GENTLY GOES THE DON: SHAPING THE NEW (OLD) DON JAIL

 Second in a series focusing on Toronto’s Old Don Jail 

By Elizabeth Abbott

      By the 1850s, Toronto was burgeoning and so were its criminals. The city was in urgent need of a new jail. On 7 March 1857, City Council voted, not unanimously, that “William Thomas Esquire … prepare a plan and a jail for this city after the model of Pentonville England Reformatory Prison.”[1] This decision was double-barreled: it selected Thomas without competition and, more crucially, it decreed the kind of institution he would design.

      William Thomas (1799-1861) was an English architect who emigrated to Toronto in 1843, drawn by the city’s dynamism and the fact that, despite an ongoing construction boom, it had few architects. He was an affable man as well as a talented and versatile designer whose elegant work soon established him as Upper Canada’s pre-eminent architect.

      

                                                             The Brock Monument


St. Lawrence Market

 

      A few of Thomas’ most notable works: the much praised Niagara Courthouse; the magnificent Halifax Courthouse that presages some of the detail of the Don Jail; the St. Lawrence Market; the 185-foot monument to Sir Isaac Brock at Queenston Heights; and the Elm Street House of Industry, an institution commissioned on the assumption that warehousing was the solution to such social problems as indigence, old age and homelessness. Thomas, no doubt moved by the wretchedness of the House’s future residents, charged nothing for his architectural plans.

      The Don Jail project came in the last years of Thomas’ life. But instead of providing a magnificent finale to a brilliant career, it sapped his strength and contributed to his failing health. Right up until his death from diabetes four years later, Thomas confronted a series of crucial setbacks on the project. The most dramatic was the newly-created Board of Prison Inspectors’ fundamental change of ideological direction.

      Prisons incorporate criminological beliefs into their physical structure, from the site chosen, the exterior and the furnishings of each cell to the purpose of incarceration. By the mid 19th century, the most advanced concept of surveillance was the panopticon design in which spoke-like wings radiated from a central observatory manned by prison guards. Utilitarian philosopher Jeremy Bentham had published a panopticon prison plan in 1791, explaining: “The essence of it consists, then, in the centrality of the inspector’s situation, combined with the well-known and most effectual contrivances for seeing without being seen.” The prisoner must always be visible but must not know whether or not he is being observed.[2] Between 1801 and 1831, the UK had built thirty-seven such prisons.

      By then, there was general agreement that incarceration was punishment, and that prisons were meant for long-term habitation rather than brief, brutish confinment. But there were two clashing sets of penological beliefs about the nature of the prison experience. Auburn Prison in New York and Eastern Penitentiary in Pennsylvania personified these different beliefs.

      The thinking behind confinement at Eastern was that prisoners should be kept isolated in individual cells where, like monks sworn to contemplation and silence, they would endlessly reflect on and repent their sins. They were forbidden to speak and even guards refrained from speaking in their hearing. They exercised alone in narrow yards behind their cells, ate food passed silently through a small grate, could see neither one another nor the outside world, and had nothing to occupy their interminable days but to search their souls and, if they could read, devour the Bible, their only companion.

      The 250 original cells at Eastern measured eleven ¾ feet by seven ½ feet wide by sixteen feet high, lonely vaults whose inhabitants often went mad or died. But because they were intended to provoke spiritual reformation rather than corporal punishment, the cells were equipped with amenities unusual in all but middle-class homes: hot-water heating, a water tap and a latrine.

      Charles Dickens and others condemned the Eastern model. “The system here is rigid, strict, and hopeless solitary confinement … cruel and wrong,” Dickens wrote.

Those who devised this system of prison discipline, and those benevolent gentlemen who carry it into execution, do not know what it is they are doing. … very few men are capable of estimating the immense amount of torture and agony which this dreadful punishment, prolonged for years, inflicts upon the sufferers … there is a depth of terrible endurance in it which none but the suffers themselves can fathom, and which no man has a right to inflict upon his fellow-creature. I hold this slow and daily tampering with the mysteries of the brain to be immeasurably worse than any torture of the body….[3]

 

            Pentonville, in England, was inspired by Eastern but was airier and lighter, with skylights, better ventilation and bigger cells. In Pentonville, however, prisoners were given work projects to while away the time and contribute to their upkeep. The most common was oakum picking - picking apart worn-out, tarred or varnished lengths of discarded hemp rope from ships. In Pentonville as in other prisons and workhouses, oakum picking was performed without any tools and was a tedious task that broke fingernails, and cut and blistered fingers.

            Pentonville had been designated as William Thomas’ model for Toronto’s Don Jail. He designed the Don accordingly, and submitted his plans in the summer of 1857. The jail would have four radiating wings with single cells ranged along the outside walls. The rear wings would house the worst criminals in back-to-back cells ringed by a corridor to maintain good security. The front wings were for those guilty only of misdemeanors.

            Thomas’ plans were accepted and the decision taken to begin by building the central block and two wings. The site of the new Don Jail was also chosen, city land across the Don River from the Necropolis, which would “afford the greatest advantages to the city in point of access and economy.”[4]

            Construction began and with it, one crisis after another. The Police Board was demanding, meeting on the work site and issuing unauthorized orders on the spot; unfortunately, Thomas obediently followed them. In addition, the project was bogged down in delays caused by his alcohol-clouded, incompetent project supervisor, Thomas Young, and by fraudulent work. Costs skyrocketed and tempers flared. Thomas was reprimanded and Young was fired; later, City Council appointed Thomas’ architect son, William Tutin Thomas, to replace Young.

            This new arrangement did not immediately reinvigorate the project. Instead, the Provincial Prison Inspectors, a newly appointed body, pored over Thomas’ plans and evaluated them according to their agenda of cleansing the filth of Upper Canadian jails where, they reported, “We do not punish, or we punish improperly. We do not deter from crime, and we do not reform the criminal.”[5] The Inspectors concluded that there were several ways to reform Upper Canada’s unspeakable jails. These included: classification of prisoners so that recidivists and the very bad could separated from the merely venal; good security to prevent escapes; proper sanitation and decent food, clothing and living conditions; chaplains to provide religious instruction; and the instillation of discipline and order. In light of these priorities, the Inspectors rejected Thomas’ plans for the Don Jail and scrapped the Eastern model for the very different Auburn one, sending Thomas back to the drawing board.

Next issue: Father Time Watches Over the Physical Plant

Elizabeth Abbott is Vice-President of the Riverdale Historical Society. The RHS usually meets monthly, on the last Tuesday of the month, at 7 p.m. For more information about events, email us at riverdalehistoricalsociety@sympatico.ca. Yearly memberships are $10. Most events are $4. for non-members.

 



[1]Glenn McArthur & Annie Szamosi, William Thomas Architect 1799-1860, p. 116.

[2] Ibid., p. 118.

[3] Dickens Cited by Ronald L. Goldfarb and Linda R. Singer, After Conviction, pp. 37-38.

[4] McArthur and Szamosi, p. 119.

[5] Cited by Peter Oliver, Terror to Evil Doers, p. 338.