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This painting has several stylistic variations within it. The surface appears to be very thick and the variation of brushstroke and surface colour is not as lively as usually found in works by this artist. It had been painted over a previous work and there is a lot of old ground and varnish beneath the surface. This may account for some of the surface configurations. The conservator also notes that there were a lot of earlier repairs and that these were accomplished with paint that did not always match very well. Repairs attributed to the artist. The foliage to the left of the Church is painted in a somewhat more impressionistic and free manner. The church itself is handled with emphasis on local colour and it shows many linear characteristics which are no as apparent in his later work. (Helen Collinson from direct observation in June 1984.) The tree to the right foreground is devoid of leaves although the foliage is apparent in the trees behind and to the sides of the church. This is an unnatural phenomenon. Also, the spire of the church is located in the precise centre of the painting. It is possible that these may have romantic, symbolic references, as was common at the end of the 19th century. With regard to the location of the church. Haukaness did a great deal of travelling and may well have visited Winnipeg early after his arrival in the United States. He certainly was in the vicinity in 1907, (letter to R.B. Anderson) well before he moved to Manitoba to live in 1919 or 1920.