that Av Isaacs had entered one of his paintings into the competition. Living economically at the time, Kurelek offered to take a streetcar, but they talked him into taking a cab which was sent for him. Kurelek first visited the Catholic Information Centre at Bathurst and Bloor streets in Toronto in November 1959. Its emphasis at the time was the instruction and encouragement of converts, which fit in with his recent conversion. He soon found himself attending twice a week, helping out on one of its committees. Here he met Jean Andrews: "She not only had a charming smile, she was a real beauty too." Jean was a nurse, Anglo-Canadian, and part of Our Lady of the Wayside Praesidium at the centre, "it was devoted to rehabilitating prostitutes and dope addicts - a rather brave kind of Christian charity work that I admired." In her mid-thirties, about the same age as him, she was interested in children and having a family of her own. Their courtship was encouraged by the centre and on October 8, 1962, the couple wed. He titled a painting of his wife which he did the year they were married: Mendelssohn in Canadian Winter, as she enjoyed listening to Mendelssohn's violin concerto very much. In it, his wife was seated in a plain church-basement background; five years later he repainted the background to the current one portending a gloomy future, in keeping with his didactic work. The atmosphere that it most likely had originally was that of Green Sunday as this painting pre-dates his didactic period. Kurelek's marriage was swiftly fruitful, with three children born by 1966. They would go on to adopt a fourth child. Didactic Art In May 1963, Kurelek's "Experiments in Didactic Art" exhibition opened at the Isaac's gallery, with the new works: The Day the Bomb Fell on Hamilton, Hell (The Worm That Dies Not), The Wage of Sin Is Death, and Dinnertime on the Prairies. About Dinnertime on the Prairies, Paul Duval wrote, "I cannot recall any Canadian religious painting to equal it for sheer dramatic impact." John Robert Colombo wrote about this painting: "an almost perfect combination of the prairies and the religious image". Elizabeth Kilbourn wrote about the show: "If this is didactic art, I would willingly expose myself to more even at the risk of conversion." In 1964, on a trip back to Stonewall and the bog, Kurelek's