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Left, "Boy Jesus Before the High Priests" window, 1952 by D. Dearie. St. Andrew's Wesley United Church, Vancouver. "Above, "Presentation" Simon and the Infant Jesus, 1957, by D. Dearie. St. Andrew's Wesley United Church, Vancouver. actively engaged in executing designs for large transept windows in Vancouver that were described to him as three-light windows, but which turned out in fact to be five-light windows. Duncan Dearie's earliest stained glass window for St. Andrew's-Wesley is the chancel window given to the church by the family of the Rt. Hon. R. B. Bennet, Leader of the House of the Opposition in the House of Commons. Bennett knew of Dearie and his designs through Dean Ragg of Calgary (formerly of Winnipeg), and Bennett visited Dearie in England in 1935. The order for the chancel window was given in 1936. Dearie advised a Te Deum; Bennett wanted a Resurrection. In the end neither subject was used and The Sermon on the Mount was chosen instead. This subject was selected to be accommodated in four of the lights of the huge chancel window. Dearie based his design on a drawing by his father. The surrounding panels (of the Four Evangelists and of the Six Acts of Mercy) were taken from designs by Burne-Jones. In this window Dearie kept well within the traditions of the Morris firm in terms of choice and manner of execution of subject, object and colouring. While adhering to what might be termed the "Morris style" as it 48 had evolved in the works of Burne-Jones and of his father, John Henry Dearie, there were significant points of departure in Duncan Dearie's designs, influenced perhaps in part by movements that were already well in progress in the first third of the 20th century and which were to cause a turning away from 19th century naturalism towards more abstract forms. In the Dearie designs for the chancel window, there are disparities in terms of perspective seen in the differences in size between the faces of Christ and His hearers; the drapery has become curiously stiff, bearing no relation to the bodies it is supposed to cover. The bodies of Dearie's figures appear more stylized, less naturalistic than those of his predecessors in the Morris firm, implying perhaps a conscious rejection of the now outmoded pre-Raphaelitism of the Burne-Jones period and a deliberate search for stronger, simpler, more primitive forms. Duncan Dearie's gradual changes in the "Morris style" were accomplished within the context of a now longstanding craft tradition that went back to the earliest days of the workshop. Dearie frequently made use of design motifs and cartoons that had been in- itiated either by his father or by Burne-Jones before him. This was not at all unusual in the history of modern stained glass firms, nor was it unusual in the broader context of the development of any ongoing artistic workshop. The same practices had after all existed in the Middle Ages, and the sense of continuum which Duncan Dearie gave to the Morris company by this practice was well within the context of William Morris's own attitude towards the development of the arts and crafts. The practice of re-using cartoons for the design of stained glass may be illustrated by the Ascension window (1936-37) in the south transept of St. Andrew's-Wesley. Sewter lists this subject as being originally designed by John Henry Dearie for the church at Troon, Scotland.2 In the Vancouver Ascension Duncan Dearie kept to the model provided by his father's drawings, drawings which in turn had been inspired by the work of Burne-Jones. Interestingly from Burne-Jones down through to the work of Duncan Dearie there was a gradualâ€"one feels an inexorableâ€"process of change, which represents both the strengths and weaknesses of a workshop tradition. While John Henry Dearie was a superb delineator of drapery, his own designs, May/June 1979