Cathedral Deanery — Wallis sketching Christ Church Cathedral West Window Cartoon

Ottawa’s Sistine Chapel

Less than a generation after Canadians celebrated the centennial of Confederation, members of Christ Church Cathedral approached their 150th anniversary. They sought a meaningful way to commemorate the building of Christ’s Church, Bytown in 1832, the first Anglican church to be built in the future capital some 35 years before Confederation.

The answer soon became apparent. The west window dating from 1872 was beginning to show its age. Its large surface was filled with clear glass laid out in diamond-panes, with a thin band of gold and blue outlining the tracery. After 110 years of weathering, the lead holding glass panes in place and the larger wooden frame were greatly in need of renewing.

It was decided to commission a new west window. Its design would be a visual summary of the history of the parish within the region. A great fundraising campaign was carried out, and a design commissioned from Christopher Wallis of London, Ontario. Other startling proposals including stark modern abstract designs were also considered, but Wallis was entrusted with the commission based on memorial windows he designed for Trinity Church, Cornwall and Saint Bartholomew’s, Ottawa. We see him here assembling the cartoon for this composition, to form the basis for selecting and cutting stained glass for the new west window. This commission was a big deal, and Christopher Wallis did not disappoint.

As traditional stained-glass iconography goes, Christopher Wallis was attempting nothing less than a summary of the history of the parish and its place in the City of Ottawa within the larger setting of the Ottawa Valley and global Anglicanism. To take on such a commission must have made him feel like Michelangelo when he set out to paint the ceiling of the Sistine Chapel.  It would take Naomi Jackson Groves, niece of Group of Seven artist A.Y. Jackson, 60 pages to explain all of the details that Wallis incorporated in his composition. In a future issue of Perspective we will summarize some of the major details, but for now we must confine ourselves to just a few parts of the larger composition of Wallis’s masterpiece.

The larger composition shows a Celtic cross. The cross, of course, is emblematic of Christianity, symbolizing our Saviour’s sacrifice to redeem mankind. The Celtic cross recognizes the huge Anglo-Irish population that constituted much of the Anglican population of the larger Ottawa region in the nineteenth century. In the first census of Canada (1871) that asked people what they considered their ethnic origin (as opposed to their country of birth) to be, in the five counties around Ottawa 42,000 more people claimed to be of Irish origin than did in the cities of Montreal and Toronto combined. At the centre circle of the cross is Christ, the agnus dei, from whom the parish took its name. At the apex of the window Christ the King is shown sitting on a rainbow, while a satellite is shown orbiting the heavens.

The cross arms of the cross represent the Ottawa River, the major east/west route of transportation for both Indigenous inhabitants and early French explorers. The upright of the cross shows the Gatineau River flowing from the north, and the Rideau River flowing from the south, while the tall silhouettes of pine trees across the window signify the huge economic impact of the timber industry in the larger Ottawa Valley over the course of six generations.

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