While my parents were visiting Toronto last week, we got quite a few things done. One thing I'd not done before was visit the Hockey Hall of Fame, at Front and Union. I'd passed by it many times, but until my mother expressed an interest I hadn't thought of going.
We saw quite a few things. I appreciated seeing vestiges of the triumphant Edmonton Oilers and Wayne Gretzky in the 1980s.


Seeing the Stanley Cup was a first for me.


So too was seeing its predecessor.


Both cups were housed in the Esso Great Hall, a building that--besides being the publically visible face of the museum--houses a beautiful stained-glass dome designed by the McAuslands. Jennifer Wells' Toronto Star article covered this nicely.



We saw quite a few things. I appreciated seeing vestiges of the triumphant Edmonton Oilers and Wayne Gretzky in the 1980s.


Seeing the Stanley Cup was a first for me.


So too was seeing its predecessor.


Both cups were housed in the Esso Great Hall, a building that--besides being the publically visible face of the museum--houses a beautiful stained-glass dome designed by the McAuslands. Jennifer Wells' Toronto Star article covered this nicely.
[Y]ou would be in good company if your idea of passing reverential moments this festive season is to head into the Hockey Hall of Fame and, yes, run your fingers across the engraved names of Richard and Orr, but also simply contemplate, in an awestruck way, what is surely one of the most exquisite works of stained glass in the country.
Centred on the ceiling of what was in its day the largest bank branch in the country rises a 45-foot-high dome, more than 40 feet across, kaleidoscopic in its colouring and rich in its symbolism. The dome was the jewel in the crown of the banking hall of the main branch of the Bank of Montreal, constructed in 1885, and, rather miraculously, with us still.
Twenty-four panels fan along the ribs of the window. Unsleeping dragons in jewel colours guard cornucopias of gold from marauding eagles. Above the dragons, the Dominion, as it was, is represented by the seven spherical emblems of the provinces, an eighth for the Canadian beaver, and, at the epicentre, a blazing sun.
The window helped seal the artistic reputation of Robert McCausland, who would take over the Toronto stained glass studio formed by his father, Joseph. At a time when leaders of church and commerce looked overseas to England and Germany for stained glass artistry, Robert McCausland grew a reputation as a world-class talent.


