narrow
entrance to New London Harbour since it was completed in
1876. (Before the 43-foot tapered square tower was built, two
small lanterns marked the entrance for fishing vessels heading
to and from the wharves at French River, the South West River,
Stanley River, and Hope River.) The lighthouse was moved
about 200 feet southwest from its original location to its present
location in 1891.
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KINDRED SPIRITS / A U G U ST 2 0 1 1
A small two-storey house at the base of the tower provided a
home for lighthouse keepers through the years, beginning with
George McKenzie who built the lighthouse and who remained
as keeper for twenty years. Other keepers of the New London
light were James H. McLeod, James Pidgeon, Hugh John
MacRae, Charles MacRae, Claude Adams, Maisie Adams, and
Roland Paynter.
Maisie Adams was one of the first and only women* to have
charge of a lighthouse in Prince Edward Island; she was the
keeper of New London light from 1943 to 1957, officially taking
over the job after her husband Claude,
who was keeper from 1940-1943, died.
(Shortly after becoming keeper,
Claude fell ill with cancer and Maisie
took over most of his duties while
caring for him and their three young
children. Their daughter Mary had
been born in the lighthouse.) Maisie
was a legendary figure in the New
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London area. After living at the lighthouse for
four years, she moved into French River, about two
miles away, so that her children would be closer to the
school. But she walked to and from the lighthouse
every day and every evening from her home in French
River to see that the light was lit at dusk and extinguished the next morning. (Maisie also took part in
the “Emily of New Moon” television series in her 80s
and “had the time of her life” during the filming,
which took place in Malpeque, PEI.)
In 2000, five of Hugh John MacRae’s nine children
— Mary Brander, Isabelle Picketts, Evelyn Picketts,
Joan Simpson and Janet Murphy — published a book
about their growing-up years at the New London
lighthouse called Living Under the Light. Their father
was keeper of the light from 1931-1940. One of their
many memories was having to haul drinking water
from a cottage “about 250 yards from the lighthouse.”
The light was electrified in 1960. The Canadian
Coast Guard leased the living quarters as a cottagerental for the next forty years; however, that practice
was discontinued in 2000.
There were two floors of living space in the lighthouse. On the first floor were a large sitting room
(converted to a kitchen in later years) and two smaller
rooms beside that. Upstairs was a large landing and a
bedroom. Narrow, steep ladder-style stairs rose two
At left are the first set of steep stairs to the landing and bedroom,
above, on the second floor of the lighthouse.
flights from the landing up to the light. A small kitchen wing
once jutted out from the first floor; a separate building was used
to store the oil for the light. One interesting feature of this lighthouse is that the angle of the house walls match the angle of the
light tower, tapering slightly toward the peaks.
The New London Light is officially classified as a “range
light.” The light in the lantern was a fixed light (not a revolving
one) and a red light shone from a window below the lantern to
designate a ship’s alignment with the channel as they crossed
from the Gulf of St. Lawrence into New London Harbour.
The light is now considered less necessary with the use of
global positioning systems by modern fishing boats and the
community is petitioning to keep the lighthouse in its present
location.
(continued on next page)
K IN D RED SPIRITS / A U G U S T 2 0 1 1
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* After Capt. William Bell died at the Cape
Tryon Lighthouse in 1915, his housekeeper
maintained the light for a time until a permanent keeper could be appointed to take over
the duties. (See “A Visit to ‘Four Winds’
Lighthouse” in Kindred Spirits of December
2010, and the Shining Scroll, Part 3, 2010, for
more on Capt. Bell and the “Four Winds”
lighthouse from Anne’s House of Dreams.)
NOTE: Some information for this article was
found on the “Lighthouses of Prince Edward
Island” website: www.virtualmuseum.ca/
Exhibitions/Lighthouses); The History of
French River and Park Corner 1773-2006; and
Living Under the Light (by the MacRae Sisters:
Mary, Isabelle, Evelyn, Joan and Janet).
Jane of Lantern Hill, by L. M. Montgomery,
was published in 1937.
The PEI Lighthouse Society is dedicated to
preserving the lighthouse of Prince Edward
Island. Contact Carol Livingstone at
[email protected] for information on
becoming a member of that Society.
The second set of steep stairs going up to the light itself.
Around our
Kitchen Table
Georgie’s Cinnamon Loaf
1/2 cup butter
1/2 tsp. salt
1 cup white sugar
1 cup milk
2 eggs
1 tbsp. white vinegar
2 cups flour
3 tbsp. white sugar
1/2 tsp. baking powder
1 tbsp. cinnamon
1/2 tsp. baking soda
“. . . Grandmother Macneill knew naught of calories and
vitamins or balanced rations but she was the best cook I
ever knew in my life. Aunt Annie was also a wonder and
all her girls inherited the gift . . .”
- J O U R N A L S O F L . M . M O N T G O M E RY, V O LU M E III
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KINDRED SPIRITS / A U G U S T 2 0 1 1
Combine butter and white sugar; blend well. Add eggs,
one at a time. Beat well. Sift flour, salt, baking powder and
baking soda together. Have the milk mixed with vinegar,
ready. Add flour and milk alternately to butter/sugar mixture. In a separate bowl, mix white sugar and cinnamon.
Spread batter and cinnamon mixture in layers. End with
batter. Bake in 3250 oven for approximately 1 hour.
Georgie Campbell MacLeod was the youngest granddaughter of
Aunt Annie Campbell at Park Corner, PEI. Born on August 15,
1918, Georgie inherited the gift of good cooking. This recipe was
contributed by her daughter-in-law Sybil MacLeod.
When was I was twelve years old
“crazy patchwork” had just come into
vogue. It was “all the rage.” Everybody
made at least a “crazy” cushion. Some few
attempted quilts. I was among the latter . . .
Well, after all, it gave me pleasure in the
making and so what matters if the result
was not worth while? I had “the joy of the
working” and that was the essence of
heaven.
- JOURNALS
OF
L.M . M O N T G O M E RY, V O LU M E II
The Quilts of L.M. Montgomery
by Sandy Wagner
A
t 19 years of age, Maud Montgomery was quilting with
the Missionary Sewing Circle in Cavendish. She and
her friend Amanda sat together sewing a long pleasant
chat into their seams. When she received her first teaching position in Bideford, PEI she immediately joined the Sewing Circle
there. Maud was an exemplary needlewoman and quilter all her
life.
In her short quilting story published in 1906, ‘The Burton
Girls’ Patch Party’, Rosemary Lloyd explains: “Patchwork is all
the rage at home now, — the old pieced quilts have all come in.”
quilts of this style prove it. When Matthew Cuthbert drives by,
she puts her knitting aside and is off to Green Gables to find out
from Marilla “where is Matthew going — what is he going for?”
For a time, the popularity of these quilts — or spreads as they
were called — overtook the patchwork ones. When Anne and
Gilbert were married (Anne’s House of Dreams 1922), Mrs.
Lynde gave them a tobacco-stripe one and an apple-leaf one.
These knitted quilts of cotton yarn were made in squares that
were sewn together. Maud Montgomery knew these quilts, for
she knit her own apple-leaf quilt which is housed today in the
L.M. Montgomery Institute at UPEI.
In Magic for Marigold (1929), with knitting humour, Maud
added: “Old Grandmother told Marigold ‘I could have been
married at sixteen. But I was determined I wouldn’t be married till
I had finished knitting my apple-leaf bedspread.’ ”
And so, Maud proceeded to stitch a ‘Quilter’s Dozen’
throughout her novels and short stories. They were obviously
the patchwork patterns she was most familiar with — crazy
So far, we have been unable to locate a pattern for the
patchwork, Irish Chain, red and yellow tulip, fan, Rising Star,
Tobacco
Stripe quilt.
Blazing Star, Rising Sun, Log Cabin, Autograph, and Wild
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Goose. Apple-leaf and tobacco stripe are the cotton warp knitted variety. With her keen sense of observation and hidden sense
of humour, Maud often stitched those into her quilts as well.
This past July 6, 2011 at the Bideford Parsonage Museum in
PEI, eleven of the author’s ‘quilter’s dozen’ were on display. Their
quilting patterns and stories written around the quilts, formed
the presentation for the ‘Wednesdays with L.M. Montgomery’
summer series.
The Apple-Leaf and Tobacco-Stripe Quilt
When you open the book Anne of Green Gables, can’t you see
Mrs. Rachel Lynde sitting at her kitchen window knitting a “cotton warp” quilt and keeping a sharp eye on everything beyond
the window? She never seems to miss a stitch and her sixteen
Crazy Patchwork Quilt
As recorded in her journal, Maud Montgomery began work
on her crazy patchwork quilt when she was 12 years old. She
delighted in collecting pieces of velvet, silk or satin for it and
confessed there were pieces from dresses that had belonged to
her mother and aunts. Embroidery of intricate stitching added
to the richness of this quilt. She felt that future generations
might regard it as a curiosity. However, visitors that see this
quilt on display at the Anne of Green Gables Museum at Silver
Bush in Park Corner, PEI, marvel at the detailed work which
took Maud five years to complete. She later made a second
crazy patchwork quilt, smaller than the first one, and it is
housed in the Archives of the University of Guelph in Ontario.
Three samples of this work are stitched throughout her
books. In the short story of 1905, ‘Aunt Olivia’s Beau’ — “the
tassels of the crazy cushion lay just over the arm of the chair.”
In Emily Climbs (1924): “Miss Royal of New York predicted Emily
would want a crazy quilt on her spare-room bed.” However, when
Anne of Windy Poplars (1936) saw the crazy quilt on the bed she
was to sleep in at Tomgallon House, she thought: “I wonder if I
will be as crazy as it is by morning!”
The Irish Chain Quilt
This quilt is a fine example of a two-color quilt, pieced from
cotton fabrics in a simple geometric pattern. The popular single,
double, or triple chain designs are variations on the theme Irish
Chain. Two color quilts in blue and white or red and white were
very popular during the early 1900s. Montgomery’s preference
for the blue and white is shown in several of her stories:
A sentence from ‘The Burton Girls’ Patch Party’ (1906) reads:
“Wilhelmina, who had brought down a point lace collar, smuggled
it unobstrusively out of the room, and came back with her
mother’s blue-and-white ‘Irish Chain’. ”
We learn that Grandmother Ward had given the jilted bride a
blue and white counterpane found in the Blue Chest of Rachel
Ward (The Story Girl, 1911).
When Emily moved into her mother’s old room at New
Moon, the “look-out” — the high black bedstead — was covered with an Irish Chain quilt (1923).
Jane placed the blue Irish Chain quilt that Grandmother Stuart had pieced on her white spool bed at Lantern Hill (1937).
Mrs. Lynde was busy cutting patches for a new “double Irish
chain” quilt when Anne arrived home to Green Gables from
Windy Poplars, bringing little Elizabeth with her.
A double Irish Chain cross stitch pillow designed by Mrs.
Michelle Wilson of Kensington, PEI, with instructions, was
placed in The Sewing Circle of the summer 2005 issue of
Kindred Spirits.
(continued on next page)
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KINDRED SPIRITS / A U G U S T 2 0 1 1
The Red and Yellow Tulip Quilt
When Anne and her friends set up house in Patty’s Place,
Mrs. Lynde gave her a patchwork quilt and loaned her five
more. They reeked of mothballs and had to be hung out in the
orchard thereby showing aristrocratic Spofford Avenue a marvelous display of colour and stitching.
In Anne of the Island (1915),we read:
“The gruff old millionaire who lived “next door” came over and
wanted to buy the gorgeous red and yellow “tulip-pattern” one
which Mrs. Rachel had given Anne. He said his mother used to
make quilts like that, and by Jove, he wanted one to remind him of
her. Anne would not sell it, much to his disappointment, but she
wrote all about it to Mrs. Lynde. That highly-gratified lady sent
word back that she had one just like it to spare, so the tobacco king
got his quilt after all, and insisted on having it spread on his bed,
to the disgust of his fashionable wife.”
The first issue of Kindred Spirits in Spring 1990 carried our
tulip quilt pattern. The late Mrs. Edith Thompson of Margate,
PEI, an excellent quilter and fan of Anne, made this quilt. It is
shown here displayed at the Anne of Green Gables Museum Tea
Room in Park Corner. Unfortunately, the yellow tulips embroidered on either side of the centre red one, seem overshadowed.
This tulip quilt was purchased by the Anne Academy in Japan.
The Fan Quilt
This quilt is more often referred to as Grandmother’s Fan
and was designed around the Victorian fascination for the use
of fans in Japanese culture. Anne of Windy Poplars, visiting the
ladies at Maplehurt, noticed the quilt on their spare room bed.
Always one for big words, Anne thought it quilted in
infinitesimal fans. She meant small fans!
In Montgomery’s novels it is the traditional fan design of
quilting she refers to, and not the cutting and piecing of fan
pieces. In Pat of Silver Bush (1933), Pat writes a letter to Judy
Plum telling her “Aunt Hazel has the loveliest blue quilt, quilted in
fans, on her spare bed.”
Anne of Ingleside, Maud Montgomery’s last published novel
in 1939, gives us the hidden humour of a quilting bee; while
deciding to quilt in fans or diamonds:
“The quilts were set up on the broad verandah and everyone
was busy with fingers and tongues . . .
Walter, who had been kept home from school that day
because of a slight sore throat, was squatted on the verandah steps,
screened from view of the quilters by a curtain of vines. He always
liked to listen to older people talking.”
As they quilted, their tongues never stopped. One story after
another followed and gossip flowed all afternoon. Finally this bit of
news . . .
‘Did you hear what happened to Big Jim MacAllister last Satur-
day night in Milt Cooper’s store at the Harbour House?’ asked
Mrs. Simon, thinking it time somebody introduced a more cheerful
topic than ghosts and jiltings. ‘He had got into the habit of setting
on the stove all summer. But Saturday night was cold and Milt
had lit a fire. So when poor Big Jim sat down . . . well, he scorched
his . . .’ Mrs. Simon would not say what he had scorched but she
patted a portion of her anatomy silently.
‘His bottom,’ said Walter gravely, poking his head through the
creeper screen. He honestly thought that Mrs. Simon could not
remember the right word.
An appalled silence descended on the quilters.
Afrer a bountiful Ingleside supper, walking home, Mrs. Simon
announced, ‘As for that young Walter, I could spank his bottom
with relish. Such a turn as he gave me!’ ”
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A UGUST 2 0 1 1
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The Rising Star Quilt
The Blazing Star Quilt
This is also known as the Lone Star quilt, or the Bethlehem
Star quilt. By simply changing the colors or types of fabric,
these star blocks can be given an entirely different star appearance. Maud fully realized the exactness needed in cutting and
stitching diamond pieces for such quilts.
This is the same old and reliable pattern of the Rising Star.
Often sewn in varying choices of color, there is none so attractive and old-fashioned as the dazzlingly red and white fabric
diamonds of a Blazing Star.
When Jane of Lantern Hill and her father unpacked Grandmother Stuart’s box containing three quilts —
“Jane set aside the scarlet Blazing Star on the
boot-shelf against the day when they would have
a bed for the spare room.”
The Rising Sun Quilt
Recently I came across a Rising Sun quilt
pictured in Heritage Quilts of Ontario by
Marilyn I. Walker. It was brought to Canada
from Country Tyrone, Ireland in 1860. The
‘suns’ are handpieced and appliqued in bright
orange in a circular design with points around
the circle.
In this picture of L.M. Montgomery’s
needlework given to the L.M. Montgomery
Instititute at UPEI, it represents to me that
rising sun pattern and what I envision in
Magic for Marigold:
In her short story of 1904, ‘Polly Patterson’s Autograph
Square’, Polly is presented with a parcel of dozens and dozens of
small diamond-shaped patches cut out of red and white cotton.
She is to stitch them together before Mr. Trent will give his
name and monetary contribution to the Mission Band autograph quilt. In Anne of Green Gables, Anne said dolefully: “I do
not not like patchwork,” as she hunted out her patchwork basket
and sat down before a heap of red and white diamonds with a
sigh . . . “But of course I’d rather be Anne of Green Gables sewing
patchwork than Anne of any other place with nothing to do but
play.”
Once again, we refer to the short story ‘Sara’s Way’ of 1904 to
realize the difficulty some quilters experience with the star
quilts: “Sara was sewing the diamonds on another ‘Rising Star’
with a martyr-like expression on her face. Sara hated patchwork
above everything else.”
“They took a drink from the truly delightful
stoned-up spring behind the granary, which
Uncle Jarvis called the barn-well and then
mounted the outside granary stairs to the loft.
Its bare boards were beautifully white-washed,
and Aunt Marcia had made up a bed on the
floor and covered it with a charming white quilt
that had red ‘rising suns’ all over it.”
In the short story ‘The Burton
Girls’ Patch Party’, Maud Montgomery wrote: “ . . . Rosemary
unfolded a half-patched square of
the very self same Rising Sun pattern at which Amy Lewis from
aross the road was working.”
Stored in the Blue Chest of
Rachel Ward from Maud’s
favourite book The Story Girl, we
find another Rising Sun quilt. However, there is another Rising
Sun pattern of the early 1820-1840 period of quilting, made the
same as an enlarged Star of Bethlehem. Placed in the center of
the quilt top, the star of diamonds covers the entire quilt top
displaying intricate needlework.
(continued on next page)
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KINDRED SPIRITS / A U G U S T 2 0 1 1
The Log Cabin Quilt
The pattern name Log Cabin places the pioneer home in
quilting history. The red centre square of the quilt block represented the hearth fire. The darker outer strips of material symbolize the northern side of the cabin while the southern side of
the cabin is depicted in lighter strips of fabric down the other
side of the quilt block.
When Emily and Ilse are canvassing for subscriptions to the
Shrewbury Times in Emily Climbs, they come to the home
where an older woman is piecing a long cabin quilt by the
window. This is so reminiscent of the years in the Cavendish
farmhouse Maud spent stitching, reading or writing with the
last rays of daylight on her work by the window.
The frugal quilters cutting strips of old coats and worn
woolen blankets for quilt blocks are upstaged by Grandmother
Lesley’s silk log cabin quilt in Magic for Marigold. She tells this
story to young Marigold:
“Ben’s sister Laura was jilted by Turner Reed. He married Josie
Lesley and when they appeared out in church the first Sunday
Laura Lesley went too, in the dress that was to have been her wedding one, and sat down on the other side of Ben. Alec said she
should have been tarred and feathered, but I tell you I liked her
spunk. There’s a piece of that very dress in my silk log-cabin quilt
in the green chest in the garret.”
At the L.M. Montgomery Birthplace in New London, a
miniature log cabin quilt is displayed. Just as Montgomery was
born in November 1874, so was Sue Muncey. At eight years of
age Muncey began stitching these intricate strips together into
log cabin blocks. Along life’s road she married J.B. Leigh
Lowther and they resided in Carleton, PEI. Before her death
eight months short of 100 years of age, she donated that incredibly-stitched quilt to the L.M. Montgomery Foundation Trust.
The Wild Goose Quilt
This is not the same pattern as the poular Flying Geese
pattern. Similarly named and designed patterns are The Brown
Goose, and Flock of Geese. Their names give thoughts of
autumn, but their appeal is ageless and always in season.
Maud Montgomery placed two Wild Goose quilts in her
novels:
Jane placed The Wild Goose Quilt on her father Andrew
Stuart’s bed in the large north facing bedroom at Lantern Hill.
Anne found her room to be the dearest spot at Windy
Poplars. We read:
“The floor was covered with round, braided rugs, the big bed
had a canopy top and a ‘wild-goose’ quilt and looked so perfectly
smooth and level that it seemed a shame to spoil it by sleeping
in it.”
The Wild Goose quilt pictured here covered a bed in one
of the small bedrooms over the kitchen wing at Green Gables.
Today, that room has been converted to office space for
National Park guides at the house.
9
The Autograph Quilt
The excitement of collecting names and raising money for a
worthy cause formed the background of the autograph quilt.
When visiting her cousins in the Campbell homestead at Park
Corner, Maud would see the 1898 autograph quilt made by the
Methodist Ladies Aid with her own father’s name embroidered
on it.
Polly Patternson’s Autograph
Square story of 1904 explains
the Mission Band’s quilt.
Maud’s book The Golden
Road adapts this story.
Told a bit differently by
Cecily King, she begs
Mr. Campbell for his
name and monetary
support in her zeal as
“a Missionary Heroine:”
“It’s our Mission Band
autograph quilt, Mr. Campbell. There are to be as many
squares in it as there are members in
the Band. Each one has a square and is collecting names for it. If you want to have your name on the quilt you
pay five cents, and if you want to have it right in the round spot in
the middle of the square you must pay ten cents. Then when we
have got all the names we can we will embroider them on the
squares. The money is to go to the little girl our Band is supporting
in Korea. I heard that nobody had asked you, so I thought perhaps
you would give me your name for my square.”
The Green Gables Quilt
This is the bonus to the ‘Quilter’s Dozen’ of Maud Montgomery’s quilts. Many years ago this quilt lay folded on Marilla’s
bed at Green Gables house. An out-ofprint book, 300 Years of Canada’s Quilts
by Mary Conroy, owned by the late Mrs.
Glen Murphy of Seaview, PEI, shows this
pattern. It is actually the old red and
white Dutchman’s Puzzle pattern.
In the quilt at Green Gables House, the
larger triangles were of various coloured
small prints. The smaller triangles were a
soft shade of rosy pink. The stripping was
a soft spring green. Mrs. Murphy explained that the tiny flowered print materials were the wild flowers of PEI; the
smaller rosy pink triangles mirrored the
sunrise and the green stripping represented Green Gables House.
Mrs. Murphy was a wonderful woman and an excellent
In Pat of Silver Bush, Maud places a huge autograph quilt on
Judy Plum’s bed: “The Silver Bush children all liked to sleep a
night now and then with Judy, until they grew too big for it,
and listen to the tales of the folks whose names are on the quilt.”
Visitors delight in seeing an autograph quilt at the L.M.
Montgomery Birthplace, quilted by the New
London Women’s Institute in 1916.
Older than this is the Trust &
Obey Mission Band quilt of
1896 (shown here) on
display at the L.M. Montgomery Heritage
Museum in Park
Corner — the home of
Maud’s Grandfather
Montgomery.
The 1933 Women’s
Missionary quilt of Union
Presbyterian Church, Ontario,
has an autograph on it that the
other quilts do not. It is of L.M.
Montgomery, stitched in as Mrs. Rev. E.
Macdonald.
Her embroidered signature is a quilter’s stamp to a journal
entry of 1925, written after an afternoon of quilting in Zephyr:
“There is something about the homely old art of quilting that I
like. I could sit and quilt happily for hours.”
quilter. I can see her yet — feet rocking the treadle sewing
machine in jig time as she sewed the pieces of a quilt together.
Here is a sample of hers in the Green Gables quilt pattern.
Maud Montgomery’s words come to
mind: “I felt many a tug at my heart as
I looked over it . . . a compact of old
memories.”
The winter 2003 edition of Kindred
Spirits printed the Green Gables quilt
pattern, inspiring Mrs. Agnes Thompson of Newcastle upon Tyne in England to make this quilt. She and her
quilt of 81 squares are featured on the
cover of our August 2010 Kindred
Spirits.
No further proof is needed that
finding quilting inspiration in the
stories of L.M. Montgomery keeps us
connected to the times and their stories she shared with us
surrounding her stitching.
Cavendish church
marking anniversary
To mark its 110th Anniversary, the
Cavendish Church is holding a special Anniversary Service on Sunday, September 11,
2011 at 10:30 a.m.. Everyone is welcome.
L.M. Montgomery grew up in the
shadow of this church and served as its
organist from 1903-1911. At right is the
organ she played, which is still in the
church today. It had been her own, given to
her by her father and her grandmother
when she was a child. She donated it to the
Church when she left Cavendish to marry
Ewan.
During our author’s time in Cavendish
this church was Presbyterian, but today it is
a United Church, part of the Cavendish
Breadalbane pastoral charge.
We’re chagrined . . .
In July’s edition of Kindred
Spirits we featured photos
of the Trossachs, courtesy of
Diana Hemphill. The correct spelling of Trossachs is
with an “h” rather than a
“k”, and the correct spelling
of Callander is with an “a”,
rather than an “o.”
Anne and Gilbert charm
visitors to Green Gables
The cast of the musical Anne & Gilbert
brought their singing and dancing talents
to an outdoor stage at Green Gables this
summer, then stayed on to sign autographs and pose for pictures with the
many fans gathered around. Lots of fun!
K IN D RED SPIRITS / A U G U S T 2 0 1 1
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