Archives gallery
This section provides access to all electronic archive documents which make up the virtual exhibit. With the help of search filters and criteria, browse among a variety of documents preserved by Archives Services, such as manuscripts, photographs, school text books, films, architectural drawings and much more. The large amounts of documents reflect the fascinating history of the Congrégation de Notre-Dame’s work in education in a multitude of locations and throughout centuries.
Sister Annette Bellavance talks about the educational philosophy at collège Regina Assumpta and the role that this establishment plays in society.
The Sisters of the Congrégation de Notre-Dame have always been dedicated to helping their students become women in search of meaning. During adolescence, students are inclined to adopt the values of the adults around them. Thus they are offered, among other things, projects in social justice that would encourage them to share with less fortunate people.
Collège Regina Assumpta, like other educational institutions belonging to religious communities, aims at preparing citizens who want to help Quebec evolve. Students adopt this ideal through their education but also often because their mothers went to the same schools as they did.
Go to page on the "Inventaire du patrimoine immatériel religieux du Québec" (In…
Sister Simone Poissant recounts the history of teacher formation by the Congrégation de Notre-Dame. She begins by mentioning that the Congrégation was founded with the mission of teaching children. The Sisters of the Congrégation have never lost sight of this objective since Marguerite Bourgeoys opened the very first school in Montreal.
She adds that the year following the creation of the Conseil de linstruction publique in 1856, the first teacher training colleges were founded: one at Université Laval in Québec, one at McGill University for English-speaking students and lÉcole normale Jacques-Cartier in Montreal for boys.
In 1899, the Congrégation de Notre-Dame created a section for girls at lÉcole normale Jacques-Cartier. For just over a decade, it was situated at the Mother House in Old Montreal and then it moved to its own building on Sherbrooke Street.
At teacher training college, the professors began by instructing the future teachers in the contents of the topics they would be teaching mathematics, French, history, etc. They then taught the methodology of teaching. The students of lÉcole normale came from Montreal but also from the neighbouring cities and outlying areas.
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Sister Marthe Charron outlines the evolution of lInstitut familial Chanoine-Beaudet in Saint-Pascal de Kamouraska that was run by the Congrégation de Notre-Dame.
She begins in 1897 when Father Alphonse Beaudet, parish priest of Saint-Pascal de Kamouraska, approached the Congregation about creating an institute. Seven years later, in 1904, after receiving training from the Ursuline Sisters, Sister Anne-Marie Fournier and a companion arrived at lInstitut and created a well structured program which included culinary arts, sewing, infant care and weaving.
In order to respond to the ever increasing demand for additional formation for primary school teachers, lInstitut offered summer courses and training; the teachers from the arts and training school also took advantage of it.
In 1941, in order to conform to the requirements of lUniversité Laval, a Bachelors degree in Domestic Science was created. The courses were offered in Saint-Pascal for ten years before being moved to Quebec City where the pool of professors and students was much greater. During the 1960s, lInstitut was replaced by a high school ministering to the neighbouring parishes.
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Sister Danielle Dubois presents the painting entitled the True Portrait of Marguerite Bourgeoys, a painting that is very important to the Congrégation de Notre-Dame. This portrait was painted by Pierre Le Ber, brother of the recluse Jeanne Le Ber. The day after Marguerite Bourgeoys died, the artist was commissioned to paint her face. The painting is serious and sober; it is an accurate depiction of the woman of prayer, action and courage that Mother Bourgeoys was. Through its artistic beauty, Le Bers painting evokes the Pieta dAvignon.
In the 1960s, it was discovered that the portrait was no longer the one painted in 1700. Over the years, it had been modified, superimposing a new representation of Marguerite Bourgeoys with touch ups which gave the image a more Romanesque appearance. Specialists notified the Congregation that it was no longer the original painting.
It was then that the Congregation turned to the restorer Edward Korany in New York to confirm this hypothesis and, if possible, restore the original Le Ber work. Sister Mary Eileen Scott oversaw this project for the Congregation. Before giving Korany the go-ahead, a reproduction was made of what would later be referred to as the pseudo-Le Ber. The artist Jory Smith was entrusted with the reproduction of the second portrait. X-rays confirmed the superimposition of the two works. During the restoration, the two portraits became very distinct.
At the opening of the Marguerite-Bourgeoys Museum in 1998, the true portrait was to be one of the key exhibits. An oratory was even going to be set up for this work that had reached the status of an icon. Finally, it was decided that a room in the museum would be reserved for reflection and prayer. It was noted that visitors tend to whisper in that room.
Go to page on the "Inventaire du patrimoine immatériel religieux du Québec" (In…
Sister Patricia Simpson points out that in the beginning the Sisters of the Congrégation de Notre-Dame were dressed like all the other women of the 17th century. They wore a black dress, a kerchief over their shoulders and a scarf covering their head and knotted under the chin. The only distinctive element was the cross.
The habit we see here was worn until 1965 when it was modified. The parts that correspond to the original form of dress are the pleated skirt and the cincture. In the 19th century, the sisters began to starch and stiffen the kerchief, which until then had been soft. The scarf, at first used to cover the head, was lengthened, becoming a veil.
The cornet, very specific to the Congrégation de Notre-Dame, was made from a single piece of starched linen that was folded to frame the face. Two pieces of cardboard or wood were inserted in the side folds in order to maintain the shape of the cornet. At the top, a pin was inserted to form the characteristic peak. The linen was folded under the chin and secured with several pins. The cornet was attached to a headband worn around the head under a black cap and the veil.
Go to page on the "Inventaire du patrimoine immatériel religieux du Québec" (In…
