Disparate sets of windows were made in uncoordinated styles and themes over many decades, by studios in London, Bristol, Leeds and Lancaster in England, and in Toronto and even Vancouver. Artistic power is limited in the windows lining the nave, with the exception of the almost surreal White Window on the West side, with its pantomime of grieving faces at the Crucifixion, and the Ascension window by N.T. Lyon behind the altar.
The lurid portrayal of Mary Magdalene as a blonde prostitute is both demeaning and unhistorical.
If there is a theme here it is the repetition of tediously pious Victorian faces, particularly several unflattering images of Jesus Christ. It seems as if the Glass Committees kept trying for a “better-than-the-last-one” new commisission, 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.
We have placed more successful recent Christ Church windows in adjacent locations: the valiant Naval Memorials of several wars; and the modernist Tree of Life, by the Musqueam artist Susan Point, certainly the finest window in the church.