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Above, "Christ in the Carpenter's Shop" window, 1953, by D. Dearie. Ryerson United Church, Vancouver. Right, "Christ in the Temple" window, 1953 by D. Dearie. Ryerson United Church, Vancouver. because they were derived from Burne-Jones and not from living models, lost something of the sense of anatomical structure and the integrity of the implied form under the draperies that had been captured by Burne-Jones in his original drawings. Duncan Dearie carried this process still further since he was in fact even further removed from the Burne-Jones originals. In his work an element of stylizationâ€"simplification, and flattening outâ€"is evident which could represent both a reaction against 19th century naturalism and the inevitable disintegration which occurs when designers work from a succession of established designs rather than from life. In this process, both John Henry Dearie and his son Duncan shifted their emphasis from the design of figures and backgrounds to an exploration of what might almost be termed "pure" colour, colour used increasingly in an almost abstract sense. Both of the Dearies came to concentrate on a fine palette of glass in greens, deep blues, rose, red, purple and magenta, beautifully balanced against "brocades" in silver stain. All of these characteristics, and above all the continuity of the Morris design tradition, are apparent in the St. Andrew's-Wesley Ascension. May/June 1979 The third of the "early" windows at St. Andrew's-Wesley is Christ Blessing the Children, dating from 1937-38. Dearie's drawing in this window is already seen to move in the direction of what was to become his later style: the brocades, draperies, faces, vegetation and flowers show the influence of his father; the stylized sky, hills, trees, roads, Oriental city, and deep blue sky with inset stars are indicative of Duncan Dearie's flatter, more angular style. Just before World War II, the minister of St. Andrew's-Wesley had wanted "a rather different plan" of glass with fewer figures, as indicated by statements in a letter of 22 March 1938. The minister moved away however, the war came, and nothing more came of the project until 1948-49, when the window depicting Christ Healing the Sick was made. Post-war shortages of material had their effect on the execution of the design. Dearie was unable to acquire the exact kinds of coloured glass he needed, and the completed window suffered from the compromise he was forced to make. Powells, a major supplier of glass, were unable to supply him with their exquisitely rich colours until 1950. In the meantime he was forced to make do with white or clear glass, painted with silver stain and with brown and black stain to suggest architectural backgrounds of marble, wood and gilded stone. The Boy Jesus before the High Priests executed as late as 1952 is still in this manner, employing glass in the same manner as Knight, one of Henry Dearie's associates who had been accustomed to use it. St. Andrew's-Wesley has five more windows in this same style in the chapel: the Visitation; Annunciation; Adoration; Presentation; andCalling of Peter. All of these were planned at approximately the same time and are either Dearie's compositions or adaptations. Suggestions for the designs go back to 1947; they were carried out in 1949-51 and are documented by surviving letters of 27 October 1947, and 4 August 1950. One of the most pleasing of Duncan Dearie's windows at St. Andrew's-Wesley is the clerestory window of Abraham, Moses and Samuel dating from 1950. Dearie had difficulty with both the composition and the committee of the church. On 17 August 1948, he wrote: I must say that the figure of Abraham is not very impressive and I think I had better design you another in which I suggest that he should be 49