Disparate sets of windows were made in various styles over more than a century by studios in London, Bristol, Leeds and Lancaster in England, as well as in Toronto and even in Vancouver. Artistic power is limited to the two largest windows: the huge “White Window” depicting the Crucifixion, and the fine Ascension of Christ window by N.T. Lyon behind the altar.
It seems as if the Glass Committees kept trying for a “better-than-the-last-one” new commission, with limited success. Here you will see the most ordinary examples of 19th century English religious art, straight out of an illustrated Children’s Bible.
The portrayal of Mary Magdalene as a blonde prostitute is both demeaning and unhistorical.
We have placed more recent Christ Church windows in two other site sections: the Naval Memorials of several wars; and the modernist Tree of Life, by the Musqueam artist Susan Point, perhaps the finest window in the church.