ST. GEORGE’S TENNIS CLUB in the 1890’s. The clubhouse faced the three courts which extended towards Maitland Street. The railway track is seen just outside the wire-netted fence and the southern gate. Left to right bottom row: Miss Gertrude MacKenzie, A. C. Johnston, John Creighton. Middle row: Miss Josie Howe, Miss Hattie James, Mrs. H. D. Creighton, Miss Annie Strong, C. E. Creighton. Upper row: Walter Creighton, Mrs. Walter Creighton, Miss Saidie James, man bending thought to be A. Stanley MacKenzie, Harry Strong. The last player on the right is unidentified.
These pictures were taken from the foot of King Street. Top shows the ruins of Hartshorne and Tremaine’s gristmill, which stood there nearly 90 years. The front was of brick. The masonry walls to the left indicate the dimensions of the structure. It was two and one-half storeys high, and was once the most extensive flour mill in the Province.
Northeast of main mill is Glendenning’s field. Double house on extreme left is 209 Portland Street. Across the street, the vacant Hamilton field stretched to their house just over the mill, now the spot of the Molasses Factory. Adam McKay built “Stoneyhurst” at 50 Summit Street. The cottages on skyline to the northeast are at the top of Sunnybrae Avenue. Lawlor’s old farm at right. The wooden bridge, which looks new, was not likely built until after the Canal Company had ceased operations, in 1870.
The wharf is at the foot of Canal Street and was built by John N. McElmon. Later on, dozens of vessels discharged corn there for Matheson’s Mill. “Sunnyside” is seen between the masts of small schooner. Harvey house on right. Until recent winters, this part of Mill Cove was often frozen for skating and tin-can hockey. On summer days, Young’s dock at extreme right seethed with splashing boys, swimming in nature’s garb.
Here we see the Mumford Machine Shop at Canal bridge, and tin Rolling Mill with its four heating-fumaces. Both were amalgamated with the Starr Company at the time. Site of 1749 sawmill is about south end of Rolling Mill. Stream has been much filled with slag. Logs of Bentley and Flemming show they furnished spars for international champion schooner “Bluenose”. The tow-path of old Canal is on left. At its extremity once stood the electric light plant. Until 1905, the Town stone-crusher operated near Mumford building at right.
Here we see the historic plaque unveiling at Starr Manufacturing Works during Dartmouth’s Bicentennial in 1950. The man in the middle has Just performed the ceremony. He is Leander F. Stevens who has been employed at the Starr plant, almost without interruption, since 1883. At the right is Arthur C. Pettipas, Bicentennial Chairman, who delivered the address. At left is John P. Martin, Chairman of Plaque Committee. Deputy Mayor Carl Merson presided. Guests included. Rev. E. W. Forbes, nephew of John Forbes, and Alexander Patterson, veteran champion skater. Note spring skate on upper left opposite modern model. (Skate designs by H. B. Douglass, Plaque design by Peter Douglass).
A new Company re-organized in 1939, today is employing about 35 persons. Their products include bolts, nuts, rivets and all kinds of metal fastenings. They are showing steady progress under the Presidency of Gordon D. Stanfield.
This photo will convey some idea of the labor involved in blasting out the artificial river-bed to straighten the Canal stream. The natural course of the water, which was a few rods to the left, must often have flooded the flats thereabouts, especially in spring freshets. The wooden bridge was therefore a great boon to rural travelers, and provided a safe route to the main ferry. Date of this bridge is in the late 1820’s. About that time, the Old Ferry ceased running.
Fishermen in dories are obtaining water in spring, already mentioned.. The two stone-piles on the left bank, mark the outlets of the tunnel. Building on Portland Street is Settle’s blacksmith shop. Photo was taken by Thomas G. Stevens about 1890.
This stream was a dividing line between the original town plot, and its later extensions. On the downtown side of the river, there are no large estates comparable to those north and east.
The bridge was a dividing line in another manner for the youthful gangs of the last century. Here the “up-alongs” encountered the “down-alongs.” Woe unto a straggler from either side, if he were caught unaccompanied at night in the territory of the enemy.
This photo was taken about 1912 shows Marine Street on the present Shipyard property. Until World War II it was a town-owned site. To the right is the “Point” where the hangings were held in the 1700s. The lettering on the buildings indicates the boiler shops of Evans and Sons, successors to Adam McKay. Extending from these buildings ran the large wharf of the Nantucket Whaling Company of 1785. It stood there over 40 years. The glacial mound of green grass was just behind the dwelling house.
This photo of Sterns’ corner taken about 1930, shows the Governor Wentworth cannon in the same position as seen today near the Portland Street show-window of Dartmouth Furnishers, Ltd. The other large structure two doors north was the first brick building of Dartmouth, erected by Luther Sterns as a store and dwelling about 1864. In a section of his dry-goods establishment, was the local Post Office. One of Dartmouth’s famous residents who called in for morning mail was the great Joseph Howe.
This was the railway bridge built of pine, with hemlock pilings that once spanned the Narrows. The timber came from Cumberland County, the steel from the iron works at Londonderry and at New Glasgow, and the stone on the Dartmouth end was obtained from Beaver Bank. There are very few townsmen left, who have walked across this bridge.
The average number of freight cars that went both ways over this Narrows’ bridge totalled about 135 per week. The purpose of the curves was to deflect the annual ice floes drifting down from Bedford Basin in late winter. Even before the bridge collapsed, Dominion Government officials were already at work on plans for a more sturdy and substantial structure.
But Dartmouth merchants had had enough of costly roundabout freight hauls and vexatious delays of passenger connections at Richmond. Town meetings, which were soon convened, sent vigorous petitions to Ottawa to demand a direct rail route from Windsor Jet. to join the old tracks at Tufts Cove.
(Bedford Basin was usually frozen every season during my youth, and no doubt from time immemorial because it was mixed with fresh water from streams and rivers which kept up a flowage all winter. In recent years the moisture is not being retained on the slopes but has a quick runoff as a result of the widespread deforestation. Hence Bedford Basin is now mostly undiluted salt water which requires 28 degrees for freezing. This change began to be noticed around the turn of the century when places like Fairview built oil piers for steamers. But the Basin ice surface continued to be used as a short cut for pedestrians and vehicles going to and fro until about the early 1930s. By that time the severe freezing and the annual drift of ice-cakes had ceased. This picture taken from Halifax side. Dartmouth hills in the distance.)
“Old St. Peter’s chapel, 1830-1893, cor. of Ochterloney St. & Chapel Lane, Dartmouth, N.S. View looking east, photographed about 1890. It was re-erected in 1830 from the frame, &c., of the original St. Peter’s Chapel, built in 1784 close to present site of St. Mary’s Cathedral, near corner of Barrington St. & Spring Garden Road, Halifax. The steeple was built on the Dartmouth St. Peter’s in 1831 or very soon after. At right, Chapel Lane, gate to church, Quarrel (Queen) Street extreme middle right. Oil street lamp seen front right on Ochterloney Street, at middle left is the Priests’ house.” https://archives.novascotia.ca/photocollection/archives/?ID=5302
“The chapel was demolished (̶a̶b̶o̶u̶t̶ ̶1̶9̶2̶6̶ ?)” …🤔
Then and Now
The original church was located at the corner of Ochterloney and Edward Street, this part of Edward Street between Ochterloney and Queen was once known as “Chapel Lane“. This site in more recent times was home to a Tim Horton’s, which has since been demolished. Today the site is a parking lot.
This is what the old Church looked like about 1890. Commenced in 1829, the steeple and attached glebe house were not erected until some years later. The vertical dark line in the picket fence at the Chapel Lane entrance is a turnstile. There is another barely discernible at the northwest corner of the Church. From there, a path led to Ochterloney St. Turnstiles were common sights, because gardens had to be protected from marauding cattle.
The trees were planted in Father Geary’s time, and solicitously watched over by Thomas Gentles, senior, whose house was to the left of the picture. Just left of the telephone pole, is seen a diamond-shaped glass case surmounting a shorter post. Inside the case was an ordinary kerosene lamp. That constituted our street lighting system... The original St. Peter’s Church was demolished in 1893.
A view from further up Ochterloney Street, looking south east towards Chapel Lane.
From the Acadian Recorder in 1829:
“On Monday the frame of a new Catholic chapel was raised, in this delightfully situated little village. The caulking of the Steam Boat was nearly completed, and she appears about ready for her machinery; piles are driving, and repairs making at the wharf intended for her use. Considerable animation seemed to pervade every quarter, which made the town appear very attractive. We are glad to witness indications of improvement in Dartmouth; we augur that (before) long it will increase rapidly in size and value. Independent of its being the outlet for the Shubenacadie Canal, it has many attractions which must operate favorably on her circumstances accordingly as Halifax improves. With a south-west aspect; sheltered from keen north and east winds by hills; enjoying a delightful sea scene and breeze, possessing romantic walks along the shores, and through the surrounding very picturesque country; having the retirement of country life, with the convenience of being divided from the metropolis by not more than a ten minute sail; we think that Dartmouth to the invalid and to many other classes holds out particular inducements as a place of residence. We are too apt to overlook the advantages lying close at our hand, searching for those which, not better, are more distant and costly.”
St. Peter’s hall, seen above, was leased to the town for classroom space to supplement new Central School. It was known as “Miss O’Toole’s school.” This building is still standing — though it was moved — it’s now located on Oakdale Crescent, where for a period of time it served as the neighborhood corner store.
The corner stone of the new St. Peter’s Church seen above was laid on July 2, 1891 and dedicated on July 7, 1901.
The third St. Peter’s Church under construction, completed in 1969, consecrated on June 29th of that year.
A Short History of St. Peter’s: The parish of St. Peter’s is the second oldest parish in what is known as the metropolitan area of Halifax-Dartmouth. Its origins go back to 1829 for in that year the construction of a new church began in the city of Halifax which was to become St. Mary’s Cathedral in June 1833. The church that had served the Catholics of that city was transported at least in part across the harbour waters. It was located on the corner of Ochterloney and Edward Streets. It was a simple wooden frame construction and a picture of it can be seen in the main foyer of the present church. Two frontal pieces or panels from the altar of the first church have been placed in the Madonna chapel.
A large piece of property was obtained at the corner of Maple and Crichton Avenue and construction began on the second St. Peter’s in 1882. A painting of this house of God by the local artist Don Fraser now hangs in the foyer of the church. It was a large brick structure with two towers of uneven height on approximately the same location as the present church but facing westward. It was a very devotional church, striking in appearance and much loved by generations of Catholics in the city of Dartmouth. It was particularly known for its stained glass windows and its beautiful dark wood. This church was destroyed by fire on December 28, 1966. Churches of similar architectural design are still located in the town of Yarmouth, the cathedral of St. Ambrose and in the town of Amherst, the church of St. Charles.
The third St. Peter’s, the present structure, was consecrated by Archbishop Hayes on June 29, 1969, the Feast of Sts. Peter and Paul. While resembling somewhat the exterior of the previous church, the interior of this edifice is vastly different. Its form is circular with the altar in the center. Is is a very functional building, well designed to accommodate the reformed liturgy of the Church of the second Vatican council. Including the galleries it can accommodate almost a thousand people and yet there are only nine rows of pews.
St. Peter’s is the mother church of Dartmouth, for, from it several parishes have grown. There are now seven Catholic churches in the city. Space does not permit a description of the other buildings that have contributed to the history of St. Peter’s over the years, the rectory, the convent, the parish schools. This brochure is intended to provide a description of significant elements of the present church.
The Tapestry: Probably the most outstanding of these elements is the tapestry which provides a beautiful setting for the sanctuary area of the church. When Mr. Andre Robitaille, of the firm of Desmarius and Robitaille, and Mr. Frederick Back, Montreal designer, we’re invited to Dartmouth to consider the furniture for the church, they were first brought to the fishing village of Dover and placed on a large rock well out in the water. They were instructed to bring the atmosphere of Nova Scotia into the new church of St. Peter’s. The mission of St. Peter the apostle a fisherman was discussed, and also his love of ships and the sea. The solid granite altar is part of the result of this coastal adventure. The baptismal font, which continually spouts fourth flowing water, is another.
The main decoration, however, is the colorful tapestry. Mr. Back, a Canadian artist who works with the Canadian broadcasting company in Montreal, was chosen by Mr. Robitaille to undertake this work. He has had an outstanding career in the artistic fields. When only 19 he won the Grand Prix of the beaux arts of Renees, France. he was professor of decoration, documentation and drawing at the school of applied arts in Montreal and at the same time professor of decoration and illustration at the Beaux Arts of Montreal. He has been commissioned as illustrator for many television programs, in particular, he has done considerable stained glass window design in the cities of Montreal and Quebec. He is the creator of the mural decoration on the history of the cinema of place Victoria. The center of the tapestry shows the bark of St. Peter. It rides on stormy seas, but all the hazards are pointed down, because nothing can ever sink Peter’s ship. On the deck of the ship are the people of God with their hands raised in prayer. The ship moves towards the heavenly port, which is represented by perpendicular lines of brightly colored cloth. the main mast of the ship is the cost of Christ under which the ship sails. It is slightly canted to again Express the difficulties encountered in stormy weather. Above the waters and the ship is the holy spirit spirit, represented by the sun. The uneven race depict the times when the movement of the holy spirit in the church is more obvious than others. The goals flying about are part of the Nova Scotia scene. They are always on our water and we’re fittingly brought into the tapestry. The coloration is taken partly from the Nova Scotia tartan, but the peculiar yellowish Brown comes from the lichen that grows on the rocks around Dover.
Mr. Back took several samples home with him to Montreal and numerous photographs in order to obtain the correct shade. The weaving of the cloth was done by a Mrs. Thomas of Montreal and the stitching was done by several hands, but to a large extent, it is the work of Mrs. Back, wife of the designer.
The stained glass windows: The Resurrection
The three sets of large windows, a kind of triptych, make up a unified hole, representing, on the east side of the church the creation of life, over the front entrance the new, resurrected life, and on the West side the life of the body of Christ infused by the holy spirit. We just have the actions of the three persons of the trinity. The middle Windows depict the resurrection, the rising of Christ, the son of god, from the tomb to the new and eternal life. The artist gives us the early morning scene of the Easter event. To the left, near the bottom, there are the darker brown colors representing the tomb. Rising out of the tomb, there is the glorified figure of Jesus, in the bright gold and yellow colors, with the red indicating the scars of the crucifixion. Just as in the East windows, we have the creation of the human, so this Christ embodies us all in the recreation of humanity, the restoration of Divine Life. The sweep of this movement is reflected in the tapestry behind the presidential chair by the bark of Peter. Also, similar colors are used in the skillful work of art.
The Creation
The creation depicted in the windows on the east side has, as it’s dominant feature, the figure of mankind before the rejection of God’s will. It stands out and surmounts the rest of creation which has been designed, showing one layer or stratum of life superimposed on the other, suggesting The evolutionary aspect of God’s action. The six days of creation, as described in the first chapter of genesis, are well brought out. A great variety of colors is used to remind the viewer of the innumerable species of life. At the bottom of the windows, we have fossils and the remnants of prehistoric animals. Vegetable matter is suggested by the use of wheat and other plants. Various forms of animal life can also be seen, snakes, mollusks, snails, fish, etc. In the sky, as well, birds fly about, and knowingly expressing the beauty of God’s work. In the upper section, we may note other references to the story of creation, the separation of night from day, the dividing of the water from the land. A kind of spiritual dome, the heavens, surmounts this, giving us the strong feeling that this dynamic life force emanates from the Creator who said that “it was good”.
The Life of the Church
The windows on the west side, the creation of the church, while slightly resembling that of the creation of the world, are quite different. Here, there is more of a sense of movement, expressed by the sharpness of the lines, the shapes and vivid colors. The holy spirit, symbolized by the dove, tower is above all and envelops the whole with a protective aura, where the reds represent the fire, the zeal of love. Under the action of the spirit of god, the apostles respond with enthusiasm as they become the temples of God’s indwelling. They reach upwards to receive the Divine Life of grace, represented by the vertical and oblique lines which descend from above. The small dark pieces of glass, closely formed together suggest the multiplex technology of the modern world and indeed the great variety of people as well. the blue trapezium shapes can be visualized in two ways, they are openings in the heavens which they resemble by virtue of their blue color and these windows remind us that the church should not look inward but rather reach out and project toward the whole of humanity, responding to the words of Christ “go and teach All Nations”. Stained glass has been placed in two other areas of the church. In the Madonna chapel two events in the life of the blessed Virgin Mary have been depicted. In both cases the design is in keeping with the modern designs of the larger windows. On the right side is the immaculate conception with the suggestion of a lily while on the left of the chapel the quote assumption quote is portrayed describing a passage to eternal life near the Tabernacle and to the right are three small Windows which portray symbols of the Eucharistic Christ. Stocks of wheat and grapes from the vine are easily recognized in this unified scene. Mr. Beck has provided his recommendations and artistic knowledge for our stained glass windows but they’re design has been accompanied accomplished by Sylvie Bouchard.
The Altar of the Blessed Sacrament
The Tabernacle was preserved from the previous church and was a gift of the people of St. Peter’s in memory of Reverend George Courtney. It was carried out of the burning church by one who risked his life in order to save the blessed sacrament. it becomes a connection with the former church just as the panels in the Madonna chapel maintain a relationship with the first St. Peter’s. The drapes behind the Tabernacle and the veil that covers it are intended to represent the net that Peter cast into the sea to catch the large drought of fishes. Behind this netting is a greenish colored cloth that speaks of the ocean and white playing on the water. The design of the Tabernacle lamp is in keeping with the rest of this area.
The Black Statue of the Blessed Virgin
The second Church of St. Peter was destroyed by a fire that began about 2:00 in the afternoon of December 28th 1966. The so-called black Madonna stood in a special altar on the right side of the old church. After the fire had been extinguished it was noted that the wooden statue is almost intact while on the opposite side of the church the statue of Saint Joseph was very badly burned. The hands of the Virgin are slightly charred. The blackish effect is the result of the fire. unfortunately the darkening was not even so a light spray has been used to make it more uniform. The present chapel was built specifically for this purpose, to house this statue, for it was felt that our lady guarded the parish from any loss of life.
The Frontal Pieces from the First Altar
The two panels, one on each side of the Madonna, or part of the original altar in the first St. Peter’s. They were brought over from Halifax along with other parts of the church which was located on the corner of Ochterloney and Edward streets. When father Underwood began the building of the second St. Peter’s in 1892, this same altar was used in the lower part of the church. In 1896 the church was officially opened and the old altar was preserved downstairs and what later became Saint Anne’s chapel. The destructive fire of 1966 did not get into the lower chapel but in the salvage operations all that could be saved were the two panels of this altar. Dozens of coats of white paint were removed and the two wood panels were clearly outlined. They are believed to be a Flemish origin, probably of the 17th century. One depicts the Salvatore mundi savior of the world, the other is an image of St. Peter. The wood in the carved sections of these frontal pieces is teak. The surrounding boards are a very ancient white pine. They constitute a very important link with the early history of the church in Dartmouth and also of Halifax. They symbolize and recall the great faith that must have been required to build a church in Dartmouth in the early part of the 19th century. A description of the church should not overlook the statute of St. Peter which has been placed in the niche constructed for this purpose near the base of the tower. It was donated by a kind parishioner and is fashioned from linden wood. The word of God and the quote keys of the Kingdom quote our traditional in any depiction of the apostle Peter.
Pastors of St. Peter’s parish:
Rev. James Dunphy 1830 – 1832 Rev. Dennis Geary 1832 – 1845 Rev. James Kennedy 1845 – 1847 Rev. William MacLeod 1847 – 1848 Rev. Patrick Phelan, 1848 – 1851 Rev. James Dunphy 1851 – 1857 Rev. Denis Geary 1857 – 1862 Rev. Alexander MacIsaac 1862 – 1864 Rev. John Woods 1864 – 1885 Rev. Charles Underwood 1885 – 1923 Rev. George Courtney 1923 – 1939 Rev. John Burns 1939 – 1945 Rev. William Smith 1946 – 1954 Rev. Gerald Murphy 1954 – 1972 Rev. John R. Campbell 1972 – 1982 Rev. Louis Cassie 1982 –
[–“They symbolize and recall the great faith that must have been required to build a church in Dartmouth in the early part of the 19th century” from above, after referring to the fire that burned down the church on December 28th 1966, certainly made an impact.]
This is the first steamship to be built in Nova Scotia. She had a sidebeamed engine which had been imported from England. The one-lane for carriages was open to the weather, so that loads of perishable merchandise often suffered damage from sudden showers or hailstorms. This boat was in active service for 62 years, and after that, did other duties until she was sold for scrap about 1895 to N. Evans’ Boiler Works at the foot of King Street. The “Acadian Recorder” had previously suggested that the old boat be hauled up and preserved as a historic relic by the Ferry Commission. Her hull now forms part of the cribwork about opposite the plate-shop building at the Dartmouth Shipyards.
This is John Skerry (1764-1838), one of the builders of early Dartmouth. Before steamboats came, he conducted the Dartmouth-Halifax ferry by means of rowboats and scows from the foot of Ochterloney Street. Skerry’s Inn, nearby, was probably the first hotel in Dartmouth. Accordingly as Mr. Skerry prospered, he employed his money in assisting others, lending large and small sums especially to property purchasers. He became a sort of “town-banker”. At his death, he possessed (or was encumbered with) considerable real estate, but comparatively little cash. His estate was valued at about £4,000.
Of a philanthropic and altruistic nature, Mr. Skerry was long remembered in Dartmouth for his many deeds of charity and humanity. Often he risked his life on the stormy harbor. “Skipper” Skerry is paid a high tribute in Mrs. Lawson’s History of Dartmouth, written in 1893.
This photo is from a large painting owned by Mrs. J. M. Vaughan. See the family tombstones in the plot north of main path near entrance of St. Peter’s cemetery.
About the year 1797, John Skerry began running a public ferry, and continued so employed until after the advent of the steam boat company. He was familiarly known as “Skipper” Skerry, and a few of the oldest inhabitants still remember the man and speak of him in words of praise. The Dartmouth terminus of his ferry was directly at the foot of Ochterloney Street, and the Halifax landing was at Market Slip. He occupied the building which still stands, on the south-east corner of Ochterloney and Water Streets, and there kept a small bar. The second lot from the north-west corner of Quarrel and Water Streets, likewise belonged to him, together with the water-lot immediately in the rear. His ferrymen, previous to leaving the landing, cried “Over! Over!”, and then blew a conch as a signal of departure. The boats were large. They were either sailed or rowed, according to the wind, and occupied about thirty or forty minutes in crossing from shore to shore. (According to a note on page 48, Skerry charged about the same rates as Joseph Findlay who took over the Creighton Ferry in 1825 – four-pence for an ordinary traveler, and from one to one and a half penny for each [black] person.)
Another ferry ran to a wharf at the foot of the Old Ferry Road, at Dr. Parker’s, near Dartmouth Cove. It was known as Creighton’s or the Lower Ferry. James Creighton, Esq., was the proprietor. He is said to have owned all the lands which are now the property of J.P. Mott and Dr. Parker, and also the tract known as Prince Arthur’s Park. These lands had been originally granted in 1752 to Capt. William Clapham, Samuel Blackden, and John Salisbury, (Vide Lib.2, fol. 157.298. and 161, Registry of Deeds, Halifax) and were either purchased by, or else escheated and regranted to, Creighton. The period at which the Lower Ferry was started, is uncertain. It was chiefly for the accommodation of persons coming from the country to the eastward of the town. The Nova Scotia Royal Gazette of March 19th, 1817, contains an advertisement, signed by James Creighton, which offers to let “that very eligible situation called the Dartmouth Ferry, now in the occupation of Mr. Peter McCallum,” The notice states that on the premises are a good house, outhouses, an extensive barn and stable, with a wharf for the use of the ferry (Parker’s wharf is built on the site of this wharf. The old wharf did not run at a right angle to the shore.), and the place is “conveniently situated for a house of entertainment.”
When the team-boat Sherbrooke made her first trip on November 8th 1816, both Mr. Creighton and Skerry must have known that their boats would ultimately have to cease running. Up to this time, the only manner of crossing the harbour, was in open boats propelled by oars. These boats were often heavily laden, and with adverse winds, it is said they were frequently hours in making the trip across. From their size and style, they were poor conveyances, not only for passengers, but also for the increasing amount of produce which was coming from the eastern settlements to the Halifax market.
A struggle for existence now took place between the rival lines. The team-boat wanted exclusive right, and the old ferries asked that they be not disturbed by the new company. On 26th February, 1818, James Creighton and John Skerry presented a petition for relief to the House of Assembly, stating that for a number of years each had been in possession of a ferry which had been maintained at considerable expense, and that they were likely to be much injured in consequence of the Steam Boat Company being about to employ boats of a small description. (These must have been the boats known as “Grinders”.) Another petition was presented by Skerry, in January, 1821. The company retaliated by asking for the sole privilege of running a ferry, which was refused by the House.
Skerry finally sold his boats to the company, and retired from business. He died on September 1st, 1838, aged 74 years, and was buried in the old Catholic Burying ground to the west of the Dartmouth Common. He is said to have been an excellent man – one who was praised by all who knew him.
See also:
Terrence M. Punch, “SKERRY, JOHN,” in Dictionary of Canadian Biography, vol. 7, University of Toronto/Université Laval, 2003–, accessed July 24, 2022, http://www.biographi.ca/en/bio/skerry_john_7E.html.
