Romantic Canada

by Victoria Hayward

Every evening at the close of the day’s work the striking figure of the old carver may be seen on the street of Saint Anne’s wending his way to Benediction. And, however numerous the pilgrims, his is one of the figures to be remembered—a benediction in its sweet humility.

Jobin has been an indefatigable worker. In his day the number of figures carved by his hand is almost incredible. The very mechanical part must have occupied more than a lifetime of a man less talented and sure of every stroke. He talked of one figure after another so rapidly that track of all could not be kept. Yet not one of his figures seen could in any sense of the word be termed “mechanical”; rather, he was able to work quickly because his every stroke ran true.

There is, of course, a difference in his work, depending on the ultimate position to be occupied by the figure. Those to stand out of doors on an eminence, or on the roof of some church to be viewed from a distance, are executed in big broad touches of the chisel. Detail would be lost if indeed it did not spoil in such instances. But the figure to stand in some church, and to be closely approached by a supplicant, lacks nothing in detail of line that would express the fine nature and understanding of the saint that is symbolized.

All of Jobin’s work, whether Saint or otherwise, has about it a distinctly individual touch, so that once you are familiar with his work you are able to see a figure for the first time and say at once whether it is a Jobin or not.

Since our first acquaintance with Monsieur we have happened on many a “figure” of his. And nothing affords us greater pleasure than to come on one at some unexpected place and moment. These we recall to Monsieur on the occasion of a next visit. And how it delights the old man to hear of these, his “art-children”, whom he never expected to hear from more.

It pleased him that we should recognize the Province of Quebec as his Gallery and go along her highways and byways with an eye open for his figures.

It was during one of these conversations that he let fall that he carved the figure of “The Blessed Virgin” on the top of Trinity Cap on the far-famed Saguenay. Jobin gives the dimensions as twenty-five feet in height and says that around the head of “Mary” he carved twelve stars. He carved it in 1880 or just forty-two years ago, long before many who now view it were born. Many have wondered why the figure on this cape, twin with Cape Eternity on this scenic river of eastern Canada? Here is the reason from the carver’s lips. A gentleman out driving was in a run-away accident. The carriage was thrown over a very steep cliff but almost by a miracle he was pitched to safety as the voiture went down. He wished to erect a memento of his wonderful escape and as the accident had been over a cliff, he conceived the idea of having an heroic figure of the Blessed Virgin erected on the beautiful and beetling Cap Trinité.

From the Blessed Virgin to Neptune seems indeed a far call. Yet it was mention of this figure which recalled to Jobin’s memory that about the same time he did this he also carved the figure of Neptune to stand on the old hotel of that name on Mountain-Hill Street near South Matelot, in Quebec.

The student of history, abroad in Quebec, is familiar with the old carved-wood figure of General Wolfe, now sacredly preserved, after an escapade to the West Indies, in the library of the Historical Society of Quebec. But few there be who know that Jobin carved the substitute which fills in the niche in the old house on the street corner, and that it is thanks to Jobin that Wolfe still mounts guard on the corner of Rue Saint Jean. A new interest must cling to this old scarlet-coated figure of the General whose romantic boat-ride down the river to attack the city in the rear gave Quebec to the Empire. It is said that a condition of an old will provides that a figure of Wolfe must always stand in this niche in the old house facing the street, so that the passing world may never forget how much it owes to Wolfe.

Jobin’s work of carving sacred figures either for use in churches, in cemeteries, in church or monastery gardens, or as crosses and calvaires by the roadside, has been deeply appreciated. For some churches he has carved practically every figure in use.